in
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Performance Series 5.1/1990s L1.L5.L7/L100A
http://adsoftheworld.com/media/tv/ac...cuses_tube_amp
Great idea and I feel the same way. I would love the chance to express my gratitude in person but will likely have to enjoy the experience vicariously. Autographed foilcals anyone?![]()
". . . as you have no doubt noticed, no one told the 4345 that it can't work correctly so it does anyway."—Greg Timbers
Diplomatic disclaimer, I don't think you would do something lame and or for self gratification, so allow me to speak plainly and understand absolutely no offense is meant:
I think it's a great idea with one big question, how do you make it an event that the guest of honor will be glad he attended? How many "Award Ceremonies" have you been to where the guest of honor really shows up out of some sense of obligation and it's the people that want and get to rub shoulders with him are the only ones who enjoy their time?
I would love to meet the man and personally thank him for the countless hours of enjoyment I have had as a result of his passion and engineering prowess, but not at the expense of his happiness. I don't know a thing about him personally and don't know what makes him tick. I think if we are to award him with something tangable, and I think we should if this idea is to be carried out, I would like to make the award something that he would really appreciate and this would require some knowledge of the man.
I would be delighted to help out financially and can get to LA just about anytime. Count me in.![]()
If we knew what the hell we were doing, we wouldn't call it research would we.
To find out more about the Greg Timbers event, go here:
http://www.audioheritage.org/vbullet...127#post335127
Out.
some nice review on K2-S9900 from What hifi
https://www.whathifi.com/jbl/k2-s9900/review
After spending several years with the K2s, looking past Everest II DD66000, Array 1400, and Revel Ultima2 Salon, I have no regrets. None. Nada. Zilch (with apologies to Zilch). I have a BIG room, and the K2s are as close to perfect as I've heard.
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Out.
I am very excited about the S9900
I am working on my S9900 project I have got most of the parts and I hope at I will get the parts I need in this winter
I think in some way at S9900 are better build than the Everest, the enclosure is higher and the drivers are in better listening position
1500Al-1 are great sounding woofer
I look back and see it's over nine years since this thread started with caladois's inquiry, and I'm still exceedingly pleased with the K2 S9900.
During spring cleaning this year, I decided it was time to change up the placement of the K2s and see if I could milk them for even more deliciousness. We all know how that goes: before you move one thing you have to move another, and that requires taking something apart, then you have to place all the parts out of the way but remember to keep them in order, but that's followed by the discovery that spiders like the bottom of the S2S subs you're using and you have to do some heavy duty removal, and...
So something that seemed like an easy 60 minute activity turned into eight or nine hours of futzing around. Out came the measuring tape, and strings, and different length cables, and mic, and it's off to the races figuring out toe-in, distance from the wall, center of the listening area, etc.
Finally, they ended up closer together, farther from the back wall and the corners, slightly more toed in, and with less distance between the speakers and the seat(s). Not accounting for expectation bias, I tried nine different locations before deciding on the one that pleased me and the mic the most. Each location had a minimum of five attributes--distance to wall, distance to corner, distance between speakers, angle of toe-in, and distance to seat--with almost unlimited variables, that showed how the sound can change with even small location modifications. Even though the large room volume and room contents never changed, each relocation of the speakers was a new experience, sometimes satisfying and sometimes not.
For technical backup to my personal preferences, I used the Dayton Audio iMM-6 calibrated mic with AudioTools on a 10.5" iPad Pro. The mic was at ear level on the center seat of three listening chairs that face the K2s.
All in all, this longer than expected process yielded happy results, and the K2s are good for another several years of listening bliss.
Now, why didn't I remember to replace the 9-Volt batteries in the K2s before I finished?![]()
Out.
Hey TD! good to see you online. Hope all's well up in the Central.
Great to hear you're still getting more out of the vaunted K2. I recall when you first purchased the challenges you had getting them just right, nice to see that's all come full circle to using descriptors like "deliciousness"
Curious when the aforementioned mic and app on the ipad, does the app actually guide the adjustment or just provide response. To this day I'm still running my PS 5.2 setup based upon the ole radio shack meter SPL measures of each speaker from only the main seating position.
I'd still like to move toward better calibration but really don't know how to get started, appreciate any advice.
T
Performance Series 5.1/1990s L1.L5.L7/L100A
http://adsoftheworld.com/media/tv/ac...cuses_tube_amp
It's good to hear you're till enjoying the Performance Series. I still have enough for a 5.1 set up if I ever get permission to set them up somewhere. They're a beautiful thing.
Here's a link to the AudioTools Web site. It will explain things faster than I can.
http://studiosixdigital.com/audiotools
Things can get complicated quickly, but having simple objectives keeps things manageable. Use of the optional (read "in-app purchase") Transfer Function really opens up the possibilities. It just depends on how far you want to go.
Out.
Tony,
I believe grumpy has the same Dayton mic and also AudioTools. He might be able to chime in from a knowledgeable point of view.
Most of the in-app purchase tools also have a 7 day free trial, so if you know what you want to do and only plan to do it once, that's a way to go. There are a ton of how-to videos.
I find that once I try some add-on I generally buy it and keep it for future use and for other set ups. Also, the license is good on all your Mac OS and iOS devices with the same Apple ID.
Out.
Not a substitute for a Clio, TDS, REW, Fuzzmeasure, etc... system,
But you can certainly try out an app such as AudioTools with the iPhone or iPad built-in mic
before dropping more on the Dayton mic (which has at least some calibration info).
(think I grabbed one when on sale)
Useful for large frequency peaks, spectral balance, or crossover nulling.
I wouldn’t depend on it for speaker design.
I think AudioTools offer a great set of additional tools. I bought the iTest mic from AudioControl which loads a calibration file whenever you plug it in to an iOS device running AudioTools and have found the results very useful.
In addition to the basic suite of tools I've added LARSA which I've found really useful in room tuning.
Widget
https://youtu.be/dynmlAYhmN8
looks like $30 well spent (LARSA add-on)![]()
When going through this process, my self-imposed limits were not to change any characteristic of the speakers per se, but to maximize their effectiveness in the room relative to the seating position(s).
https://www.youtube.com/watch?v=_VrFV5r8cs0
What I was looking for AudioTools and the Dayton mic to tell me was how the speakers' sound changed at the seating position(s) as the K2s were moved (as a pair) to different locations. There were no electronic changes made whatsoever.
This approach could be useful with a Performance Series system, as there's minimal flexibility to do a lot of the things that actively bi-amping K2s permits, for better or worse. Unless there's an equalizer in the chain somewhere, the PS is limited to whatever controls are in the AVR or pre that's being used--maybe tone controls--since even the crossover point from the PS1400 to the PT800 is controlled by the PS1400, not the AVR.
Lazily, I didn't take any screen shots; however, it was interesting to see the very subtle changes in mid and high frequency at the listening position as the toe-in and distance between speakers was fine tuned until there was an "A-ha!" With the low frequency stuff, say below 130Hz, there was a much wider range of change, of course relative to distance to the rear wall. Anything significant below 40Hz was duly chained to the front-ported subs, which by partner fiat are required to be where they are. (I moved them a few inches, though.)
Out.
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