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Living Voice Vox Olympian review by Roy Gregory

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Apologies Serge, you may be correct, I mean that Active electronic crossovers are used as opposed to Passive components.

However, I am sure DSP was used initially to determine the Active settings and Parameters.

It would certainly save a lot of time and effort to use a DSP crossover in development, even if one ultimately wasn't used in production. However, DSP does some things very easily, like driver time compensation, that is far more difficult to do without DSP. It can also set up arbitrarily steep filters with totally repeatable parameters and compensate for normal production spreads in drivers that again is far more difficult without DSP. If I want a loudspeaker with a +-1dB or even +-0.5dB anechoic frequency response, I would really struggle with a conventional active crossover and equaliser, whilst it's pretty easy in DSP.

S

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Just to help Mike out, "DSP" stands for DIGITAL sound processing.

The filters used by ATC were designed and implemented way before the age of the computer I'm afraid.

The honest truth is that there isn't a loudspeaker that comes close to accurately reproducing music in room at the listening position.

Any crossover design that aids the subjective impression of realism and transparency, coherence and solidity is good, regardless of topology or technology. DSP makes it easier for amateurs to get something that is objectively very solid. It also gives them the opportunity to be tweak ad infinitum ignoring the purpose of enjoying music replay, and of course unlimited possiblities to f**k a speaker up if they get it wrong.

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Oops! (slinks off and hides head in shame inside an old bass cab...)

In my defence I have just got off of a turbo trainer having done 70 minutes at threshold with an average HR of 165bpm. Loads of odd chemicals rushing through the brain. Nice ;)

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ATC and PMC flagship speakers are active and are superior to the passive versions in terms of reduced coloration and distortion, as are all active speakers and they all use a form of DSP in their electronic crossover networks.

Putting a passive crossover in a speaker is like putting a spring between your foot and the throttle pedal of your car.

The speakers you mention above are a million miles away in terms of performance to the VO and any other high quality well designed horn speaker system for that matter.

If you saw the complexity of the crossover and parts used in the "mass market" speakers above I would not be surprised the active versions are preferred. However your second comment is totally wrong. A well designed passive crossover with good quality parts selected for maximum performance and sound quality will easily outperform any DSP based system. By this, I mean the sound is more "real and life like" and less like "HiFi". OK, I am sure there are a couple of exceptions (Magico being one) but if you check out all the top horn systems made today you will find passive crossovers are used and active electronics are only used to drive the low bass below 100Hz.

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I'd agree with Graham. One problem is the cost in both time and components in designing and building a good passive crossover is both considerable and beyond the reach of most.

With your reference to ATC et al, many of the really top studios globally continue to use monitors like Westlakes as their preferred mains. Probably the best compromise I've personally heard.

Here is a Westlake crossover.

20080407_9c83456ab3a3c74a71f849HwmVpFItD9.jpg

DSP would be a lot cheaper....

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"Now, ask yourself this: how often do you play string quartets on your system at home? How often have you heard a system that allows you to play and enjoy string quartets? In fact, you might well ask, what’s the point of string quartets, period? Except that just about every major classical composer wrote them, and for many they are considered amongst their major works. Why? Because the instrumentation allows an incisive temporal precision to the playing that, combined with the massive dynamic contrasts available, can create exactly the drama and intensity I described above -- a level of drama and intensity that escapes virtually all audio systems. Indeed, most hi-fi renders string quartets, especially the later examples, as little more than random noise."

I think he's really managed to take the art of writing consistent fuck-witted, pretentious, nonsensical bullshit for self-regarding morons to a completely new level of (dare I say it) drama and intensity.

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I think he's really managed to take the art of writing consistent fuck-witted, pretentious, nonsensical bullshit for self-regarding morons to a completely new level of (dare I say it) drama and intensity.

Very true..................

However did the paragraph just a few above the one you quote not turn you on, just a little ??

Here is the "best " bit. Ive made a few additions (in red ) to enhance the experience just slightly, although Im sure most would agree that they arent needed.

The chap is a porn writing God. Check this out.

