LVMAN777

"FANFARE FOR THE COMMON MAN" Telarc CD80078

BOSTON AUDIO SOCIETY VOLUME 17 NUMBER 5 March 1989 BAS Meeting "...ALVIN M. FOSTER PRODUCES A CD...FOR BOB CARVER..." "...When Bob Carver first introduced his so-called Sonic Holography system, Al produced an LP test record designed to help people set up their playback systems to get maximum benefit from Sonic Holography. When supplies of the LP ran low recently, he decided to convert this basic product to CD and add some features. He had three goals: to have a CD product instead of an LP because sales of LPs are in such decline; to have a polarity ("absolute phase") test; and to include a useful battery of tests accurate enough to replace some expensive test equipment. Foster's LP and CD were designed to help people set up Sonic Holography correctly. However, it is very useful for setting up a normal stereo. In addition, the CD also provides most signals needed for testing your system. There are spot frequencies from 16 Hz to 15 kHz, a 20-20 kHz sine wave sweep , flatter than-usual stereo pink noise, inverted-polarity test—essentially everything the average audiophile needs... The voiceover on the recording is Al Southwick, another BAS member... ..Contents of the CD Track 1 is a spoken introduction. Track 2 tests interchannel polarity using Al Southwick's voice recorded in and out of phase. This method was taken from the Shure V15 test records and is the best way that Al has found. However, he noted that David Hadaway's broadband noise is also very good. The third track is absolute polarity. The signal was a half wave-rectified sine wave with the negative half removed. You can view the signal with an oscilloscope. It is similar to that used in the Wood experiments to demonstrate the audibility of absolute polarity, as referred to Clark Johnsen in his book, The Wood Effect. The CBS test record uses a pulse for this test. Tracks 4, 5, and 6 are for checking frequency response and distortion. Track 4 has six spot frequencies from 50Hz to 15kHz, track 5 is 24 Hz (index 2) and 16 Hz (index 3), and track 6 is a 20Hz to 20kHz sine wave log sweep. Track 7 is for electrical balance and was originally suggested by Peter Mitchell on Shoptalk. The left and right signals are out of phase so if you switch to mono and the preamp is electrically balanced, then you get a null. (This also depends on where in the circuit the balance control is relative to the mono switch: if it is after the blending of the two channels, then changing the balance will not change the depth of the null obtained.) In the Carver 4000 the balance controls are before the mono switch. Tracks 8-14 are primarily useful for setting up specific Carver products. Track 8 is autocorrelator adjustment, track 9 is peak-unlimiter adjustment, track 10 is for time delay and echo density. The Carver preamp can be used to add a simple delay, but too much sounds like a ringing spring. Track 11 is the introduction to tracks 12, 13, and 14. Track 12 is filtered noise bursts for setting up stereophony and sonic holography. Your head is in the right place when the sound bounces back and forth between the two speakers. The last test track contains stereo pink noise—two uncorrelated channels, from separate generators. Pink noise in almost all other test records is mono [and in at least one case, the Denon and HFN/RR I, is seriously inaccurate in the bass, and in other cases seems a bit off above 10 kHz; the Foster/Carver is flat across the audio band within 1 dB (±0.5)—all this according to the dbx RTA-1, which is accurate to within less than half that.—Pub] Stereo pink noise eliminates venetian-blind effects or comb filtering when feeding and measuring both speakers...Some pleasant drily recorded jazz (two versions) concludes this handy disc... ...at the meeting, while we were playing the CD's 15kHz tone over the SF 2500s with their four 1/2-inch tweeters, someone said "Turn it up, I can't hear it." I reflexively—stupidly—did so and instantly cooked all of them. I trust this word to the wise is sufficient." http://www.bostonaudiosociety.org/pdf/bass/BASS-17-05-9002.pdf

Fleetwood Mac In Concert Here in Las Vegas (MGM) Saturday April 11, 2015 RHIANNON FLEETWOOD MAC

"...Planar magnetic drivers offer significant advantages over traditional dynamic driver technologies..." http://www.wisdomaudio.com/pdfs/pm_white-paper.pdf

NEVER heard of a "Party Barn"...Had to "Look it up!" Used to drink at "The Bunkhouse" though! "... on Happy Jack Road between Laramie and Cheyenne, Wyoming..." http://www.bunkhousebar.com/

FOUND THESE TWO LAST WEEK (HALF PRICE SALE...$2 AND $3)

The "WARNING" Post is just that... I went into "Magnetic Recorders" in Hollywood about 25 years ago and heard that 300 wpc Mac... into Bose 901's... "DANGEROUS" TO YOUR HEARING WHEN "CRANKED"

"Manager" "STEREO WORLD" Cheyenne, Wyoming 1975 Phase Linear Dealer Sold PL 700/400 (Owned PL 400) "Guilty As Charged"

