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1970s Design Indulgence |
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Chris Firth
Moderator Group Joined: 16 May 2013 Location: Rossendale, UK Status: Offline Points: 1532 |
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PMC don't do LS3/5s - their thing is transmission lines.
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Richardl60
Senior Member Joined: 04 Nov 2014 Location: Yorkshire Status: Offline Points: 1468 |
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whilst I never warmed to the LS3/5as whenever I heard them at 70/80 shows they are well regarded for studio purposes and while they have had various incarnations to the best of my knowledge PMC aren’t one of them.
Whilst I do have reservations over the early bass roll off they certainly haven’t prevented Graham from producing phono stages with excellent overall qualities including fine bass qualities!
Edited by Richardl60 - 22 Jun 2019 at 10:27pm |
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Graham Slee
Admin Group Retired Joined: 11 Jan 2008 Location: South Yorkshire Status: Offline Points: 16298 |
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To err is human.
Main set up? It is my main set up. I already put in around 10 hours a day with the music on. SWMBO would probably divorce me if I then started playing records for the remaining waking hours. But I get your point. I remember 'msphil' commenting with words to the effect "I don't know how you get the bass so right for floorstanders when you only have those little monitors". I replied along the lines of "it's down to experience", and actually it is. I also have a pair of Harbeth M20 monitors which go way deeper on bass, but you have to drive them: 40W recommended! (That’s on peaks by the way). Also you have to understand that I cannot mess about with frequency response, it has to be flat as a mill pond 20Hz - 20kHz at least (-0.5dB to -1dB), and is usually flat an extra octave either end (-3dB maybe). How you then manipulate tonal qualities is down to a great number of other variables, which is learned through a lifetime's experience, and sometimes lessons are forgotten, but to err is human... The voltage thing comes from research by Walt Jung and Richard Marsh and being able to assimilate it. But then again, if you go too far other factors creep in and are quite destructive. It also depends on capacitor type: electrolytics are different to film caps in this respect. Paralleling capacitors is OK if you know where it leads to. It depends on the overall impedance of the circuit or network. Often it can result in a different sound because you've worsened it, and that's because every capacitor has inductance and resistance (wire ends and PCB traces have inductance too), and their interaction has to be understood. This article is about all I could find on a Google search, and even here there is confusion. One answer didn't take PCB trace inductance into consideration: https://electronics.stackexchange.com/questions/320363/antiresonance-of-multiple-parallel-decoupling-capacitors-use-same-value-or-mult Edited by Graham Slee - 22 Jun 2019 at 9:48pm |
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That none should be able to buy or sell without a smartphone and the knowledge in how to use apps
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Richardl60
Senior Member Joined: 04 Nov 2014 Location: Yorkshire Status: Offline Points: 1468 |
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yes MSPhils comments were precisely what I was getting at....
I think I saw some reference to stacked LS3/5as but cant recall the suggested benefits.
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DogBox
Regular Joined: 10 Feb 2019 Status: Offline Points: 61 |
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Once again, I ask for forgiveness and understanding - I had completely forgotten that Mr Slee HAS Golden Ear's and also uses them[his LS3/5a's] AS his "listening reference"... I also can't believe some of the recording studio's and THEIR Reference monitors.. It's what you know, I suppose... I too listen to Studio Monitors as my every-day listen. They're also about 9 times the size of the 'to become' Stirling Broadcast LS3/5A. I wasn't having a go at the LS3/5a, I was thinking if "I had to use something as a Reference Monitor" I don't think it would be a small sized monitor. Since bitten by the large format speaker, I find it hard [but not impossible] to go to something smaller.
My real Question was about the Capacitor and - in crossover role - the "benefits" of using multiple capacitors (mindful of Voltage!) that can be obtained. Just hoping for some 'enlightenment' on the subject of the role they play in Filtering and sonic changes obtained with differing uses of the different types now available - but not forgetting Paper-in-oil types and 'their' sonic benefit... Or, have the masses been given a large dose of snake oil to remedy their constipation their ears suffer! I seek understanding, Not enemies.
Edited by DogBox - 23 Jun 2019 at 3:46am |
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Graham Slee
Admin Group Retired Joined: 11 Jan 2008 Location: South Yorkshire Status: Offline Points: 16298 |
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That you seek understanding is understood.
But being into active electronics (amplifiers, preamps etc.), I have little understanding of passive speaker crossovers and from what I've seen some describe it as a "black art". Placing several capacitors in parallel however, causes upward and downward spikes, which are high in equivalent frequency, too high to be heard, and even too high for most tweeters to reproduce... ...but will represent an even more difficult load for any amplifier to drive right where the amplifier's negative feedback has run out. The "tail then wags the dog” and such spikes via negative feedback get into the amplifier's input, modulating and heterodyning the amplifier to produce different sounds. If speaker designers were to audition their designs with a wide cross-section of amplifier designs then perhaps it would register? I'm sure mainstream speaker manufacturers do so, but I'm sure the tinkerers don't because of limited resources, so beware of tinkering tweakers who might not have a clue as to where their actions lead. |
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That none should be able to buy or sell without a smartphone and the knowledge in how to use apps
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Chris Firth
Moderator Group Joined: 16 May 2013 Location: Rossendale, UK Status: Offline Points: 1532 |
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This is the best bit of audio advice I've heard in ages. |
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