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Michael Green
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PostSubject: Re: Michael's System   Tue Dec 11, 2018 6:56 pm

Here's a pic I thought was pretty cool of my small pathway to my seat.



Here's another picture showing the biggest piece of art at my place.


Yep, it's as big as it seems affraid

There's a story behind this Rolling Eyes but the real issue was, how will it sound in the room Question Or just around the corner from the left speaker. Honestly I didn't have much hope for it staying there, but after some voicing it's working out (so far).

The other thing is the foot stool, that I lucked out with. Another thing that I didn't think would be staying.

So when I leave my writing area and walk through the beads and take 2 steps this is what I see.



To the far left my kitchen, mid left listening area. And you can see the SAM. Behind the SAM is the entrance and equipment storage.

For perspective I lightened up this photo, so it's grainy, but you can see back into the kitchen and writing/sleeping room.



It's actually kind of a cool one man listening pad, that I've enjoyed vibe-ing out.

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PostSubject: Re: Michael's System   Mon Dec 31, 2018 4:10 pm

Hi Guys

Doing my listening count down to New Year on facebook

https://www.facebook.com/profile.php?id=1764861045




Cool

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PostSubject: Re: Michael's System   Sat Jan 05, 2019 12:37 am

I'm enjoying the perfect size recording of Bach tonight.


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PostSubject: Re: Michael's System   Mon Jan 07, 2019 11:22 pm

Sorry folks, my world was put on hold Smile



I got caught up in a listening/tuning session with this recording and couldn't let go. So much fun Exclamation There are so many layers and zones to these recordings that sometimes I loose myself inside of the exploration. In this case I zoomed in on each soloist and then slowly backed out into the surroundings. Then I got focused on the choir as if the solos weren't there. I then moved on to the instruments (hushing much of the vocals). Then I went after the hall. Finally I ,once I understood all the parts, put it all together and played with the overall front to back positioning.

With a Tunable Room this would have been easier but something got into me and I just went for it. I noticed the shade outside and realized I had been at this session for almost 24 hours Laughing 24 hours affraid Is there even possibly anything more fun to do in life Question Smile Well, yes, do this in a tunable room, but other than that this was a blast Exclamation I'll be honest I could stay doing this for another week or so with Mozart but life calls. Even now while writing this in the next room I'm tempted to go back in and play. These Tuning Tools, what a blast.

Now what?

Well I'm letting it settle a bit as I tip toe around the place making something to eat, being very careful where I might place something. Then I'm sure I'll be going back in for another listen.

You guys pick on me about sleep, well..... Wink

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PostSubject: Re: Michael's System   Sun Jan 13, 2019 8:23 am



Hi Michael

Would you like giving a report on the recent CES 2019 through your ears and eyes?

What was the response to the RoomTune products you had there?

Any high points or other learnings from things you saw/heard and the people you met there?

On your last post here: You were at the session with Mozart's Requiem for 24 hours -- you were just letting it settle rather than actually listened to the work all that time, without sleep? You cannot have been listening to the same work over and over for 24 hours.

Also please elaborate what you meant in "...I'm letting it settle a bit as I tip toe around the place making something to eat, being very careful where I might place something. Then I'm sure I'll be going back in for another listen." Why were you "careful where (you) might place something"....what is this "something" you were taking care to place (or not place) apart from being careful in a small place near a kitchen so as not to spill soup on an amp? What were you avoiding so carefully?

Sonic



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PostSubject: Re: Michael's System   Mon Jan 14, 2019 6:51 am



See a great reply from Michael here: http://tuneland.forumotion.com/t463-ces-2019-are-you-ready#8912

To which Sonic opined thusly:

Good description Michael!

The proliferation of headphones and ear buds you observed at CES 2019 is a sign of an oncoming disruption that will hit the audio industry. And simply put, this disruptive wave will reshape the whole audio industry, particularly the hubris-laden HEA. This is because the growth of the audio hobby is no a matter of “get younger listeners to appreciate good sound”. Rather than being unable to hear the difference between Good and Bad sound, the issue is where music listening fits into the new 24/7 always on living, how it is heard in context of use of space in personal homes and as part of all the activities of daily life.

