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Post by audiojunkie on Jun 10, 2007 21:14:45 GMT 7
Yeah! It's clearly visible from top to bottom. .. ;D  |
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Post by southpeak on Jun 11, 2007 8:37:44 GMT 7
Hi msm, very nice SL600si. I’m also a fan of the Celestion sound. Would just like to verify something. When I’m using my SL600 particularly on female vocals, sometimes I think I hear this very faint continuous “ping” sound. I’m not sure if it’s broken or I’m over driving the units. Volume knob only set between 9 and 10 O'Clock . Also, i did not hear such on the 100s and SL12si. While browsing, I came upon this article with the ff comment: Stereophile Larry Archibald, January, 1989 “the original Celestion SL6 and SL600 rang at 22kHz, which had to be suppressed—and the designer's preference, the resonance will be dealt with mechanically, electrically, or simply allowed to ring away”www.stereophile.com/floorloudspeakers/189thiel/Is this what I’m hearing?.. Is it the same with your SL600si? or should i start feeling bad  TIA..  |
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Post by m_shoe_maker on Jun 11, 2007 9:13:11 GMT 7
Hi msm, very nice SL600si. I’m also a fan of the Celestion sound. Would just like to verify something. When I’m using my SL600 particularly on female vocals, sometimes I think I hear this very faint continuous “ping” sound. I’m not sure if it’s broken or I’m over driving the units. Volume knob only set between 9 and 10 O'Clock . Also, i did not hear such on the 100s and SL12si. While browsing, I came upon this article with the ff comment: Stereophile Larry Archibald, January, 1989 “the original Celestion SL6 and SL600 rang at 22kHz, which had to be suppressed—and the designer's preference, the resonance will be dealt with mechanically, electrically, or simply allowed to ring away”www.stereophile.com/floorloudspeakers/189thiel/Is this what I’m hearing?.. Is it the same with your SL600si? or should i start feeling bad TIA.. Hmmm.... now that you mentioned it, maybe, but not sure. Although I'm a New wave guy, I do sometimes wear my audiofool hat ;D and listen to my audiofool LPs just to check out my system. Among the female vocals I use is Joan Baez' Farewell Angelina, and Radka Toneff's Fairytales LPs. Absolutely no weird and funny stuff going around there. However, when I listen to Dusty Springfield's Dusty in Memphis, I do hear this weird high frequency sizzle.  I'm not sure if its the typical 4 Men with Beards recording or what.  I just think its some sort of sibilance, or maybe that's also the one your referring to.  I have the 600SI. I'm not sure, but I think the "SI" version did have some tweaks on the cross-over stuff.  |
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Lordfoo
Audionut
Listen to be heard.
Posts: 225
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Post by Lordfoo on Jun 11, 2007 10:35:00 GMT 7
Hey, i rechecked the Stereophile review as Southpeak mentioned in his post, at least 6 of the keepers mentioned in this thread are in Stereophile Magazine's 40th anniversary listing of The Hot 100 Products in written in 2002. www.stereophile.com/historical/709/index.html
Thorens TD124 turntable
Yamaha NS1000,
Advent Speaker,
Celestion 600,
Dynaco ST70,
Adcom GFA 555.)79]: Thorens TD124 turntableStereophile review: January 1963 (Vol.1 No.3). The first European answer to the AR turntable, the TD124 spawned a dynasty of excellent 'tables that, like the AR, were let down by their tonearms. The more basic TD150, mounted with an SME arm, was about as good as you could get for LP playback before Ivor Tiefenbrun reinvented the belt-drive/suspended-subchassis concept in the 1970s as the Linn Sondek LP12. Yamaha NS1000 loudspeakerStereophile review: Winter 1975 (Vol.3 No.11). Back in the days when paper cones were de rigueur (though a handful of British engineers were playing with plastic cones) and designers were starting down the path to trade off reduced coloration against the need for more and more driving volts from the amp, Yamaha introduced the NS1000. It was sensitive, it used a high-tech midrange dome using vapor-deposited beryllium on an aluminum substrate, and it (ahem) kicked major booty! The Yamaha's major use of technology made many contemporary European and American speaker-makers look more like box-stuffers. I haven't heard an NS1000 in 20 years, and often wonder how it would measure up in today's more refined market. The Advent LoudspeakerStereophile review: Spring 1971 (Vol.2 No.12). The late Henry Kloss had the Midas touch: whatever his fancy alighted on turned into sonic gold. In the case of the Advent Loudspeaker, he designed America's first true high-end dynamic sealed-box loudspeaker. And given that everyone was convinced that good speakers needed to use three drive-units, Henry made do with two. He designed the Advent armed with microphone, voltmeter, oscilloscope, and signal generator, but without—the entire generation of speaker engineers who graduated since the early 1980s will be astonished to learn—a computer. Henry made do with talent and ingenuity. Celestion SL-600 loudspeakerFirst Stereophile review: May 1989 (Vol.12 No.5; also Vol.15 No.8). The