"...Speaker Manual Warning Hearing damage was even more of a concern for me when designing the new McIntosh XR speakers. When the ML speakers were being designed in 1968, the McIntosh MC2105 power amplifier was also in the design stages. That was 100 watts per channel and was a lot of power for a home amplifier at this time. I used a prototype to drive the ML's to be sure they would handle the power of this newer and bigger amplifier with no problem. The ML-4's could produce a listening level of about 106 dB at 4 feet. When I started the new XR series, the MC2300 amplifier was available. It could deliver 300 watts per channel. That's a 5dB increase, or about 111dB for the ML-4's. For me, this was extremely loud in our 3600 cubic foot listening room. Recordings could then be played much louder than real life, which some customers seemed to prefer. Rock music at live concerts is known to reach levels of 120db or higher. A level of 120db is one acoustic watt and is at the threshold of pain. I wrote a note on the first page of the manuals for the new XR speakers that said: CAUTION: CONTINUED EXPOSURE TO HIGH SOUND LEVELS (90 DB AND OVER ON THE "A" SCALE SLOW RESPONSE) COULD BE DETRIMENTAL TO A PERSON'S HEARING) Since no other company was putting warnings in their speaker manuals, It could have been misinterpreted that McIntosh speakers were harmful to hearing and thus creating negative sales. The statement was dropped by management in later system manuals..." http://www.roger-russell.com/hearing/hearing.htm

My idea is to add a "SuperTweeter" to Carver Platinum"s... (Tri-Amp)...with 3 M1.5t's or a Sunfire 200x7 Use the "Parts Express" "...Dayton Audio PT2C-8 Planar Tweeter..." ($49.98) http://www.parts-express.com/dayton-audio-pt2c-8-planar-tweeter--275-085 found in $1000 each Sunfire CRM-2's and cross-over from the Carver Ribbons just below the 6 K resonance point NO CROSS-OVERS AT HIGH POWER ALL PASS LINE LEVEL FILTERS BETWEEN THE C1 Preamp and 3 M1.5t PA's 200-400 watts x 6...through a fuse only Woofer 30-200 hz.... Ribbons 200-5,000 Super-Tweeters- 5,000- 26,000 What is the best PC based RTA with Mic? Stereo One in /three out line level crossover ....with passive line level filtering?

EXACTLY what I am looking for (@ 200hz) AND......."The Price is Right!"

I am thinking about trying bi-amping on a set of Carver Platinum's with 2 M1.5t's My plan is to passive filter the M1.5t's inputs coming from my Carver C1 I think the crossover frequency should be 200 hz. Any suggestions for a two way line level passive crossover unit?

http://www.ebay.com/itm/CBS-Laboratories-Technical-Series-Professional-Test-Record-STR-151-BRAND-NEW-/201051379787?pt=LH_DefaultDomain_0&hash=item2ecf98984b

SHURE ERA IV TEST RECORD I have this one: Can't remember what I paid used for it ($2????)

"Command test record The Command test record (Stereo Check Out) was an LP album produced by Command Records in 1960. It contained recordings designed to allow users to test their stereo equipment. Album details[edit] Like many other Command records, the Stereo Check Out came in a gatefold cover with extensive liner notes and full technical data inside. Charles Stark narrated both sides, providing both technical details and information about the musical instruments used on the tracks on Side Two. Side one[edit] Side One of this LP consists of turntable tests. An oscilloscope is a useful tool when used in conjunction with these tests: Stereo Balance Check Left and Right Channel Check Volume Reference Check Frequency Run Check Output Balance Check Flutter or Wow Check Phasing Check Acoustical Check Rumble Check Side two[edit] Side Two of this LP consists of musical selections from the Command catalogue: Hernando's Hideaway (from Provocative Percussion Vol II) Cumana (from Provocative Piano) Tenderly (from bongos) Enjoy Yourself Cha-Cha (from Pertinent Percussion Cha-Cha's)..." http://en.wikipedia.org/wiki/Command_Records

ANDREA TRUE CONNECTION "MORE..MORE..MORE"

"When I die, I want to go peacefully like my grandfather did–in his sleep. Not yelling and screaming like the passengers in his car." Bob Monkhouse

"OVER ON THE 'BAY"... Audio Research EC-21 High Definition Electronic Crossover http://www.audioresearch.com/ContentsFiles%5CEC-21%20Schem%20%20PList.pdf

"..I was born 6-gun in my hand Behind the gun I'll make my final standThat's why they call meBad companyAnd I can't denyBad company'Til the day I die..."

"... World pollution, there's no solution Institution, electrocution Just black and white, rich or poor Senators stop the war I'd love to change the world But I don't know what to do So I'll leave it up to you..." RIP....ALVIN LEE