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Thread: Chester Hifi Show 2018

  1. #151
    Join Date: May 2008

    Location: A Strangely Isolated Place in Suffolk with far away trains passing by...

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    I'm David.

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    Marco, I suggested the earlier L300 and pro derivatives and blue-fronted 1980's descendants to you ages ago. They won't look as 'different' or as 'exclusive' as Hartfields (loads on the net as to the correct driver configuration (specific units to give best performance) to use for best results), but won't cost so much...

    Anyway, it's high time those old wardrobes of yours went to another owner - Tannoys are so common these days
    Last edited by DSJR; 27-04-2018 at 11:57.
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  2. #152
    Join Date: Oct 2016

    Location: Bolton, England

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    I'm Andrew.

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    I think there may be some misunderstanding about what a baffle does. This is my understanding:
    A point source in free space will radiate sound in all directions. The same point source mounted on an infinitely wide baffle can only radiate sound into a hemisphere, so all the sound pressure is going into half the space and is consequently 3dB louder. Where a baffle is not infinitely wide (probably most of them ), it acts as an infinitely wide baffle for wavelengths much smaller than the baffle width and acts as a point source for wavelengths much larger than the baffle width. That means that high frequencies benefit from a 3dB boost while low frequencies do not. Where the "crossover" point is between boosted and non-boosted is determined by the baffle width. This 3dB drop in output is known as the baffle step, and sophisticated passive crossovers (and active crossovers) include "baffle step compensation". Here's one result that a google search for baffle step compensation yields, but there are lots and lots more:
    https://www.southampton.ac.uk/~apm3/...ffraction.html

    The diffraction at the edge of the baffle is a separate, but related, issue. A large radius at the baffle edge can help reduce diffraction.
    I suppose the ideal would be infinitely wide baffles or infinitesimal baffles. Unfortunately, in the real world we're stuck with having to be somewhere in between.

  3. #153
    Join Date: Jan 2008

    Location: Wrexham, North Wales, UK

    Posts: 78,510
    I'm AudioAl'sArbiterForPISHANTO.

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    Hi Dave,

    Quote Originally Posted by DSJR View Post
    Marco, I suggested the earlier L300 and pro derivatives and blue-fronted 1980's descendants to you ages ago.
    I can't recall the speakers you're referring to. Got a link?

    Anyway, it's high time those old wardrobes of yours went to another owner - Tannoys are so common these days...
    Ha - indeed. I'm also rather guilty of hanging onto stuff for too long, because I'm happy with it, and just listening to music. I should really try harder to be a 'proper' hi-fi enthusiast!

    Marco.
    http://www.thestainedglasscompany.com

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  4. #154
    Join Date: Apr 2012

    Location: Southall, West London

    Posts: 35,726
    I'm Geoff.

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    Quote Originally Posted by RothwellAudio View Post
    I suppose the ideal would be infinitely wide baffles or infinitesimal baffles. Unfortunately, in the real world we're stuck with having to be somewhere in between.
    Even a drive unit is a baffle. That'll leave a few baffled!

  5. #155
    Join Date: Jun 2009

    Location: Berkshire uk

    Posts: 1,618
    I'm Allthatwasisorwillbe.

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    I have recently compared my set-up of my main speakers employing 6" drivers and 2 subs with 15" drivers, with my brothers 'dj' set up which use's 2 Peavey 12" drivers! Now quality aside ( my set up has far more finesse ) his system definitely had more slam and scale. When it came to outright bass slam and scale, mine easily came out on top. So i'm thinking that 'slam and scale' is more a mid-range thing as well as just outright bass! The hit of a snare drum for instance was more visceral on the Peavey speakers.

    Then i thought, his system can go much louder than mine,so is the 'slam and scale' thing due to how loud a system can go as well??
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  6. #156
    Join Date: Apr 2012

    Location: Southall, West London

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    I'm Geoff.

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    Quote Originally Posted by kininigin View Post
    i'm thinking that 'slam and scale' is more a mid-range thing as well as just outright bass! The hit of a snare drum for instance was more visceral on the Peavey speakers.

    Then i thought, his system can go much louder than mine,so is the 'slam and scale' thing due to how loud a system can go as well??
    Bang on. With both points!

  7. #157
    Join Date: Feb 2010

    Location: Berkshire, UK

    Posts: 3,084
    I'm Tom.

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    Quote Originally Posted by walpurgis View Post
    Dunno where you saw that Tom. The foam strips around the cone are gaskets. The Golds were back mounted in their manufacturer's cabinets and the foam sealed them in. The foam became redundant with the front mounted HPD's, but was retained as the alloy channel that holds the strips is what held the cone surrounds in place. No doubt the foam was kept to hide the screw heads.
    Finally had a chance to dig around a bit on this.

