| From: | Don Cox |
| Date: | 5 Aug 2000 at 21:27:20 |
| Subject: | Re: Fudge, No Recipe |
On 05-Aug-00, greenboy wrote:
> The term "punch" BTW is not descriptive of true low bass; it more
> befits mid-bass in the 150-250Hz region.
OK, maybe "punch" was a bad choice of words.
>> The 50Hz crossover also helps by taking some of the hard work away
>> from the main amp and speakers. It doesn't do any good to try to push
>> signals into speakers that are below their natural range.
>
> Many home subwoofers don't even apply crossover to the satellites. But
> even if it does, if the true crossover (-3db) point is at 50Hz (approx
> low G on bass guitar) you do not have any effective sub filtering
> going to the satellites. Crossing over at 100 to 200 Hz is much more
> effective (and with a far superior active crossover) and has the
> benefit of not making the satellites reproduce in ranges where their
> 2nd and 3rd order harmonic distortion is highest.
You have reminded me that for a long time I have been meaning to build
or buy a better crossover. Mine is indeed just a passive crossover that
I knocked up in a hurry, and probably pretty inaccurate. It does cut off
the low bass from the main amps as well as passing it to the low amps.
The power amps are ones I made myself.
The main speakers in this setup are Quad ESL 63s. These don't do much
below 50Hz (although there is a new model with larger panels that does).
>
> It's come a long way. Remastering of old material that has someone
> really committed behind it will have so much black-box reconstructive
> surgery performed, often direct from the multitrack masters (instead
> of the two-track). The good projects haul in someone who knows the
> music and the style (maybe even worked the original sessions) is going
> to have the best that technology can muster behind it, and consumer
> product may very well sound better than the original vault masters.
"Kind of Blue" is said to be at the correct pitch at last. It certainly
sounds better to me.
The Mercury classical recordings are interesting because the transfers are
supervised by the original producer (widow of the engineer) and no noise
reduction is used. The best of them are superb.
"Ellington at Newport" has been turned into stereo by combining two mono
recordings made by two companies, which is quite a feat. OTOH they used
the wrong take on one of the tracks of "Such Sweet Thunder".
The wicked record companies have been doing a good job with their
reissues.
Regards
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