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Living Voice Vox Olympian review by Roy Gregory

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Looks a bit like a Fred in the shed crossover to me.

Westlake make their own Active crossover unit, the HRX, which is superior to the passive crossover according to reviews.

Westlake also sell speaker cable that can reduce intermodulation distortion:shock:...only in America :nup:

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I think the point that some are missing is that it's possible that many a passive design adds an element of something else that, like the use of tubes by many, provides a subjectively preferred result.

It takes someone with genuine knowledge to know what will result in what at what frequency with relative predictable results in various settings. Good luck finding those with adjustable DSP.

To some this might appear appalling - fortunately others realise that nothing comes close to transpacency so why aim for that at the expense of everything else? As I mentioned previously, it's very easy for active designs to add distortion to the mix in areas that are important. The audio gods giveth with one hand and taketh away with the other.

WRT Westlake, if you see their manuals they are fairly clear.

For the Maximum Level of Performance, Westlake Audio Recommends Passive Bi-amplification Whenever Possible

The HRX is a mighty fine design that was produced in response to requests from some top US studios. It is as close to DSP as an SME30/2a is to a NAD streamer. What DSP does is to allow the uneducated to achieve satisfactory results with the minimum of effort. I want more than satisfactory.

Alternatively DSP can allow really clever people to do really clever things with drivers but as I mentioned, I've not heard an entirely convincing example of that to date - not one that would make me want to change. I would like to sample the JBL M2 at some point but I'm in no rush.

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I think the point that some are missing is that it's possible that many a passive design adds an element of something else that, like the use of tubes by many, provides a subjectively preferred result.

It takes someone with genuine knowledge to know what will result in what at what frequency with relative predictable results in various settings. Good luck finding those with adjustable DSP.

To some this might appear appalling - fortunately others realise that nothing comes close to transpacency so why aim for that at the expense of everything else? As I mentioned previously, it's very easy for active designs to add distortion to the mix in areas that are important. The audio gods giveth with one hand and taketh away with the other.

WRT Westlake, if you see their manuals they are fairly clear.

The HRX is a mighty fine design that was produced in response to requests from some top US studios. It is as close to DSP as an SME30/2a is to a NAD streamer. What DSP does is to allow the uneducated to achieve satisfactory results with the minimum of effort. I want more than satisfactory.

It's fortunate then that Westlake monitors are not that common in Europe! ;-) With European monitor manufacturers like Genelec, PMC, ADAM, Quested, K&H etc etc all promoting active loudspeakers, there seems to be the view at least over here that active monitors are the preferred choice, and that DSP provides opportunities that conventional active crossovers don't,not just for the lazy, but for those who want accuracy, not just a pleasant noise.

If you're buying for home use, then lf course choose what sounds best to you, but if you're using loudspeakers professionally to mix commercial recordings or for broadcast, then accuracy is required,even if you personally don't like the sound, or would prefer something less accurate. As a commercial studio, one can't afford to mix to anything other than accurate monitors as one's customers won't necessarily share one's taste.

S

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Serge, much of what you hear, and have heard for 40 years, from the great artists of the USA, is monitored using Westlakes.

Many of the great albums that were recorded over here were monitored on Eastlakes. Legendary Studios, legendary output, legendary monitors.

The manufacturers you mention are selling to a market where there is less investment and fewer great studios. They are selling to smaller studios and to the home producer.

If you ever get the chance to listen to a big pair of Westlakes take it. Seriously.

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It's fortunate then that Westlake monitors are not that common in Europe! ;-) With European monitor manufacturers like Genelec, PMC, ADAM, Quested, K&H etc etc all promoting active loudspeakers, there seems to be the view at least over here that active monitors are the preferred choice, and that DSP provides opportunities that conventional active crossovers don't,not just for the lazy, but for those who want accuracy, not just a pleasant noise.

If you're buying for home use, then lf course choose what sounds best to you, but if you're using loudspeakers professionally to mix commercial recordings or for broadcast, then accuracy is required,even if you personally don't like the sound, or would prefer something less accurate. As a commercial studio, one can't afford to mix to anything other than accurate monitors as one's customers won't necessarily share one's taste.

S

Lol! So why do so many modern recordings sound so bad? And where are the "loudness war" recordings made?

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Lol! So why do so many modern recordings sound so bad? And where are the "loudness war" recordings made?

Loudness wars have absolutely NOTHING to do with monitoring.They are entirely a product of processors like the TC Finaliser which create the dense thick sound the Record Companies want. There are many really good modern recordings, mixed and mastered properly,just they're not mainstream chart material, which I agree is mostly ghastly. Listen to some of the better classical or Jazz stuff.That's where these days the recorded quality lies. It's no accident that at shows, manufacturers often demonstrate with light Jazz, 'Girl'n guitar' or similar, because that's where tne recorded quality is the highest. That it doesn't stress their kit is a bonus, but nevertheless, that's where the quality is, not in mainstream big names.

S

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Serge

If you ever get the chance to listen to a big pair of Westlakes take it. Seriously.

:rofl:

'Serge' and 'listen' in the same post! Quality :^

Serge doesn't listen to kit, he reads the specifications and measures it :D

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Serge will be like water off a duck's back to such teasings!

:rofl:

'Serge' and 'listen' in the same post! Quality :^

Serge doesn't listen to kit, he reads the specifications and measures it :D

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Serge will be like water off a duck's back to such teasings!

I'm well aware of that, Chris :D

Just a bit of fun ;-)

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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.

Is this a serious post?

Sent from my iPhone using Tapatalk

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From a Westlake owner who has upgraded to active crossovers as opposed to far superior Passive Bi-Amping.:whistle: It would still appear the drivers are off the shelf JBL units.

The Westlake HR-1’s are a high power phase coherent monitor utilizing a custom built Westlake HRX 4-way active crossover. The HRX has dual power supplies, one for each channel as well as separate PCB’s that are electronically matched to each monitors components. Westlake uses JBL 2235H for the low freq crossing over to a mid low freq Gauss 3184B at 250hz. At 1K the system crosses over to a JBL 2441 on a large wood horn to 4.5K. Above 4.5K the system uses a JBL 2426H on the small wood horn.

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:rofl:

'Serge' and 'listen' in the same post! Quality :^

Serge doesn't listen to kit, he reads the specifications and measures it :D

There's a lot oif truth in that! In the main, I don't listen to kit, I listen to music. If I want to know what a piece of kit does, I'll look at the measurements.

Having said that, the reason I've ended up with 801s, is because they produced the best sound I'd ever heard, yes heard, in Danish Radio's listening rooms, and I wqanted a pair ever since. That mine are now active, and therefore not original 801s is besides the point. I have something that certainly measures better they did as passives so I enjoy them even more.

I've heard an awful lot of studio monitors over the years, and as a consequence, accurate monitoring is what I take as normal, which is why I find so many HiFi loudspeakers unsatisfying as their frequency response is not flat.

I've not been in many US studios, so haven't had a chance to hear Westlake or other mainly US main monitors. I would like to, and certainly will if I should ever get the chance, albeit unlikely as I've been retired some years. I haven't liked the JBLs I've heard in some US homes, but then their owners would probably find my tastes rather bland.

S

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