"........ takes on a living, breathing beauty of delicate, almost fragile power and aching intensity,( oh yes... ) while the sharp, angular violin phrases of the following Allegretto clash and contrast so dramatically with the robustly ( be gentle ! )vigorous responses ( oh yes yes yes... do it to me... now )of viola and cello. The music has a captivating, almost hypnotic quality that pulls you in ( Oh yes... you are so powerful ) , holding your attention to the extent that you find yourself holding your breath. Oh yes.... I can hardly breathe.... oh yes )The emotional connection, the anticipation, (do it NOW !!! ) the journey through the piece and eventual release ( Oh Yes !!!... AAAGGGHHH ....... !! )are both powerful and powerfully reminiscent of the live experience.( How was it for you ?... pass me a fag, ta. ) "

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Very true..................

However did the paragraph just a few above the one you quote not turn you on, just a little ??

Here is the "best " bit. Ive made a few additions (in red ) to enhance the experience just slightly, although Im sure most would agree that they arent needed.

The chap is a porn writing God. Check this out.

"........ takes on a living, breathing beauty of delicate, almost fragile power and aching intensity,( oh yes... ) while the sharp, angular violin phrases of the following Allegretto clash and contrast so dramatically with the robustly ( be gentle ! )vigorous responses ( oh yes yes yes... do it to me... now )of viola and cello. The music has a captivating, almost hypnotic quality that pulls you in ( Oh yes... you are so powerful ) , holding your attention to the extent that you find yourself holding your breath. Oh yes.... I can hardly breathe.... oh yes )The emotional connection, the anticipation, (do it NOW !!! ) the journey through the piece and eventual release ( Oh Yes !!!... AAAGGGHHH ....... !! )are both powerful and powerfully reminiscent of the live experience.( How was it for you ?... pass me a fag, ta. ) "

Put the Kenny G record down and step away from the hifi.......now!

:P

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I'd agree with Graham. One problem is the cost in both time and components in designing and building a good passive crossover is both considerable and beyond the reach of most.

With your reference to ATC et al, many of the really top studios globally continue to use monitors like Westlakes as their preferred mains. Probably the best compromise I've personally heard.

Here is a Westlake crossover.

20080407_9c83456ab3a3c74a71f849HwmVpFItD9.jpg

DSP would be a lot cheaper....

Is that a cheap looking veneer saw in the background? :geek:

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Is that a roll of grey tape there?

:nup:

BHB speaker cable.......a cross section. :^

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I'd agree with Graham. One problem is the cost in both time and components in designing and building a good passive crossover is both considerable and beyond the reach of most.

With your reference to ATC et al, many of the really top studios globally continue to use monitors like Westlakes as their preferred mains. Probably the best compromise I've personally heard.

Here is a Westlake crossover.

20080407_9c83456ab3a3c74a71f849HwmVpFItD9.jpg

DSP would be a lot cheaper....

Not a lot of WAF with the Weslakes then... :D

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I'd agree with Graham. One problem is the cost in both time and components in designing and building a good passive crossover is both considerable and beyond the reach of most.

With your reference to ATC et al, many of the really top studios globally continue to use monitors like Westlakes as their preferred mains. Probably the best compromise I've personally heard.

Here is a Westlake crossover.

[ATTACH]11867[/ATTACH]

DSP would be a lot cheaper....

I have made your post more better for you.

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Very true..................

However did the paragraph just a few above the one you quote not turn you on, just a little ??

Here is the "best " bit. Ive made a few additions (in red ) to enhance the experience just slightly, although Im sure most would agree that they arent needed.

The chap is a porn writing God. Check this out.

"........ takes on a living, breathing beauty of delicate, almost fragile power and aching intensity,( oh yes... ) while the sharp, angular violin phrases of the following Allegretto clash and contrast so dramatically with the robustly ( be gentle ! )vigorous responses ( oh yes yes yes... do it to me... now )of viola and cello. The music has a captivating, almost hypnotic quality that pulls you in ( Oh yes... you are so powerful ) , holding your attention to the extent that you find yourself holding your breath. Oh yes.... I can hardly breathe.... oh yes )The emotional connection, the anticipation, (do it NOW !!! ) the journey through the piece and eventual release ( Oh Yes !!!... AAAGGGHHH ....... !! )are both powerful and powerfully reminiscent of the live experience.( How was it for you ?... pass me a fag, ta. ) "

As with sex, the difference between a real live performance and Roy Gregory's referred method of pleasure is that there really is another live human being involved.

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