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What a freakin bummer! I've been following this thread and your anticipation at getting the speakers. Shipping speakers is a crap shoot for sure. Hope it works out.
Can you describe the "spherical wavefront" a little more? Is this a driver or crossover thing? Is it true these require minimal room treatment?
AJI want to know when you're passing through NC again so I can hear them.
If I'm humping stuff that far, I'm bringing big bro, for some mma action vs your abbeys in situ. You know that's why they have weight classes right? No RMAF for you?cheers,AJ
I'm having a go with the SAM1s also. Mine arrived Tuesday unscathed, thankfully. I have them positioned along the long wall, about 3 feet off the wall, toed-in to have the tweeters cross about six inches in front of my head when in my listening position (per AJ's suggestion). True ear candy! Nice depth in the soundstage, sound height projection also impressive, really excellent imaging -- very impressive wall of sound, especially on top notch recordings. Wide wide sweet spot (er, sweetwedge?). My room is largish pushing 5600 cu. ft. and opens to two adjacent rooms, plus I have 2-story ceilings. I'm only driving these, right now, with a Yamaha RX-V3200 receiver, streaming lossless tunes via a Squeezebox Touch. Room filling sound without having to push the amp one tiny bit. I clearly understand the buzz now. It's quite well deserved! So far I'm liking these more than a couple other pairs I've demoed: ML Electromotions (a bit too polite with rock for me; tiny sweet spot when seated, no sweet spot when standing!) and B&W CM9s (don't do rock well, relatively overpriced, sweet sax though; veiled sound compared to the SAM1s). More to come...
You know there is a fantastic resource right here under your nose at AC:http://www.audiocircle.com/index.php?topic=58304.0
Could you be more specific? What methodology questions? In what way is his outlook skewed?
A heavy dose of Floyd E. Toole, Ph.D. there. While I respect Dr. Toole's work and his motives, and I think everyone should read his papers for the tons of valuable info therein (especially the work on small room acoustics), while reading remember he does have a bit of a skewed outlook and much of his work has not been subject to repeatability. Not to say he's a nutcase or anything, there's some truly groundbreaking work there, but note some of his methodology has had some questions. For some slightly different viewpoints you might try: http://www.linkwitzlab.com/rooms.htm http://www.linkwitzlab.com/stereo%20reproduction.htmhttp://www.linkwitzlab.com/publications.htm
Not to be contentious, but his double blind testing was rudimentary at best with tiny sample sizes and poor controls, the skewed part is that he is (was) employed by a speaker manufacturer. This is not to invalidate the reams of fabulous work Dr Toole has done, but a cautionary note to not use him as a single source.
10 ACKNOWLEDGMENTThis paper is the compilation of data from many sourcesand the result of discussions with several persons whovolunteered their time to review and comment on themanuscript. In addition to the Harman International CorporateR&D Group, Sean Olive, Allan Devantier, ToddWelti, and Don Keele, the author is grateful to RichardSmall, John Bradley, Gilbert Soulodre, Marshall Buck,and Brad Gover for their insights.11 REFERENCES[1] L. Beranek, Concert and Opera Halls, How TheySound (Acoustical Society of America, New York,1996).[2] M. Forsyth, Buildings for Music (MIT Press, Cambridge,MA, 1985).[3] C. L. S. Gilford, “The Acoustic Design of Talks Studiosand Listening Rooms,” Proc. IEE, vol. 106, pp.245–258 (1959); reprinted in J. Audio Eng. Soc., vol. 27,pp. 17–31 (1979 Jan./Feb.).[4] A. H. Benade, “From Instrument to Ear in a Room:Direct or via Recording,” J. Audio Eng. Soc., vol. 33, pp.218–233 (1985 Apr.).[5] J. Meyer, “The Sound of the Orchestra,” J. AudioEng. 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Oh no way, you've got a range of speakers coming?