Harder to get right means more expensive. Not everyone can afford a big Tannoy DC. That aside you should also take into account room size and WAF - loudspeaker manufacturers have to if they want to stay in business. In the high end it is assumed the system will have its own room so it is not an issue. For the other 90% it is. What was domestically acceptable in the sixties and seventies is not acceptable now. So compromises are made. No-one does a big three way with a 12 inch bass driver at the £1500 price point even though they could. Because very few people would buy it, despite it being superior to a two and a half way WAF tower with 5 inch drivers at the same price.
Of course if you are an enthusiast and not under the thumb you would have it like a shot. But it is a very small demographic and market.
Current Lash Up:
TEAC VRDS 701T > Sony TAE1000ESD > Krell KSA50S > Troels Gravesen Faital 3WC-15.
Indeed... My attitude is if it's harder to get paper cones to work optimally, then simply try harder to achieve it, not give up and use something that's inferior, simply because it's easier to work with.
The latter approach smacks of being rather 'arse over tit', no?
The problem is that the majority of loudspeaker manufacturers today are more interested in convenience and profitability (and/or pandering to current fashions) than in their designs achieving genuine sonic excellence!!
Marco.
Main System
Turntable: Heavily-modified Technics SL-1210MK5G [Mike New bearing/ETP platter/Paul Hynes SR7 PSU & regulator mods]. Funk Firm APM Achromat with Nagaoka GL-601 Crystal Record Weight. Isonoe feet & boots. Ortofon RS-212D tonearm with Denon DL-103GL in a Denon PCL-300 headshell, fitted with Funk Firm Houdini and Kondo SL-115 pure-silver cartridge leads.
Paul Hynes MC head amp/SR5 PSU. Also modded Lentek head amp and 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. 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.
Martin, sadly you are right - particularly with your last paragraph...
All I care about in audio, and desire from my system, is ultimate sonic performance and musical satisfaction. The rest is immaterial!
Marco.
Main System
Turntable: Heavily-modified Technics SL-1210MK5G [Mike New bearing/ETP platter/Paul Hynes SR7 PSU & regulator mods]. Funk Firm APM Achromat with Nagaoka GL-601 Crystal Record Weight. Isonoe feet & boots. Ortofon RS-212D tonearm with Denon DL-103GL in a Denon PCL-300 headshell, fitted with Funk Firm Houdini and Kondo SL-115 pure-silver cartridge leads.
Paul Hynes MC head amp/SR5 PSU. Also modded Lentek head amp and 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. 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.
But genuine sonic excellence is ugly and expensive. Poor people and people with show homes need speakers too. And in fairness most manufactures have a flagship range that ranges from less compromised to very good. Good loudspeakers require proper mechanical engineering, just like a good TT. It may be 2013 but you still can't do it on the cheap, that's where technological advancement has not helped loudspeakers.
Current Lash Up:
TEAC VRDS 701T > Sony TAE1000ESD > Krell KSA50S > Troels Gravesen Faital 3WC-15.
A lot of manufacturers made fine sounding paper pulp driver cones as well as Tannoy. Goodmans had some beautiful sounding units in the seventies and so did Celestion, amongst many. As for material choices, use what works I say. I think much of modern development is aimed at economic production rather than ultimate sound quality, shame really.
It is impossible for anything digital to sound analogue, because it isn't analogue!
Main System
Turntable: Heavily-modified Technics SL-1210MK5G [Mike New bearing/ETP platter/Paul Hynes SR7 PSU & regulator mods]. Funk Firm APM Achromat with Nagaoka GL-601 Crystal Record Weight. Isonoe feet & boots. Ortofon RS-212D tonearm with Denon DL-103GL in a Denon PCL-300 headshell, fitted with Funk Firm Houdini and Kondo SL-115 pure-silver cartridge leads.
Paul Hynes MC head amp/SR5 PSU. Also modded Lentek head amp and 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. 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.
Harbeth in the SHL5's use a plastic composite cone, they sound superb... One of my all time fave speakers.
sorry for being very controversial here but I remember hearing Q acoustics 2020i speakers in a large room at Scalford in March, and these were basically kicking some seriously expensive speakers in the proverbial n*ts.
The Cones are made with paper by the way...![]()
Francois, Bergerac, France
Source component/s:
Musical Fidelity M1 Dac, Allo Digi One, Sony SCD-XE800, AVID Ingenium Twin arm, Audio Note Arm One, Groovemaster II 12in, Audio Note IQ3 MM, Denon DL103R MC, Croft Basic 25, TQ Iridium Phonostage, Puresound T10 Stepup Transformer, Zavfino majestic tonearm cable
Amplification:
Audio Note OTO PP, Dussun V6i
Loudspeakers:
Triangle Comete ES, Klispch RP600M
Cables/stands:
Quadraspire, Belden 9497
You have to take into account the different rooms at Scalford. If you set out to design the worst room possible, with a budget of 100 million, a supercomputer and a team of boffins in white coats you would still not come up with anything approaching some of the rooms there. The bigger rooms are pretty good though, if the system can do the SPL required without breaking up.
Current Lash Up:
TEAC VRDS 701T > Sony TAE1000ESD > Krell KSA50S > Troels Gravesen Faital 3WC-15.