The future is “convergent lifestyles and personal interests”, with the means to simultaneously engage work, social networking, entertainment of all types, personal purchasing with no restriction of the when and where.

Tuneable headphones soon Michael?

Sonic



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PostSubject: Re: Michael's System   Tue Jan 15, 2019 4:23 am

Hi Sonic

The CES was enlightening for me. I felt before that I knew the direction of in-room systems, but seeing this CES put it altogether in an organized fashion helped clear the path I want to take, and have always felt I should take "a full tunable system".

The Rev Combo has taught me so much. One of the most important things is full range systems of today need and will incorporate subwoofers. I don't even mean Subwoofers but more separate 3-ways. I've been doing 3-way systems instead of sub/satellite systems all along and I'm glad I have because I have learned the difference between adding a sub and making a main speaker extender.

for example

A typical high end subwoofer driver has a response of 20hz-200hz give or take. My designs are 22hz-2.5khz. You might say "well your sub amp only goes up to 200hz". But, it's not where you cut it off as much as the design of the woofer mechanically. The Rev Combo is about blending, and the further I go with this the more I realize something very important in my designing. I will end up designing my own stereo amplifier. This doesn't mean someone can't insert their own amps, but what it does mean is my speaker system will be matched and flexible.

My system right now is using the Topping TP21 on top and the Yung 100 below. I have several other Class D amplifiers on the way to me now. This doesn't mean I have decided on Class D, but it means that when I design mine it will be very low mass.


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PostSubject: Re: Michael's System   Tue Jan 15, 2019 4:53 am

"On your last post here: You were at the session with Mozart's Requiem for 24 hours -- you were just letting it settle rather than actually listened to the work all that time, without sleep? You cannot have been listening to the same work over and over for 24 hours."

Yes, actually I was in that session for 24 hours straight (with bathroom and food breaks). When I am in design mode that is fairly typical for me.

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PostSubject: Re: Michael's System   Wed Jan 16, 2019 5:21 pm

Yes, mg is having a Class D moment



I'm going through my mind saying "how why when where" so we must give me some room here to see if I can get my brain around this.

study

Let me say this.....



…..inside of it's stock chassis this amp was thin, shy and closed in. Set free? A completely different animal altogether.

Placed on the Platform another huge step. Moving around on the Platform.....



…..well it's a little tonal monster.

Minus the Platform the stripped TP-21 sounds like whatever you set it on and because of this often times sounds smallish. But place this back on even any part of the Platform and it comes back to life, move it around finding the place you like and you can get plenty of body and range. And, huge Huge HUGE soundstage that left on just keeps growing.

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PostSubject: Re: Michael's System   Mon Jan 21, 2019 6:49 am

On the 7th day of burnin right on time, I'm barely starting to hear the parts of the TP21 take on that burnin sound. Percussions are enjoyable and the amp is just a baby, just a baby Smile

Front to back of the stage are so easy to tune with the TP and Maggie and of course RT's. I'm trying not to tune during this short break in period but it's so irresistibly easy, and set free, that for me it's almost like I have found my non-chassis soulmate (or mates) with this type of design. Completely tore down the 3400 is a gem and so are the many units here that have been disassembled by me, but I always find parts to their designs that bug me. One of the biggest being mass and the over flow of electromagnetic energy that sometimes irritates me like a hole created in my response space or a plug put in that same space. Every time I would move a transformer I would hear and feel the energy goes just slightly out of pitch and it drives me crazy, wishing I had an auto pitch fix remote in my hand. But nope, I'd always have to wait. With this super simple design though for me it's a totally different ball game. What surprises me is I thought I was going to hear more of the cramped together sound (and do) but not nearly as much as I thought I would and certainly not as much as bigger parts too close together. I've always been able to hear when parts are too close together and the space between those parts have their own sound. I have to admit that this compromise was something I have ignored mainly because I never thought I would have the chance again to build my own amp (there would always be that space thing). My hope, at least for now, has changed.

