Hi,
Me again_
“Caterham1700, I was wondering where those isolation shelves came from! Nice work. 47 labs had them all resting directly on the floor (no rack at all).”
I must admit that we were planning to use the rack_ Since it was late on delivery, by the time it arrived, we had things layered on the floor, as you could see it. We liked it and decided to keep it that way.
There were the cones underneath the shelves but, since there is a double layer of carpet in Kempinski, even the speaker spikes couldn’t reach down to the floor, I wonder if these coned had any positive effect. Nevertheless, Neuance has done a good job. Yeah, Ken was very specific about the placement but I took some liberty of judgment since I am reasonably familiar with Neuance from before, so who’s Ken Lyon to tell me how to use them_ ROTFL :-)))))))))
“Did you intend them to be used this way?”
If he hasn’t answered yet_ NO. On a hard floor_ YES.
“ Either: they have a very casual attitude towards resonance and vibration; or: they place absolute trust in your shelves.”
If nothing, we don’t have any sort of neglect nor casual attitude toward resonance and vibration. Perhaps some ideas we have may sound unusual, even heretic but mechanical aspects are among the first aspects of design behind 47Labs.
We, however, have a casual attitude toward the possibility of a sound achievement on the shows. I had great laugh looking some brands booking their rooms weeks in advance, bringing sound engineers, decorators and architects, trying to, by remodeling the rooms entirely, alter the acoustics, and still ending up with a pathetic results_ yet expensive one, that is for sure!
Absolute trust? Until I stepped in Kempinski, I didn’t have trust in myself, not to say Neuance. But, when we started the setup, in like two hours it took us to relatively satisfied go to the town for some fun, the trust was back. : - )
I was never shy over the fact that I like Neuance. It is a well thought of product that has proved itself in both show and home applications. So, it was me pushing Ken to send me these and not, as it usually goes, the other way round.
“They also had a very relaxed attitude about moving the STRATOS cables around.”
Why bother? It ain’t glass to break. ;-)))
“They continually moved one between the FLATFISH CD Player to the PITRACER CD Player without any noticeable signs of anxiety that this would jeapordize the sound of their display system.”
As I said in my other post, we were short with power supplies, so we had to share one DA converter between PiTracer and Flatfish. So, we had no option but to move the cable around. Really, we were not worried about breaking some molecular structures within. I leave this fear to those thinking they can do a policeman work within a cable and have particular electrons directed through some particular strands and some other very particular electrons directed through the other, now different strands_
“ As for the geometric arrangement of the cables, they did not twist the two cables around each another, but ran them parallel and adjoining with sharp bends to ensure a rectilinear cable infrastructure.”
Cable behavior is dependant on the arrangement but, in a well balanced setups no twisting we find necessary. It’s a complex issue and certainly exceeds the scope of this discussion.
“It was difficult to detect the type of movement-induced anomalies to the cables that have been referred to here since each move of the cable was continually accompanied by a change of component, and because the speaker system was limited low frequency, and also because they played recordings with limited bass _.”
I didn’t notice any particular bass specific selection of the music we’ve played. The speaker goes to a healthy 37 Hz so, why bother? We had some very bass demanding material on play, especially as we were gladly playing other people’s material. Playing low registers of an organ in such room would be a disaster to anyone at the show, not just us but, I would disagree over the complexity (dullness perhaps, lol) of the bass in Tracy Chapman or Peter Gabriel (synthesized bass) recordings. Nor I would say playing double bass on Oscar Peterson’s Live at the Blue Note is a sign of a deliberate avoiding of a bass heavy material. Or, and that is also possible, our understanding of bass differs. Or, Miles Davis “Tutu”_As the final argument, I would stress out that we were playing on numerous occasions a very famous speaker crusher, Rickie Lee Jones “Under the Boardwalk”. I would love to take this particular recording to someone else at that show and see if the setup would collapse in a physical sense under the same SPL we had it running smoothly.
“_and also because the listening session had to satisfy the demands of product exhibition for a large mass of people.”
Indeed, this is very much correct.
“Despite all that, I thoroughly enjoyed this system's lucidity.”
Thank you very much.
