#41
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Both tweeters were ruined. I'm not sure of the other damage. Thiel covered the speakers under warranty. The CS5's went back to Thiel the next day. It seems that I went to the MC2600, the Sidney Cordesman amp (600 per ch), but I did not like the bass. It was fat/undamped. I kept the 2600 about a year or two before going with a FPB700cx, which did a great job on the Thiel's which I upgraded to the CS5i's with the improved woofers. I left Mac for about 10 years, resuming in maybe about 2004. I have been extremely satisfied with my 1.25KW's. I would not trade them for any amp on the market. The way they handle my XVX and Thor is exactly reminiscent of my Krell FPB700cx. The sound through the Mac is slightly more laid back, more relaxed but with great detail and the bass..., it simply could not be better, perfectly damped not bloated but generous.
Best Charles |
#42
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#43
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Either that or it was simply too much power for the speakers in which case it wouldn't have mattered whether the amplifier was direct coupled or autoformer, with or without the benefit of PG.
We'll never know for certain but it should be noted that clipping is not necessarily a prerequisite for tweeter damage nor any other driver(s) for that matter. |
#44
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It is a silly endeavor to try to recreate the great Tchaikovsky 1812 Overture at home to begin with.
The typical and proper dynamic range an orchestra would achieve is approximately 110dB between the softest and loudest passages. A human ear registers every 10dB swing as approximately double or half as loud. An amplifier would need to double its power for every 3dB however and a speaker needs to dissipate it.... The best recording that I’m aware of is only 45dB anyway. So much like Napoleon’s ambitious effort to conquer Russia and Tchaikovsky incredible 1812 Overture that puts the monumental battle to defeat France’s “great army” into a soul stirring musical presentation with all the drama that can be expressed in music, both Napoleon and any home music system will come up way short... (pun intended for vertically challenged Napoleon) |
#45
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I've often wondered where the "110 dB" figure for live orchestral performances comes from. Of the many (acoustic) concerts I've been to, never has the SPL come close to being as loud as most any hi fi system can play with ease- even when sitting within the first few seat rows. Maybe the musicians might be experiencing 110 dB at times but that's certainly not what the audience hears.
Last edited by 62caddy; 09-24-2020 at 07:13 PM. |
#46
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The way a properly designed acoustic hall sounds with musicians vs an enthusiast audio room with a typical plethora of lumpy speaker to room interactions are two very different things unfortunately. A home playback system can not recreate that range of dynamic contrast, not even close. https://parttimeaudiophile.com/2012/...lifier-output/ |
#47
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Also keep in mind not all venues are acoustically equal. https://www.peutz.nl/sites/peutz.nl/...caties/p80.pdf |
#48
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What playback media would you use to achieve that 110-115dB range? Even 24 bit digital recordings fall way short of that. SPL or loudness levels are a separate topic but in order to hear a true 120dB dynamic range or “spread” between the softest of tones to the loudest, what would need to happen? Paul McGowan on dynamic range of speakers https://youtu.be/xPrTIFTrVHo Last edited by PHC1; 09-25-2020 at 10:22 AM. |
#49
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One small detail omitted in the article you cited https://parttimeaudiophile.com/2012/...lifier-output/ ...he should have pointed out the sensitivity/output figures are for a single speaker. The figures provided in his table should be adjusted +3 dB for a pair. |
#50
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