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  1. If your AR5 tweeter is an untouched original it is not a good reference standard. Rebuilt original tweeters sound nothing like worn out originals. Rebuilt originals restore all the output you are missing, which is substantial, without encroaching on the midrange. I am not saying you should purchase rebuilt tweeters, just that your tired AR5 tweeters are not the correct measuring standard. I listen to 3as with rebuilt original tweeters and 9s almost everyday on the same source. They sound practically identical above 5k, which is significant considering the 9 mid crossover point is 7000hz. The sound of the original tweeter in the AR11 restored by your friend might serve as a better reference point.
  2. I can't understand a word of it, but this recording of 17th century Italian Pop Vocals (Madrigals) is a showpiece for the sound quality of Hi Res Lossless. Totally acoustic, vocals with string and harpsichord accompaniment. Performed against a palpably silent background, the musicianship displayed in the execution of these intricate melodies and harmonies is amazing. It probably helps that all of the singers are Italian. If you stream Irish or Celtic acoustic, you might like this. I know I said the previous post was my final one in the thread.
  3. No intent to discredit. Your mechanical work is quite skillful, but not everyone who visits this site knows or recalls that you are repairing tweeters and modifying speakers to meet personal goals. "Operates to my satisfaction" is not the same as "Operates within factory specs" without verifiable evidence of some kind. I recall your work on the Super tweeter, not the 3/4 inch, but from your writings in this thread and mentions in other threads regarding AR speakers, I mistakenly assumed you must have squeezed in some 3/4 inch experience somewhere that I had missed. Many of the latter posts in this thread reference moribund and dead 3/4 inch tweeters. No posts regarding orange domes after the first page. This thread should have been split into 2 other non-AR threads long ago.
  4. You have yet to show evidence that you are making these rebuilt 3/4' orange dot tweeters conform to these graphs that show 3db down at 5khz on a 24db /octave slope. That slope is not built in to the crossover.
  5. It’s 1am here. You need the fiber ring. Correct surrounds are available. Good night for now. Adams
  6. AR designed the AR3a, AR5, LST and LST2 to have the same characteristic linear sound above 500hz, regardless of placement. They can sound very similar below 500hz if placed optimally in a room. If you place them identically in a room as far as possible from boundary surfaces, say on a pedestal equidistant from floor and ceiling, they will sound practically identical when the attenuators are set to full or flat output. All of this assumes they are working properly. If you follow the restoration guide and bring all of your speakers close to restoration goals including proper tweeters (Hivi or rebuilt originals) and foam woofer surrounds you will find the difference is the LST makes a lot more of the same sound as the 3a and 5 and is easier to place for optimum performance.
  7. If you want to tweak your system for the sound of a modern concert grand piano you can’t go wrong with Ligeti’s “18 Etudes” for Piano. The piano and player are stressed from the lowest A to the highest C, from the loudest loud to the softest soft, while making music that draws from 300 years of keyboard history including Jazz and African polyrhythms . Intended for practice, the works are so difficult they are rarely performed in public. There are currently six recordings of the etudes but only one of the complete set of 18. This Hi res release from Naxos 2023, artist Han Chen, also available on CD, contains all 18 etudes.
  8. Igor Levit. He knows pianos. He is using an upright like the lady in your video and playing exactly in the region you need. This one sounds pretty good for low res. Concert Grand Piano can make a good sytem test. There are a lot of good examples at CD quality and above.
  9. At 17:38 to 18:24 there are some obnoxious sounds emanating from that piano. I think it must be the way it is miked. I listened on AR3a and AR9. It was more apparent on the 3a. If your 3a mid pots are turned up past the mid point it would be awful. The LST mids are running at max all the time IIRC. The note she playing is close to middle C (262hz), maybe a bit above. The harmonics of that one note on an acoustic piano will extend strongly to at least 2000hz.
  10. On the speakers in question ,from low to high, the first 51 keys are substantially in the woofer, the next 4 or 5 are in the crossover transition but there are powerful harmonics that extend way into the midrange from most keys along that section of the keyboard. Do you have a link to the youtube being used?
  11. Solo piano? Which piano key? Or what frequency?
  12. Four speakers with an identical distortion flaw,in the same room, connected to the same source path, is an improbable speaker problem. The most likely source is dirt or a slightly loose connection upstream, especially if you are using vintage electronics before fader controls or digital circuitry.
  13. Final music history comment. The performance and recording of Beethoven Symphonies has substantially changed since the advent of SACD. The LvB music of today is not what we heard through most of the 20th century. Final thoughts on streaming as an upgrade to stereo sound quality. If you are willing to use over the ear headphones or sit in “the monitor position” when listening to your speakers you will hear the difference in recordings captured in Hi resolution formats. This applies even when what you are hearing is downsampled to CD quality. Your listening spot needs to be in a central position where direct sound predominates. On the best recordings, if reflected sound predominates the detail of the left/right/ front/back nuance that is happening in the space between the speakers will be heard but the dimensionality will be lost. Classic Domed ARs work well for this music but you must compensate for their wide dispersion and ensure the variable mid range attenuators are set to give perfect left/right balance at the listening centerpoint. You will still only get about a max of 6 ft listening distance before reflections predominate in most rooms, less if they are on the floor or beside a wall. Vertical series and later should not be a problem. All the services that offer Hi res streaming cost about the same. If you are thinking of streaming, the only question should be whether to pay for music you will really listen to or stream the same recordings in Lo res for free on Spotify and go about your day.
  14. Most of the Chesky Records catalog is available for streaming. I had forgotten about their polished productions that evoke a sense of space in small group stereo recordings of trios and quartets. The effect is easily apparent at CD quality, if your listening position and speaker relationship forms an equilateral triangle or you use headphones. Original Hi res versions are only available for sale from HDTracks.com or The Audiophile Society .com. My interest in Chesky was to discover to what success their methods had ever been applied to orchestra recordings. I could only find three examples, two for a medium sized chamber orchestra in 2012 and one for full symphonic orchestra in 2022 . The results are mixed. The Symphony recording is on par with good hi res efforts from other labels, with pretty good depth of field. The better of the two chamber recordings, "Area 31", sounds as though all of the principle soloists are jammed together on the front of a stage, everybody close miked, with percussion in the wings to left and right. Compare the presentation of "Area 31" with this 2009 live recording of "Pulcinella" performed by the CSO chamber orchestra. There are around 39 recordings of Pulcinella, all of them good performances. The 15 or so accomplished soloists required by the composition means that only a few orchestras can muster the talent required to perform the work as written, virtually guaranteeing a good performance. No surprise though, the quality of the recordings differ. Here are two more examples: I prefer the 2009 CSO recorded for SACD. The 2024 LPO Hi res is too unbalanced, listen to the brass which should emanate from further back. The 1990 Christopher Hogwood CD is an outstanding performance. "Pulcinella" (1920) is the next major work by Stravinsky after the "Rite of Spring" (1913). His instructions, from the producer of the ballet, were to write some polite music based on Baroque period tunes, primarily from the composer Pergolesi. Instead, Stravinsky decided to use a modern chamber orchestra including instruments that never existed in Baroque times, and modern rhythms and harmonies to trick the ears of the audience into hearing a Baroque presentation based on Pergolesi and others. The producer was not happy but the work was a hit and kicked off what is now known as the Neo Classical period of 20th century classical music.
  15. Ella, Very saddened to receive this news. Steve was an early and prolific contributor on CSP before I arrived in 2012, a great source of AR knowledge and speakers in general. He personally helped me at one point. I have been wondering for a while why he stopped posting. He has been missed. Thank you for telling us. Aadams
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