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PostSubject: Re: Michael's System   Fri Feb 08, 2019 7:53 pm

After a month of my (I must say) remarkable experiences with the Topping, it's time to burn in another class D amp to see if this was a fluke I was witnessing.

Guys I have been doing this (tuning components) longer then I can count years and I've got to be honest, I believe I'm going through another "Magnavox CDP" moment. These Class D amps are for real and serious listening tools.


burning in some Rev6 Piano Speakers

Same with the Topping I was not so impressed when this amp was in it's chassis, but out of it and set on the Tuning Platform I only had a few hours into this before I started laughing at how great this is.


Lepai LP2020TI

You think I'm flipping out don't you Rolling Eyes Laughing well I must be cause this is opening my eyes up to a whole new world for Tuning. The purity is insane.




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PostSubject: Re: Michael's System   Fri Feb 08, 2019 9:20 pm

Now, I want to show you something.

Notes (I say notes because of the harmonics) being reproduced by the electronics, speakers and room work together in a relative weight (volume) structure that is interacting within physics 4 fundamental forces. Nothing new I know, but when we take the load off of the main speakers they become effortless in their response, or should. In reality if your room is well tuned with the pressure zones full of energy we might use 2 maybe up to 4 watts to get the job done over 200hz up. If you adjust for each recording you will find this point of crossover to usually be somewhere between 40-120hz with the extreme up to 200. I'm probably more of a 1 to 2 watt-er.

Where I'm finding these Class D amps excel is the ability to work with the harmonics on the lower scale. Meaning ever since I've been using these amps, adjusting the lower end crossover point phase and volume has been more exacting and more forgiving at the same time. Tied together with the mechanical tuning it's almost freaky the amount of control there is. But control in the sense of ease is what is amazing me. The subwoofer is like being set free and the harmonics are blending without seams, like off the charts blending.



I was kind of expecting the Class D amps to be a little thin, but the better I learn how to use them the warmth and clarity is another level, for me at least. The lack of mass allows these amps to really sing robustly with a very steady drive. Keep in mind I'm using a 5.5 pound speaker with only one cap. These amps are perfect for the Rev at 40 and up. My range of adjustment, as I said before, is super easy to find and I'm finding mostly from 50-100 depending on recording.

Using the Class D amps are also having a beautiful affect on the subs musicality. The upper harmonic control is amazing letting the subs fundamentals response more seamless, effortless and musical. Drums, Oh My Lord, Drums! So much easier to tune in tom toms and timpani.



Note: my sub amp is also Class D

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PostSubject: Re: Michael's System   Fri Feb 08, 2019 10:58 pm



Now that I have heard this a couple of times I know it's not me Smile

These amps have a different sound to their burning in process. I don't know if this is something that will always be, or with every amp chip or not, but the ones I have burnt in do so. I'm thinking it's not just the chip but also the signals reaction as it passes through these new parts, and so few parts (there's no where to hide). Whatever the physical dynamics to this is, it is Neutral  . It might even be the revealing of the recordings that up to this point haven't been totally honest.

Don't be surprised when you first turn these amps on for the burnin period that you hear a distortion especially noticeable on vocals. It's slightly on other things too but most easily heard on vocals. When I first heard it I was bummed out thinking I got a bad unit. I've heard weird things happen with parts passing the signal all my life so I was willing to stick it out, hesitantly No . The other thing I heard was to my joy and surprise was yet more background fuzz. Yes I said background fuzz. Low noise floors (black holes) are a HEA myth. That's recorded info not noise. When I hear a system that can't fill in the blanks I loose interest pretty fast, sterile, yuk. It's like watching the hour 15 minute movie as compared to the 2.5 hour version. The meaning is completely different. In recording you can make entire instruments disappear by killing the noise instead of converting it to clarity.

