However I am sure if I read all there is to know on the net I could learn exactly how these things work... which I might do actually as it fascinates me how sound can come out of the strangest looking things
When I owned 57's I didn't understand those either but they were plugged into the mains and that kind of made some sense but the Maggies are not, very strange indeed...
Bev
Mark Levinson N°390s CD Through:Atlas Elektra XLR's To: Mark Levinson N°383 To: Magneplanar .7's
In a nutshell! http://www.magnepan.com/magneplanar_technology
Geoff
Thanks for the link Geoff...
Bev
Mark Levinson N°390s CD Through:Atlas Elektra XLR's To: Mark Levinson N°383 To: Magneplanar .7's
That kind of might explain why so many people love the sound of Tannoy and similar speakers as the driver is generally of low mass. When I owned Lowthers I did experience this 'fast' response as they are probably one of the lowest mass cones available, however they did have their limitations, but I loved their sound driven by just 1.5w of SET amp at the time
Bev
Mark Levinson N°390s CD Through:Atlas Elektra XLR's To: Mark Levinson N°383 To: Magneplanar .7's
Location: Liverpool
Posts: 766
I'm Sandro.
WP_20180403_05_29_34_Pro.jpgWP_20180403_05_29_09_Pro.jpg On the 1.7 there is just one jumper and is marked as tweeter attenuator the speakers came supplied whit same ceramic resistors.
No need to say as Magnepan give one the possibility to tweak one must and will tweak I tried the Fucushima Futaba MPC 74 0.47 R and they did make same improvement and to me better than the supplied stock that dulled things a bit to much
Things may be different for other room's or positions / taste
Sandro,
I also have Maggie 1.7s and have never felt the need to use any attenuation on the treble. I suspect that this is only required in the case of a very bright system or a room with highly reflective hard surfaces. However, I did replace the cheap metal bridge with a short length of speaker cable (same type as used for the speaker to amp connection). I can't say that it made a huge difference, but I think it improves clarity a "smidgeon"!
Not played around with fuses, probably because I am sceptical of any benefits.
Geoff
Whilst I acknowledge what statics/panel speakers do well (and in some areas outperform box speakers), they're not really my thing, mainly because, to my ears, none I've heard so far get the bass right, which is massively important for how I listen to music - and what makes the type of music I listen to most, sound real.
It's a trade-off with statics/panels (present in ALL speakers), in order to excel in certain areas, mainly the midrange. If I listened differently and didn't have such wide tastes in music, which I seek to accurately reproduce as far as possible, and I could put up with their looks, it would be a different kettle of fish
Marco.
Main System
Turntable: Heavily-modified Technics SL-1210MK5G [Mike New bearing/ETP platter/Paul Hynes SR7 PSU & reg mods]. Funk Firm APM Achromat/Nagaoka GL-601 Crystal Record Weight/Isonoe feet & boots/Ortofon RS-212D/Denon DL-103GL in Denon PCL-300 headshell with Funk Firm Houdini/Kondo SL-115 pure-silver cartridge leads.
Paul Hynes MC head amp/SR5 PSU. Also modded Lentek head amp/Denon AU-310 SUT.
Other Cartridges: Nippon Columbia (NOS 1987) Denon DL-103. USA-made Shure SC35C with NOS stylus. Goldring G820 with NOS stylus. Shure M55E with NOS stylus.
CD Player: Audiocom-modified Sony X-777ES/DAS-R1 DAC.
Tape Deck: Tandberg TCD 310, fully restored and recalibrated as new, by RDE, plus upgraded with heads from the TCD-420a. Also with matching TM4 Norway microphones.
Preamps: Heavily-modified Croft Charisma-X. LDR Stereo Coffee. Power Amps: Tube Distinctions Copper Amp fitted with Tungsol KT-150s. Quad 306.
Cables & Sundries: Mark Grant HDX1 interconnects and digital coaxial cable, plus Mark Grant 6mm UP-LCOFC Van Damme speaker cable. MCRU 'Ultimate' mains leads. Lehmann clone headphone amp with vintage Koss PRO-4AAA headphones.
Tube Distinctions digital noise filter. VPI HW16.5 record cleaning machine.
Speakers: Tannoy 15MGs in Lockwood cabinets with modified crossovers. 1967 Celestion Ditton 15.
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