Re: Stereophile measurements of Vandersteen Model 7
- The in-room response is really awful as shown.
But considering how often this pattern arises--big bass
lump, big dip between 100 and 300 Hz--maybe the fault is
not the speaker but the set- up and/or the room.
Fremer makes a big deal in various places about having run computer programs and so on to get the optimal spot for floorstanders,
but for whatever reason, it seems as though JAs measurements
there at MFs show this pattern a lot. I have no explanation for this.
I do agree that the lower treble looks aggressive. I think I would dislike the sound indicated in those measurements a lot. Of course, one could EQ the aggression in the lower treble out, and perhaps different position and/or a different room would fix the dip problem.
It is pretty hard to tell what things could be made to be like with some judicious EQ and some moving around when EQ is not being used and often measurements seem to be done after the review is over, rather than measuring to get an optimal set up before the review is done, which is what would make sense to me.
Response below 300 Hz really does have a lot to do with room placement, as we have often discussed. Speakers are more nearly alike anechoically in the low frequencies(except for absolute bass extension and general type--ported box or sealed box etc.)
than elsewhere. The huge variations one sees are almost surely from room interaction effects although some speakers like the PSB Synchrony 1 and its lower priced siblings deal with the floor loading as such and are easy to set up for even in -room behavior(look at this
One has to wonder how on the face of it anyone would be interested in the Vandersteen as measured compared to this.
One is really up against it in trying to interpret this stuff if it looks bad(if it looks good, this usually indicates that the speaker is nice and the set up correctly done).
--- In firstname.lastname@example.org, "Edward" <Edward_Wu@...> wrote:
> Some years ago I heard the Model 2ce and the Model 3 and found them quite plush and mellow. The new flagship looks a tad aggressive in the low treble, at least in the measurements:
- Projection is part of what trained singers are trained to do. Enunciation and over-projection of consonants can help make words understandable. And then, unless you are talking about the very best choral groups (e.g., Atlanta Chorus), the orchestral conductor will typically pull back the orchestral loudness just a bit to let the chorus balance properly; a mf marking might become mp playing, for example.In opera, the singers are given the additional dynamic advantage of having the orchestra play from a pit while the singers are on stage. That's good for at least another dynamic marking reduction of the orchestra, maybe two.
>>> "laurie483000" <laurie483000@...> 3/22/2010 6:46 AM >>>I'm not sure that the same criteria can quite apply to singing - technical excellence v lack of feeling, because my admittedly limited experience is rather different here. At concerts I've been to over the last few years, I've been struck by the seemingly endless supply of talented and beautiful sounding young soloist singers that there are around, both professional and amateur.
I'm also struck by how well soloist voices can project into the listening space - not the same thing as the overly close miking found on many recordings, but nevertheless sounding closer than one would expect merely from the physical distances involved. I suppose single voices are quite directional. My experience refers to singing along with choir and orchestra and this effect of course depends on the particular hall they are performing in - not necessarily places with dead acoustics but generally medium size rather than huge like the RFH.
--- In email@example.com, "Robert" <regonaudio@...> wrote:
> Thank you , David.
> Fournier is really wonderful indeed. I regret never
> having had a chance to hear him in live performance.
> I suppose you all know about the legendary Dvorak
> Concerto recording (with Szell conducting Berlin on DG).
> This is still around--and not expensive.
> I might make similar comments about violin playing and
> lack of true feeling. To take a random sample, Hahn plays
> through the Barber second movement as if she were text messaging
> at the same time. There seems to be no one there at all.
> The last movement is spectacular from a technical viewpoint,
> but the whole thing is just sort of nothing.
> Of course there are some good people, but one has to look for
> them(and not believe anything critics say, on the whole).
> Classical music playing is really kind of a strange world nowadays, a
> kind of situation where technical power has become the only
> "safe" way for a critic to choose among so many players that
> can manage the music technically, albeit some a bit better than others.
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