Want to hear dynamics and every part of the microphone diaphragm spit? Let that chip burn in and you will hear a part of recordings you never heard before. No amplifier topology that I have heard exposes more harmonic "spittle" than these amps. It kind of sounds like the ending splash of a cymbal and is present on almost all acoustical notes played or sung. It's a shh sound as opposed to a hard snap sound. Around the 5 or so day of constant play the shh turns into a warm hush, exciting now that I know what it is and how it will express itself after the parts begin to gel. So much better than not having the info, calling it revealing Laughing . Trust me there's plenty to keep you entertained while these parts have a chance to mature. For me, I had to swap the amp and at the same time put on these painted speakers, which usually take about 4 months to start curing properly, but I needed to listen to them quick and get pictures. I'll go back to my 2 month old Revs in a couple of days. "why don't I have 20 rooms" Laughing

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PostSubject: Re: Michael's System   Sat Feb 09, 2019 2:42 am

And just that fast, whatever part does that burnin process, I just heard it clear up. It was like flipping a switch and the fuzz turned into a fluffy beautiful body of sound that is attached to every note. Exactly the same thing happened with the others, fascinating. I'm guessing it's the chips but really have no idea. I've heard caps do this but it's usually a different sound. Anyway, I love listening to burnin.

that's nice and less then one day old

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PostSubject: Re: Michael's System   Thu Feb 28, 2019 4:23 pm

Hi Folks

Well I'm calling this "almost spring cleaning". Moving into this tiny place almost a year and a half ago I've slowly been working on getting stuff out of the space so I can have a place that is manageable. It kind of reminds me of moving from out of the city to down town Manhattan where every inch counts. I'm really happy that the first setup worked so well , but this place being a one man only seating arrangement over this last winter showed me some serious limitations when it comes to someone else coming over for a listen. No, there is no way I'm having two chairs in the listening area Rolling Eyes but having to standup with no where to go while someone had my listening chair tied up was not doing it for me. With things though packed from floor to ceiling the task of having any type of listening fellowship simply didn't happen, and as a result I ended up not having many over.

The spring however already brings promise as the front door is now able to be opened giving a little sense of space and usefulness. Moving some stuff over to the local use audio store has cleared things up more, and moving the Tonian speakers out of here made even more usable room, I'm getting close Smile

Drum roll please Basketball Today was the first day of having another chair in my front space. How does it sound Question I'm afraid to go listen. It's either going to be a cool move for other folks and myself to actually be in the same space (one in the listening space and one behind the SAM wall) or a nightmare affraid

A few more moves and I will take some pictures, fingers crossed.

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PostSubject: Re: Michael's System   Thu Mar 07, 2019 12:03 am

Hi Guys

Coop has gotten into town and we've been going non-stop. Hope to get caught up soon.

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PostSubject: Re: Michael's System   Tue Mar 12, 2019 4:41 pm



Spring cleaning has been a trip (lesson in everything affects everything else).

For a year and a half now I've been slowly moving mass out of my tiny place here on the strip. It has been nothing shy of fascinating! I'm guessing I have removed around 1/3 of the content that was first moved in here.  scratch Scratching my head over things like having chairs in my place along with everything else has cranked up a learning curve for me that is interesting.

Listening is a blast though, cause I'm playing many recordings that I would have never used as references while tuning, going for that overall sound that so many do instead of the individual recording sound. Do I like this type of listening? I would have to say, not really. I'm much more of an all out recording type of listener, but this gives me a chance to do what most others do "a general sound". Be sure I'm still doing tuning per recording, but not nearly as much as I usually do when I have several listening rooms available to me, well I should say "A Tunable Room" available to me. The difference between a living room conversion and a Tunable Room is laughable. One thing absolutely for sure is the fact that moving, adding or taking away anything in a living space has a major sound factor on the sound. This includes spaces attached to the general listening area.



listening to Bowie's BBC best

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