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jazzman53

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About jazzman53

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  1. I'm using the Behringer mic because I already had it when I purchased the DBX. BTW; the DBX setup wizard has a prompt to select either the DBX mic or non-DBX mic.
  2. HI Grant, Two friends who I built ESLs for are using the Driverack PA2. I'm still learning all the features but I'm pretty sure that everything you would use in a home stereo application (crossovers, EQ's, limiters, time-delays, etc.. ) are identical in the PA2 and Venu 360. Both have six output channels. And aside from the extra/digital inputs on the Venu 360, the other differences apply to PA applications where you might need to daisy chain components. For example; the Venu has three separate input processing chains (versus one in the PA2), as well as capability to make interconnections between the chains. I'm not a PA guy so it's all Greek to me. Below are screen shots of the PA2 and Venu 360 remote control app home/function screens, which show the available functions:
  3. I'm not yet sure if the DBX can do that, but it does have dynamic limiters.
  4. I don't know whether the DBX would have a shutdown thump because I always shut the amps off first. And at startup; I always turn on the Logitech streamer and Venu 360 first.
  5. I recently replaced the Behringer DEQ2496 EQ & DCX2496 crossover, driving my homebuilt hybrid electrostats & Ripole subs, with a DBX Driverack Venu 360 crossover/EQ. I opted for the Venu 360 over the less expensive PA2, only because I needed the Venu's digital inputs to accept the digital out from my Logitech Transporter. This will not be an in-depth, dispassionate, or measurement based review. I still have a lot to learn about the Venu 360, and the Behringers are all I know to compare it to. Below are my initial impressions: Behringers have a less than stellar rep among audiophiles but they served me well for many years, and I found them to be dead quiet and crystal clear. The DBX specs a little better but I rate them equally for inaudible noise floor. The DBX’s wireless remote user interface is hands-down better than the Behringers’ front-panel intefaces. To be fair; the Behringer crossover does have a computer interface, but I couldn’t use it because its outdated serial port won’t connect to my laptop, or any laptop newer than 10 years old. With the DBX, all functions are wirelessly controllable using a laptop/tablet app, and I use my Ipad for this. The wizards make setup easy, and the control screens are intuitive and easy to use. The Behringer’s auto-EQ is comparatively tedious, slow and cumbersome, with pink noise to endure-- downright primitive compared to the slick DBX auto-EQ. The DBX auto-EQ is easy and fast. There’s no loud, obnoxious pink noise-- just a few rapid (2-second) frequency sweeps from (3) mic positions, and the unit instantly overlays about eight parametric EQ’s to smooth out the nasties. The resulting sound is balanced and wonderful right off the bat. As we know; whenever you experiment and change crossover points or filter slopes, you must then re-EQ the system. With the DBX, I find it much easier to experiment and fine tune the crossover because the auto-EQ is so fast that I don’t mind re-doing it. This is a real time saver for fine tuning the system. Whereas the Behringer DCX2496 can automatically time-align the speaker drivers, the Venu 360 has only manually adjustable time-delays, which I used to time-align the drivers the old-school way-- by playing a test tone at the crossover frequency and adjusting the delay until I found the constructive interference peak on the RTA (actually; I inverted the speaker phasing and adjusted the delay to find the negative/destructive interference dip -- either method works, but I prefer inverted phase). After time-aligning the drivers, and having the DBX auto-EQ the system, I played an old Supremes song, and I could hear the studio reverb applied to the voices in the recording. Just for fun, I turned off the time-delays and I could no longer discern the studio reverb and Diana Ross's voice became one-dimensional. But when I turned the delays back on, Ross’s voice came back to life—the difference was amazing, and attests to the effect of even a small (0.33ms) phasing error. And then I discovered the sub harmonic synthesizer and … WOW! This feature should be used judiciously—probably not at all on modern recordings, but it miraculously enhances the bass on older recordings where the bass was anemic. LOVE this DBX Venu 360!
  6. Hi all, I decided to build hard-case transport boxes to protect my new Jazzman Mk III ESL speakers during the annual trek to Carverfest. The hard cases can be carried in the back of my truck, even if it's raining. The cases are two-piece interlocking clamshells made from light weight 3/16 plywood painted with truck liner coating. The clamshells snap together with (6) draw latches, and a foam rubber gasket between them seals out the rain. The lower clamshells have carrying handles on each end, for two person carry. Interior surfaces which contact the speakers are Styrofoam covered with synthetic felt.
  7. Thank you! Yes, I did build the rack as well. The [class G] Carver amps run surprisingly cool-- I have some spacer blocks between them, and the shelf above is slatted for air flow. The two Behringer signal processors generate a fair amount of heat (they get hotter than the amps)… so I may need to do something about that.