first popular compact supermonitor, introduced in 1983. The English company's Graham Bank and Gordon Hadaway decided that, as the main source of coloration in a box speaker is the box, they would effectively do away with it by making it from the Aerolam material used in airplane construction. The copper-dome tweeter used in the SL-600 and its wooden-box SL-6 sibling also pioneered the resurgence of interest in moving-coil drivers with pistonic metal diaphragms. "Had anyone even 1) tried to make a compact monitor sound this uncolored, or 2) charge as much?" asks Wes Phillips. Nope. But what a sound! Adcom GFA-555 power amplifierFirst Stereophile review: August 1985 (Vol.8 No.4; also Vol.8 No.7, Vol.12 No.12, Vol.13 No.10). The best-selling Adcom defined what an inexpensive solid-state amplifier was all about—power, power, and more power—without losing sight of the refinement essential to musical satisfaction. Some feel the less powerful, even cheaper GFA-535 was the better-sounding amp, but the '555 defined the genre. Dynaco Stereo 70 power amplifierFirst Stereophile review: January 1963 (Vol.1 No.3; also Vol.11 No.5, Vol.15 No.9). It was cheap and cheaply made, but David Hafler's simple little two-channel tube amp introduced the importance of good-sounding electronics to more audiophiles than any other product. It also spun off a pro-audio dynasty when the founders of Sunn used first the kit version, then OEM chassis supplied by Dynaco, for musical-instrument amplification. And it triggered an explosion in tube-amp design in the 1980s as a new generation of designers realized, "Hey, I can do better than that." A few were even right. |
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Post by audiojunkie on Jun 11, 2007 10:50:02 GMT 7
Adcom GFA-555 power amplifierFirst Stereophile review: August 1985 (Vol.8 No.4; also Vol.8 No.7, Vol.12 No.12, Vol.13 No.10). The best-selling Adcom defined what an inexpensive solid-state amplifier was all about—power, power, and more power—without losing sight of the refinement essential to musical satisfaction. Some feel the less powerful, even cheaper GFA-535 was the better-sounding amp, but the '555 defined the genre. Some commented to this amp that it sounded flat, the longer you listen to it. .. I've used it for sometime but, wasn't so critical at that time. .. . ;D I did enjoy the BIG thumped in my room  |
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Post by m_shoe_maker on Jun 11, 2007 21:19:42 GMT 7
Spica TC50 loudspeakerJohn Bau's ugly ducking of a time-aligned two-way miniature showed that great sound could be produced from a speaker without the designer having to throw unlimited sums of money at the problems. I had this for more than 10 years. Dirt cheap, weird looking and rolled-off both at the bottom and top. ;D But what a midrange, and dissapearing act! |
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Lordfoo
Audionut
Listen to be heard.
Posts: 225
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Post by Lordfoo on Jun 11, 2007 23:42:10 GMT 7
Spica TC50 loudspeakerJohn Bau's ugly ducking of a time-aligned two-way miniature showed that great sound could be produced from a speaker without the designer having to throw unlimited sums of money at the problems. I had this for more than 10 years. Dirt cheap, weird looking and rolled-off both at the bottom and top. ;D But what a midrange, and dissapearing act!  Is this the one sir? |
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Lordfoo
Audionut
Listen to be heard.
Posts: 225
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Post by Lordfoo on Jun 11, 2007 23:53:35 GMT 7
Adcom GFA-555 power amplifierFirst Stereophile review: August 1985 (Vol.8 No.4; also Vol.8 No.7, Vol.12 No.12, Vol.13 No.10). The best-selling Adcom defined what an inexpensive solid-state amplifier was all about—power, power, and more power—without losing sight of the refinement essential to musical satisfaction. Some feel the less powerful, even cheaper GFA-535 was the better-sounding amp, but the '555 defined the genre.  Some commented to this amp that it sounded flat, the longer you listen to it. .. I've used it for sometime but, wasn't so critical at that time. .. . ;D I did enjoy the BIG thumped in my room |
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Lordfoo
Audionut
Listen to be heard.
Posts: 225
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Post by Lordfoo on Jun 12, 2007 0:10:36 GMT 7
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Post by pedor2 on Sept 10, 2007 20:39:19 GMT 7
 this one is definitely a keeper  |
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Post by zetroce on Sept 10, 2007 20:51:14 GMT 7
this one is definitely a keeper Indeed it is!!!  Is that a LEAK? |
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Post by pedor2 on Sept 12, 2007 7:02:35 GMT 7
yup. Leak stereo 50 |
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Post by Superman on Sept 12, 2007 7:34:45 GMT 7
doc, congrats on the Leak! |
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I'm not sure if its the typical 4 Men with Beards recording or what. 
I just think its some sort of sibilance, or maybe that's also the one your referring to. 
Is that a LEAK?
