In article ,
Harold and Susan Vordos wrote:
"DoN. Nichols" wrote in message
...
In article ,
Harold and Susan Vordos wrote:

[ ... ]

That's something I didn't understand. I guess that relates to a systems
ability to dampen. Feel free to correct me if I'm wrong.

You are correct. Perhaps a short explanation will help you to
understand. First off -- you want the minimum output impedance from

[ ... ]

Thanks for taking the time to discuss it. I was aware of the importance
of the enclosure as it relates to the speakers---and in the case of the S8R
system, JBL did something to overcome the relatively small enclosures (as
compared to the woofer, which is 15") by adding what they call a passive
radiator. A speaker without a voice coil and magnet, which, obviously,
works directly out of phase with the woofer, allowing it to have a somewhat
greater throw, therefore a slightly improved low end, at least from the
standpoint of the listener. I have no clue how it works out when subjected
to the scrutiny of instruments.

An interesting concept. Is it facing the same direction as the
powered speaker, or is it facing out the back? I see how it would allow
a greater stroke for the voice coil, and with the proper compliance, it
might actually give better sound overall.

Considering we also own a Paragon, which is, for the most part, almost
identical as far as speakers go, the difference between the two is
noticeable. The Paragon doesn't have the passive radiator, but has an
exponential horn type construction, reflecting the low end off a baffle that
mounts as the base of the horn.

Like the old Klipshorn speakers? A folded horn?

It's clearly a better sound. I've never
been a fan of a booming low end, although I certainly do enjoy hearing a
system that has a good one.

Yes -- there is a big difference between a clean bass and a
muddy, boomy one.

By running the Paragon and the Olympus
speakers in parallel, I get what is, to me, a very nice sound. A bit shrill
on occasion, due in part to the tweeters and mid range being horns. Of
all the speakers I listened to when I made my purchase, the only other sound
I much cared for was the wonderful, rich full sound that came from Bozak
Concert Grands, but they weren't nearly as attractive to me, and were, I
would assume, power hogs.

There is another interesting speaker which a friend and neighbor
has. The speakers are capacitive drivers -- big flat things just a bit
smaller than a door. Very nice sound from those, but very expensive
when new. He got both sets used at different times.

[ ... ]

Yep -- but with all else considered, I have no real complaints.
She even puts up with my shop. :-)

Having been through one divorce, I feel I can safely say that the value of a
good woman is difficult to determine. If your wife is anything like mine,
she just very well may be the most valuable asset you have. I have
received nothing but total cooperation from Susan in all our married life.
Right down to encouraging me to buy machines, which I rarely do.

And Dolores is similarly cooperative. I keep the computers
running so she can do what she wants on them, and I do the machining and
whatever in what used to be the garage. :-)

You know -- you can get small CD recorders so you can play the
record *once* more into the recorder, and burn a CD from that, which you
can then use for many years without subjecting either the vinyl record
or the stylus (which will probably also become difficult to replace) to
more wear.


Yeah, I've given that idea considerable thought. The only thing that's
troubling is the size of the collection. With over 1,000 records, I can't
imagine ever getting them all done, but I fully intend to record at least
those that I consider my favorites. I'm sure you have certain recordings
that hold a special place in your heart. I know I do.

The basic principle is to have the CD recorder connected to your
system, and whenever you pull out a record which you have not yet
treated, copy it as you play it. Sometimes you may have to do a bit of
work to set up the index and start points, other times it can be
automatic (if the inter-band gaps are the only really quiet parts).

One of the problems with jazz is that for the most part, the grand masters
that went before us are almost all gone. While I respect the attempts of
those behind them, it's not the same. Just as in your folk music, the end
result is influenced heavily by what's happening at the moment. As
wonderful as Brubeck is today, the music he created when he was in his
younger years, performing with Desmond, will never be again. Therefore,
it's important that I retain what, to me, is what the music represents.

At least there are good performers today, and there are small
recording companies who specialize in recording them -- along with
today's digital audio equipment making it easier (and less expensive) to
make a good recording at home. (Of course, it also makes it easier to
make a *terrible* recording at home. :-)

[ ... ]

After looking at the high level of precision used in building the Crown
we
own, and the sophisticated controls it has, I can't even begin to
understand
how a novice would go about building such a device. I really admire
your
courage! I trust you were not successful, not with hand tools. g

Well ... I was successful enough so I could play tapes on it.
The motors which I used for spindle motors did not allow really good
control of fast tape motion, so I had to wait for it to run off the
supply reel. And in particular, I did not have the tools to make proper
brakes.

That's certainly more success than I had imagined.

I had lots of perseverance. I wonder what I could have done
with a proper machine shop at home -- but I was in my parents home when
I started it, and I finished some later parts using a Unimat to make
them. (Things like better hub adaptors for 10-1/2" reels -- really
stretching the size capacity of the Unimat.)


But -- I then picked up an Ampex 440B recorder at a surplus
sale, and later a Revox A700, so I was all set from then until I moved
to DATs for recording. *Those* I bought new. :-)

I bought a Teac (I think it was an A 7010) new----which was enough to
convince me that if I ever bought another deck, and I sure as hell would, it
would be a Crown. It was lacking in the quality I had hoped for.

The Ampex AG440B was what was used in recording studios before
the multi-track became the way to work, and was a later model of what
had first triggered my interest. The Revox A700 was made by
Studer-Revox, who also made professional studio recorders. It was the
most gentle machine on tape handling of any that I have ever used. It
had a tension arm on each side, which controlled the tension in the
takeup and feed reel spindles to adjust for the fact that a nearly empty
reel would otherwise pull harder than a nearly full reel.

They're (tape decks in general) really outmoded today, but I still enjoy
playing with it. I'm not in this to keep up with the Jones's, only to make
myself happy. I am.

I understand, and feel the same. I do have some more modern
recording equipment -- a nice DAT recorder, and a small mix board which
I have used for recording live performances at various places, including
at the Mystic Seaport museum's annual sea music festival -- until the
last two years, when we have not been able to get there for various
reasons.

Enjoy,
DoN.

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