  8. Source: Logitech Transporter streaming from files or Tidal Preamps: Logitech Transporter Carver C1 Tuner: Carver TX-11A CDP: Carver DTL-100 Processors: Behringer DEQ-2496 digital EQ Behringer DCX-2496 digital crossover Amps (3): Bob Carver Signature TFM-25's Speakers: Homebuilt ESL Subs (2): Homebuilt Ripole Rack: Homebuilt red oak The system is built around state-of-the-art homebuilt wire-stator electrostatic speakers, employing stepped-frequency/stepped-phased-array wire stators which function as a line source projecting a cylindrical wave front. Dispersion is wider and smoother trending than a curved-panel ESL. The speakers’ triangular base sides form semi-H open baffles for the 12” Peerless SLS woofers. The speaker frames, baffles, and stator lattices are solid red oak (no veneer). Front & rear grills attach magnetically. These speakers are the culmination of 13 years of iterations, and they are the finest speakers I’ve ever built. The subs are homebuilt Ripoles with opposing 12” Peerless SLS woofers in a push-push configuration. The system is a 3-way with crossovers at 80Hz & 265Hz using 24db/oct slope LR filters. When streaming music, the Logitech Transporter is the preamp (the analog Carver C1 is bypassed), which allows having a single D/A conversion in the signal path (at crossover’s outputs to amps).
  9. Hi all, This project (all four speaker pairs) is finally completed, so this will be my last post on this thread unless it's in response to others. I resolved the issue with the grill covers bowing and they turned out great. I finally now have my dream speakers for life, and I'm sure the recipients of the other three pairs will feel the same way. I'll just leave you with a last VIDEO showing the speakers playing. Enjoy! Charlie
  10. Update 3/26/20: Having a lot of problems with the grill frames. They looked great the day I built them but they bowed after a couple of days and I'm having to redo them. The first time I used white pine stiffeners on the hardboard frames, the second time I used poplar. Both bowed but the poplar bowed a bit less. So I'm cutting the stiffeners off and bonding new stiffeners on with the frames purposely bowed in the opposite direction, hoping they will bow back to near straight condition. I may end up giving them a week or so to stabilize, then cross cutting slots in the vertical stiffeners to relived the bow, and then gluing on some strips to re-stabilize. They will look nice if I can resolve the bowing issue:
  11. Update 3/23/20: All four pairs of speakers are fully completed except for the magnetically attached grills, which I started building today. I spent the weekend sound testing every pair, and they all play to ridiculous volume with no apparent issues. For a $77 woofer; I'm pretty impressed with the Peerless SLS-- I was concerned it wouldn't be up to the task so I only ordered one pair initially. I should point out that so far I've only sound tested them chopped off at 60Hz and crossing into a pair of Ripol subs with a 24db filter slope. Thus unloaded on the bottom end; the Peerless woofers rock pretty well without bottoming out at X-max. Parts Express had the black grill cloth but not the burgundy I want for my pair-- so I was happy to finally locate some 66" x 36" sections on Ebay. That order arrived today and it's only 54" x 36". With the Corona virus lurking and me old as dirt, I'd rather lose the refund than risk the post office to return a package. Just one more delay in wrapping this project up... In the meantime-- here's some more porn for all you planar pervs:
  12. I've been building ESLs since 2008, starting with perf-metal stators, then segmented welding rod stators, and a few years ago I started building electrically segmented wire stators. I didn't invent wire stator ESLs or electrical segmentation-- I only applied those principles to my designs, which include this speaker. I think the most innovative part of it was the wire stretching jig; as I've never seen one like mine. To the best of my knowledge Accoustat built the first commercial wire-stator ESLs and I'm not sure who first introduced electrical segmentation --- that might have been Audio-Static. There are several companies making segmented panels now but they only use two or three segments, just to spread the highs. It takes many more segments to create a smooth trending dispersion pattern. Generally; down to 12mm, more/narrower segments gives wider/smoother trending dispersion (no advantage below 12mm which equates to the smallest audio wavelengths) I'm not smart enough to figure all this out but I have very smart friends at the DIY Audio Forum to helped me along the way. My segmentation scheme is derived from a technical paper written by a physicist in New Zealand named Rod White (a.k.a. "Golfnut" at the DIY Audio Forum). His collaborator Steve Bolser (a.k.a. Bolserst at DIY Audio Forum) created and Excel spreadsheet calculator program for designing segmented ESLs; which I used when designing my panels. I just plugged in the input parameters (panel dimensions, number of segments, diaphragm-to-stator gap, bias voltage, transformer winding ratio, and low cutoff / crossover frequency) and the spreadsheet calculates the resistor values, max SPL, upper frequency limit, and graphs the response curve.
  13. Update Saturday March 14, 2020: The panels and segmentation resistor networks are installed in all eight speakers. Today I installed Peerless SLS 12 woofers in one pair and they're playing tonight. I delayed ordering woofers for the remaining speakers until I've had a chance to audition these. My first impression is the SLS 12's will be fine. I still have to build the grills but it feels good to be wrapping this project up after 5 months of toil. The photo and video below were made today.. enjoy!
  14. You’re heart’s in the right place but that one looks like a boat anchor to me.
  15. Update Tuesday March 3: All ( ESL panels, power supplies & speaker frames are completed. Now assembling the (16) segmentation resistor networks. Still have to buy woofers and make the grills. Here's another video; showing the diaphragms being installed and the panels assembled:
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