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About tfj100

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  1. Thanks for documenting this, very useful to know. My question is: Did you prefer the sound of the target curve? When doing DSP, some people report a flat curve as being a bit lifeless (that comment is general, not related to A500s).
  2. Thanks! I'm definitely keen but don't want to impose especially as I understand when people are short of time. I'll PM you and let's see how it goes... definitely not urgent.
  3. If it makes you feel any better, when I got the remote for my Dynaudios (same remote as with the A500s), it took me about 40 minutes just to get the cover off and on, get the batteries the right way and make sure it worked...
  4. Well, if I was serious I'd get a mini-dsp and microphone and manage it properly...I might still do that. Just a bit more of a faff compared to set and forget options like the A500.
  5. Well, I cancelled my A500 order and went for 60XDs. I reasoned that for a similar price to the A500, I was getting a similar set-up, but more akin to the A700. But, I do have a relatively small, boxy room and have ended up using the Roon DSP feature to modify the sound to reduce the room effect. I would be dead keen to do a side by side comparison, but the 60XDs are not exactly portable...so I might be reliant on finding a kindly A500 owner who is happy for a few free beers in return for lumping their speakers over to my place!
  6. Very exciting to have new speakers...hope you get lots of listening time in. It is interesting you say that about the Dynaudios. Dynaudio make a very similar speaker (in some ways potentially identical) in the Focus XD series. There is a bookshelf model the 20XD, but given the additional driver in the Buchardts, you might consider the 30XD a more comparable offering. I would be interested to see if someone has compared them. My impression is that they use the same internal amplifiers (and probably DAC), but Buchardt offers a few more options by way of the Platen Hub being WISA compliant, the M
  7. The talk in reviews is that they adopt a "Fletcher-Munson" curve. Here is the first thing that comes up when I google it Fletcher Munson Curve: A Must-Know for Audio Recording (ehomerecordingstudio.com). Might be worth a read, or your own googling.
  8. Yep, and you'd also need to know the source and amplification they used vs what you use since that will impact on the sound as well
  9. Oh, personally I'm not worried about it. I'm mostly curious about the distinction between "good" measuring and "bad" measuring speakers in situations where a listener might prefer the "bad" measuring speakers. I'm also interested in room mode effects on that when you are comparing your own experience with what a reviewer has measured (maybe in their own environment). It would be great to be able to look at a review or a set of measurements and think "that is the speaker for me" without having to listen to it. Instead, you really have to demo a new speaker purchase in your own envi
  10. Thanks. Interesting you describe one speaker as "bad" and another as "good" based on these measurements. In the ASR world, speakers that measure in alignment with their ideals are "good", speakers that measure differently, are "bad". Yet plenty of people would swear by Harbeth for example, which get a bit of a thrashing. I also find it hard to reconcile with my experience, where I found (as an example), one amp which measures perfectly as fatiguing on my ears, and one that probably didn't measure as well (a guess, I haven't seen measurements) as offering a better approximation of w
  11. Well, they might be a perfect example. LS3/5a were designed to be optimal in a caravan outside the event where the BBC Outside Broadcast Unit were working. So, in that environment, they might measure perfectly. Put them in a large room, and the midrange might measure as too light. I can't put my hands on the original article, but PMC, Harbeth, Falcon were mentioned.
  12. I was recently reading about a phenomenon that has been given the name "midrange suckout". This refers to how some speaker manufacturers (predominantly English apparently) voice the speakers to be a bit more polite in the mid-range. Is it possible they do this because the English tend to listen to hi-fi in smaller rooms than say Americans, and this takes some of the problematic room modes out of play? If that was the case, shouldn't it be the same for European manufacturers, because I think most Europeans would have to listen to rooms of similar dimensions to English l
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