    Tannoy themselves don't describe them as gaskets, the phrase they use is "....trim rings ... to smooth out the otherwise discontinuous contour to the HF wavefront" - in other words, they are there to deal with diffraction.

    Page 14, Section 5 of the Tannoy Monitor Series service manual - this is a later series (NFM and DMT) but the design is common going all the way back http://warehousesound.com/r/tannoyMONITORmanual.pdf

    Indeed if you look you can still see a version of these rings (without holes for screws) on the current Legacy series.
    Main: Speakers 'RFC' Tannoy Canterburys / custom crossovers; Amp - Radford STA100; Pre EAR 912; Vinyl: Thorens TD124 MkII + Ikeda IT345-CR1 / Ikeda IT-407 tonearms; Cartridges Stereo - Miyajima Madake, Ortofon SPU Royal N, Ikeda 9C III, SAEC/Excel C3; Mono - Miyajimas - Zero 0.7, Premium 1.0, Sonovox MC-4 1.0, Edison '78' 4.0 conical, and Shure M44 strapped for mono with several Expert Stylus conicals for different eras of 78s; Phono stage and SUT from EAR 912; Esoteric Sound Re-Equalizer for equalisation of early mono and 78, switchable in from tape loop; Digital: Audio Note CDT2/II transport, heavily modded AN Kit DAC + Mutec MC3+USB.

    Study: Speakers - Tannoy DC6; Amp: Pass Aleph 'Mini'; preamp - Firebottle custom; Vinyl: Garrard 401 with AT1503 tonearm and vintage Ortofon SL-15e with matching Ortofon 2-15k SUT; Phono Stage: Firebottle Plus; Digital - Trichord Genesis III CDP + Arcam rBlink; Schiit Multibit DAC.

  8. #158
    Join Date: Apr 2012

    Location: Southall, West London

    Posts: 35,726
    I'm Geoff.

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    Quote Originally Posted by montesquieu View Post
    Tannoy themselves don't describe them as gaskets, the phrase they use is "....trim rings ... to smooth out the otherwise discontinuous contour to the HF wavefront" - in other words, they are there to deal with diffraction.
    Later model do have 'trim rings'. They are largely cosmetic, dsepite the Tannoy blurb. My Tannoys have them. They are thin plastic rings.

    The foam rings on older models were gaskets: http://www.44bx.com/tannoy/HPD_recone.html

  9. #159
    Join Date: Feb 2010

    Location: Berkshire, UK

    Posts: 3,084
    I'm Tom.

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    Quote Originally Posted by walpurgis View Post
    Later model do have 'trim rings'. They are largely cosmetic, dsepite the Tannoy blurb. My Tannoys have them. They are thin plastic rings.

    The foam rings on older models were gaskets: http://www.44bx.com/tannoy/HPD_recone.html
    In this specific case just because a bloke on a thread calls them gaskets doesn't mean that they are. I was quoting what Tannoy say about them.

    We all know from bitter experience that much of the info on Hans's site is suspect/unverified at best and plain wrong in many cases. One of the reasons people are skeptical about replacing their crossovers is because of a dodgy circuit on there which has misled people for a decade or more (and is still up there despite Hans being told it's wrong, repeatedly, years back). I fell victim to it myself. About the only thing you can really rely on are the pictures.

    BTW I just checked with Paul Coupe of RFC and he agreed that they are diffraction rings not gaskets. You are welcome to check with him!
    Last edited by montesquieu; 27-04-2018 at 17:24.
    Main: Speakers 'RFC' Tannoy Canterburys / custom crossovers; Amp - Radford STA100; Pre EAR 912; Vinyl: Thorens TD124 MkII + Ikeda IT345-CR1 / Ikeda IT-407 tonearms; Cartridges Stereo - Miyajima Madake, Ortofon SPU Royal N, Ikeda 9C III, SAEC/Excel C3; Mono - Miyajimas - Zero 0.7, Premium 1.0, Sonovox MC-4 1.0, Edison '78' 4.0 conical, and Shure M44 strapped for mono with several Expert Stylus conicals for different eras of 78s; Phono stage and SUT from EAR 912; Esoteric Sound Re-Equalizer for equalisation of early mono and 78, switchable in from tape loop; Digital: Audio Note CDT2/II transport, heavily modded AN Kit DAC + Mutec MC3+USB.

    Study: Speakers - Tannoy DC6; Amp: Pass Aleph 'Mini'; preamp - Firebottle custom; Vinyl: Garrard 401 with AT1503 tonearm and vintage Ortofon SL-15e with matching Ortofon 2-15k SUT; Phono Stage: Firebottle Plus; Digital - Trichord Genesis III CDP + Arcam rBlink; Schiit Multibit DAC.

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