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Scotty,
Well put.
Years and I mean years ago I went to a JBL distributor over here call The Music factory for some drivers and he impressed upon me what you descibed about Gauss.
They were also used for woofers exclusively in the Reflection Arts Monitor System over in the U.K. But in those systems the JBL 2121/2123 was the only choice on the mids while they offered Emilar/Coral compression drivers. We also know Eminence provided drivers for some of the Urie systems and we see Tad used selectively in some systems.
I think its well known in the industry there were/ are plenty more robust drivers around than JBL but few had the same expressive finesse qualities, some more so and some less so. Its a matter of taste, application and budget.
Frankly I find this type of discussion more useful and valuable than what has become "JBL Talk". Those who close their eyes to whatever else was and is around can never claim to fully appreciate what a JBL driver is really about.
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Well, in my system it was always a combination of brands to create the one final " whole " sound.
To be very honest with you, the BEST sounding systems, the ones "I" thought were the best, were NEVER one brand of speakers exclusively.
Many designers ( club systems ) used various elements from various manufacturers, things that they liked the best for that particular range.
I love JBL 18,s but I also loved Gauss 18,s.
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Quote:
Originally Posted by
Ian Mackenzie
Scotty,
Frankly I find this type of discussion more useful and valuable than what has become "JBL Talk". Those who close their eyes to whatever else was and is around can never claim to fully appreciate what a JBL driver is really about.
Now, thats well put.
Ken
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1 Attachment(s)
Here's a pair that are in a Studio in Tulsa,
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Quote:
Originally Posted by
scott fitlin
Well, in my system it was always a combination of brands to create the one final " whole " sound.
To be very honest with you, the BEST sounding systems, the ones "I" thought were the best, were NEVER one brand of speakers exclusively.
Many designers ( club systems ) used various elements from various manufacturers, things that they liked the best for that particular range.
I love JBL 18,s but I also loved Gauss 18,s.
I hope you don't mind me saying so but your a bit of a slut. In the nicest possible way of course.:D
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Quote:
Originally Posted by
Ian Mackenzie
I hope you don't mind me saying so but your a bit of a slut. In the nicest possible way of course.:D
Yeah, I know, but here in NYC there are just so many different types of women, err, I meant speakers, I just had to know about all of them!
:coolness:
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Quote:
Originally Posted by
John
Here's a pair that are in a Studio in Tulsa,
Thats eye opening. Those horns are identical to mine. I find it interesting that the design has not changed in all those years. I guess if it ain't broke don't fix it.
Ken
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Quote:
Originally Posted by
John
Here's a pair that are in a Studio in Tulsa,
Is it just me, or did someone 'f' with the horns on those 4435s? It's just the "perfectionist" in me speaking. :applaud:
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Well the Studio was using the 4435's on there side so that is the reason for the horns being rotated.;)
The Westlakes were originally from Oral Roberts University in Tulsa OK. And were sold off when they did some upgrading to their studios.
When I spoke to Steve Ripley the owner of The Church Studio in Tulsa OK. he told me the 4435's became speaker stands after they purchased the Westlake's:D
Steve has been around for a while and has worked with Leon Russell,
JJ Cale, James Burton, Bob Dylan, And many other's:applaud:
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Quote:
Originally Posted by
John
he told me the 4435's became speaker stands after they purchased the Westlake's:D
That's harsh, but speaks volumes.
:blah: :blah: :blah:
:D Ken
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Well, you gotta do something with that much wood.
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Hi Glen,
Thanks for the lovely pics!
The 'horn' on the 2420 compession driver is not really a horn at all but just a diffraction device. It's just a piece of ~1/4" metal with a 1" hole on one side to mate with the driver throat and a 3/4" hole on the other side. That's it! I've no idea of the actual dispersion characteristics.
The only Westlakes I've heard were all JBL; 2231A's, 2440's & 2420's back from around 1978. Loved the bottom end, but the Westlake horns always seemed to have very vague localisation and a poor sound stage.
Cheers, Ralph
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Yeah well there not for near field monitoring in front of the Barbie are they.
Speaking of which I compared the LRS32 to the LSR4328 recently.
http://www.jblpro.com/products/recor.../lsr4328P.html.
The main monitors (which will remain nameless but were large with two 15 inch woofers) made the LSR32's sound like squeeze boxes. The near field presentation of the 4328's was cleaner and more together imho. I was told later the local JBL rep reackoned the 4328's were designed to sound good in showrooms so engineers would buy them for their pet projects. A marketing thing apparently. The engineer kept telling me the LRS32's were flat. I think they were dead flat. Go figure.
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Westlake with TAD is this true?
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Those look like Gauss woofers.
Gauss were good, but, if you blow one, where are you going to find original parts? Youll be doing this >>> :banghead: