This is something I would also like to know. I did ask earlier ;)
Pete? :)
Marco.
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This is something I would also like to know. I did ask earlier ;)
Pete? :)
Marco.
I heard them at a show once - not the best place, but I remember them being clean as a whistle, lively and crisp - a bit like "sorted" early Royds - no baffle correction, so "fast" and bright.....
The main issue with many LP12's is the boingy and resonant plinth the chassis is fitted into. It's this that causes the unpredictable sound on non-kosher surfaces IMO. The post 1985 plinths with the huge corner-fillets helped a heck of a lot, along with the other developments over the decades. The Lp12 has always been a delicate balancing act - "cure" one problem and you shift it somewhere else. It wouldn't surprise me if the original Ariston RD11 version with ribbed sub-chassis and heavier platter may just work better with jelco style arms. I'll never have the chance to find out unfortunately..
Jeez, Dave, if they sound anything like that then they would most certainly not be my thing. Almost everything seems to sound "fast and bright" or "crisp" these days.Quote:
I heard them at a show once - not the best place, but I remember them being clean as a whistle, lively and crisp - a bit like "sorted" early Royds - no baffle correction, so "fast" and bright.....
I've got nothing against those traits, per se, but we seem to have lost the way somewhere. What happened to realistic tone and timbre as being a priority?
I listen to my vintage Tannoys with all types of music and they possess ALL of the above attributes to make music sound convincing and natural, not just a sonic signature which majors on an impressive 'hi-fi' type of sound.
I wonder where the current (seemingly) preferred forward and 'up-front' nature of the voicing of loudspeakers, and all other modern components in my experience, originated from?
I mean, at what point did designers or manufacturers think 'let's ditch the natural warmth and tonality that makes voices and instruments possess the requisite depth and 'body' to sound real, and concentrate on a forward, brightly-lit, treble-emphasised sound which makes voices and instruments sound thin, processed, and nothing like they do in reality'?
For me in many cases, that's what has happened.
Marco.
Having heard them extensively, it's horses for courses of course, one mans meat etc
Big Tannoy's are certainly my horses for the course though.
So how would you describe their sound, Steve? I'm genuinely interested :)
Marco.
Marco, ignoring NVA's old speakers for a minute, I think it fair to say that modern speakers have to live in real world small living rooms, up to the wall and maybe even in corners. the move towards WAF small drivers in narrow enclosures hasn't helped.
What has also been a thing with the uninitiated is the "loudness switch" balance, brought to its ultimate by Pro-Ac in many of their models. A boom and thud in the bass, coupled with a sting and fizz in the treble makes for an initially great first listen for many - why do you think Bose is so popular?
RD's speakers will be as crossover-less as possible and tonal abberations will be secondary to the hair-raising speed and lack of smear they should reproduce. remember that other simple designs like the Epos Es14's actually had a VERY carefully designed bass unit that was initially voiced for open-space mounting and then changed for the Linn/Naim market in which they were so successful. It's credit to Robin Marshall that he knew what to do to make the changes (as Tannoy have done over the decades with the DC concept - I bet you wouldn't care much for the screaming Dimension models I heard a few years ago - OUCH!!!!!!!
Richard - things in general do not just vibrate at one frequency. Sure, they will vibrate most at the resonant frequencies but they will vibrate at other frequencies too.Quote:
Originally Posted by Richard
Also, just because a frequency is too low to be heard (such as the resonant frequency of a concrete floor) doesn't mean that vibrations at that frequency won't have a detrimental (or possibly positive!) effect on things which are beig vibrated as a result. When you rock a baby to sleep, the frequency of the rocking cannot be heard but it certainly has an effect on the baby.
Simon.