Best,
Sead
Me again_
“Caterham1700, I was wondering where those isolation shelves came from! Nice work. 47 labs had them all resting directly on the floor (no rack at all).”
I must admit that we were planning to use the rack_ Since it was late on delivery, by the time it arrived, we had things layered on the floor, as you could see it. We liked it and decided to keep it that way.
There were the cones underneath the shelves but, since there is a double layer of carpet in Kempinski, even the speaker spikes couldn’t reach down to the floor, I wonder if these coned had any positive effect. Nevertheless, Neuance has done a good job. Yeah, Ken was very specific about the placement but I took some liberty of judgment since I am reasonably familiar with Neuance from before, so who’s Ken Lyon to tell me how to use them_ ROTFL :-)))))))))
“Did you intend them to be used this way?”
If he hasn’t answered yet_ NO. On a hard floor_ YES.
“ Either: they have a very casual attitude towards resonance and vibration; or: they place absolute trust in your shelves.”
If nothing, we don’t have any sort of neglect nor casual attitude toward resonance and vibration. Perhaps some ideas we have may sound unusual, even heretic but mechanical aspects are among the first aspects of design behind 47Labs.
We, however, have a casual attitude toward the possibility of a sound achievement on the shows. I had great laugh looking some brands booking their rooms weeks in advance, bringing sound engineers, decorators and architects, trying to, by remodeling the rooms entirely, alter the acoustics, and still ending up with a pathetic results_ yet expensive one, that is for sure!
Absolute trust? Until I stepped in Kempinski, I didn’t have trust in myself, not to say Neuance. But, when we started the setup, in like two hours it took us to relatively satisfied go to the town for some fun, the trust was back. : - )
I was never shy over the fact that I like Neuance. It is a well thought of product that has proved itself in both show and home applications. So, it was me pushing Ken to send me these and not, as it usually goes, the other way round.
“They also had a very relaxed attitude about moving the STRATOS cables around.”
Why bother? It ain’t glass to break. ;-)))
“They continually moved one between the FLATFISH CD Player to the PITRACER CD Player without any noticeable signs of anxiety that this would jeapordize the sound of their display system.”
As I said in my other post, we were short with power supplies, so we had to share one DA converter between PiTracer and Flatfish. So, we had no option but to move the cable around. Really, we were not worried about breaking some molecular structures within. I leave this fear to those thinking they can do a policeman work within a cable and have particular electrons directed through some particular strands and some other very particular electrons directed through the other, now different strands_
“ As for the geometric arrangement of the cables, they did not twist the two cables around each another, but ran them parallel and adjoining with sharp bends to ensure a rectilinear cable infrastructure.”
Cable behavior is dependant on the arrangement but, in a well balanced setups no twisting we find necessary. It’s a complex issue and certainly exceeds the scope of this discussion.
“It was difficult to detect the type of movement-induced anomalies to the cables that have been referred to here since each move of the cable was continually accompanied by a change of component, and because the speaker system was limited low frequency, and also because they played recordings with limited bass _.”
I didn’t notice any particular bass specific selection of the music we’ve played. The speaker goes to a healthy 37 Hz so, why bother? We had some very bass demanding material on play, especially as we were gladly playing other people’s material. Playing low registers of an organ in such room would be a disaster to anyone at the show, not just us but, I would disagree over the complexity (dullness perhaps, lol) of the bass in Tracy Chapman or Peter Gabriel (synthesized bass) recordings. Nor I would say playing double bass on Oscar Peterson’s Live at the Blue Note is a sign of a deliberate avoiding of a bass heavy material. Or, and that is also possible, our understanding of bass differs. Or, Miles Davis “Tutu”_As the final argument, I would stress out that we were playing on numerous occasions a very famous speaker crusher, Rickie Lee Jones “Under the Boardwalk”. I would love to take this particular recording to someone else at that show and see if the setup would collapse in a physical sense under the same SPL we had it running smoothly.
“_and also because the listening session had to satisfy the demands of product exhibition for a large mass of people.”
Indeed, this is very much correct.
“Despite all that, I thoroughly enjoyed this system's lucidity.”
Thank you very much.
Best,
Sead