![]() ![]() Of course this was after putting in a bit of acoustic treatment. A while back I attempted using a similar approach, just my ears, to create the eq curves in ReaEQ, to tame only the low end and the mids. Ultimately audio is still art, and taste/tailoring/experimentation is required in the application of any method.Ģ. ![]() So for live EQ correction, I would recommend some moderation, or an alternative thought process be adopted as IMHO, EQ alone will not correct long reverberation reflections, but could effectively resolve the speaker corrections. As some of you have already mentioned on this thread - with EQ - sometimes less is more, and if I may conclude on this point, attempting to correct long reverberation reflections with EQ alone, in my opinion is counterproductive, as it causes you to create excessive EQ compensation, which is unpleasant to listeners near the speakers. I however caution that over time, I have discovered aspects of this approach that will need modification, for effectiveness. This habit started a few years earlier, at other venues, but the aforementioned was my most significant application. I also applied graphic EQ's to the foldback - stage mixes, and at the time, this did make a huge difference in clarity at the venue where I did this, over several months - tuning purely by ear and using lots of hours to listen to tracks I knew well. Many years ago, as a live mixing engineer I got into the habit and belief that I could correct speaker and in particular, the anomalies of a room, using graphic EQ on the main mix, and/or attenuating the most significant resonances via channel EQ, especially iin the low end. The results were so spectacular, this is my way of giving back to the wonderful people who have made Reaper and other top class tools for this purpose, available, many of them for free. I obtained really great results and thought it good to share. Problem : to improve the sonics in your studio/listening environment, by "tuning" the speaker and room. This is a long read, but it may just have a really good solution to your challenge. It barely, if at all, exists on the CS2.2 or 3.5, of great familiarity to me, and subsequently not very present on the CS1.I apologise ahead, as I am not the most concise of writers. I got a pair of 3.6s about 1.5 years ago and discovered the phenomenon you all are addressing. Import recording into fuzzmeasure upgrade#Your enthusiasm caused me to get a few pairs which are now my primary workhorses for comparing solutions and making sense of upgrade package choices. Prof - I want to thank you personally for cheering the 02s awhile back. My 1.6s benefited from laminar launch baffle treatment. Tmsrdg - I don't have 3.7s, but there is some baffle flat. I would then mount felt and test, then add UltraSuede and test. I would use a stethoscope to reliably hear it. If I were testing them, I would find some music and/or test signal that reliably produce the problem. I will say that disc one is more obnoxious, disc 2 is the best, and t.Īs I mentioned, I don't have 3.7s. So, I skip through the disc to find passages that do whatever I need to do. My MO is to play more music rather than concentrating on a single cut. My unambiguous progress is in the realm of the acousto-mechanical: grille and. An entire business could have been built on developing and enriching that simple two way box. Prof - for my explorations of imagination I use the 02 as a path not taken. I'll say that the more that I improve the technical performance and address the shortcomings caused by our naivete in 1976, the less they sound like Thiel 02s, and the m. Prof - I would love your feedback regarding their sound, when the time comes. As I seek to reduce jacketing contribution, you are using it as an electromagnetic design element. Tweak - your Starsound wire comment is fascinating. Thiel, and most others I knew at the time, u. I landed on my wide rather than deep approach to sources partly as a contrast to the usual way. And there's a lot of well-made jazz out there. JAFant - jazz is great all around for its layers of nuance. Tweak - can you speak to why you chose iron (magnetic) rather than stone (more innert)? Import recording into fuzzmeasure driver#That driver is spectacular, an early edition of proprietary and groundbreaking technologies. That's the way to go, the hardware lasts forever. He used the Thiel CS3.6 as a design load, so he would have the definitive opinion for Thiel with the model.īonedog - Rob at Coherent Source Service has those woofers and/or rebuild kits. I think he designed all the Forte gear, but I’m not sure. Thoft - Nelson designed the original GFA555, but not necessarily the other Adcoms. Among all the good, great and worthy amps out there, Thiel gravitated toward a few brands, who also gravitated toward Thiel speakers for mutual product development. I can contribute a bit of Thiel historical perspective. ![]()
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