Great Article from JBL's prime designer on the power of vintage speakers
- Thread starter rob Brandt
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rob Brandt
Active Member
I've seen that interview under a different banner. I remember some confusion over the "4335" in the context of saying the L300 was the home version of the 4333. I suppose he actually said "4333" and it was transcribed inaccurately, though I'd like to think he would have meant 4345!
Marine0811
I love it loud!
Pretty cool interview
twiiii
Lunatic Member
I think everyone should be made to read and contemplate this article. People just don't experience live un amplified concerts or recitals anymore. Even small string quartets can have huge dynamics while playing a vigorous piece. Plucking of strings can easily peg meters and give electronics a challenge .
At the time I was recording events for the colleges music and Drama departments I could become easily board with certain types of music, instrumentations and composers. But by the 3rd or 4 th semester I was finally learning to appreciate not only the sound, but the actual performance no matter the type of what would be called classical music. We were a small college with out big resources, so the recording equipment was pretty basic, professional Ampex tape machines with Ampex mixers, Mac power amps and Altec 604 monitors, We borrowed Mics from here and there, RCA Ribbons, Altec and Sony condensor mics, and I could get my hands on Neumann and Telefunken large diaphragm mics from the Radio Station I worked at. The music department had Magnecord tape decks Mac amps and Old Klipschorns and Cornwalls for play back in the different class rooms and rehearsal spaces. . And though the spectral balance wasn't always the best, the dynamics were there. I didn't realize I was missing Dynamics until I was working part time at a hifi shop installing systems to start with in homes. Some of the customers wanted to hear some of my live recordings. But their systems failed miserably with smaller speaker systems. So I stoped that regrettably.
I still have a few of my live recordings and boot legs. It really does take a strong system to replicate a live un compressed recording. Ray Charles and Stan Kentons big bands come to mind. Basie's band with that controlled energy just waiting to explode was a thrill. Woodies and Buddy Rich's concert pieces could be just amazingly dynamic. Its been close to 30 years since I experienced walking around on stage and being in the wings for a Woody Herman Concert and I can tell you there was an energy there you just can't believe to your hear it. The levels can be so extreme from just the light tinkle of piano keys or brushes on cymbals to the entire Heard belting out tremendous crescendos.
I'm glad I read this article again it brings back many memories and reminds me what true Hifi systems capabilities should be.
At the time I was recording events for the colleges music and Drama departments I could become easily board with certain types of music, instrumentations and composers. But by the 3rd or 4 th semester I was finally learning to appreciate not only the sound, but the actual performance no matter the type of what would be called classical music. We were a small college with out big resources, so the recording equipment was pretty basic, professional Ampex tape machines with Ampex mixers, Mac power amps and Altec 604 monitors, We borrowed Mics from here and there, RCA Ribbons, Altec and Sony condensor mics, and I could get my hands on Neumann and Telefunken large diaphragm mics from the Radio Station I worked at. The music department had Magnecord tape decks Mac amps and Old Klipschorns and Cornwalls for play back in the different class rooms and rehearsal spaces. . And though the spectral balance wasn't always the best, the dynamics were there. I didn't realize I was missing Dynamics until I was working part time at a hifi shop installing systems to start with in homes. Some of the customers wanted to hear some of my live recordings. But their systems failed miserably with smaller speaker systems. So I stoped that regrettably.
I still have a few of my live recordings and boot legs. It really does take a strong system to replicate a live un compressed recording. Ray Charles and Stan Kentons big bands come to mind. Basie's band with that controlled energy just waiting to explode was a thrill. Woodies and Buddy Rich's concert pieces could be just amazingly dynamic. Its been close to 30 years since I experienced walking around on stage and being in the wings for a Woody Herman Concert and I can tell you there was an energy there you just can't believe to your hear it. The levels can be so extreme from just the light tinkle of piano keys or brushes on cymbals to the entire Heard belting out tremendous crescendos.
I'm glad I read this article again it brings back many memories and reminds me what true Hifi systems capabilities should be.
rob Brandt
Active Member
I still attend live venues whenever I can. Symphony, Opera and rock concerts. That's what makes me appreciate what I have here at home. After I rewired my SME tonearm last week, I friend stopped by as I was hooking it back up again--not even fully set up but just wanted to test it. "Wow, it sounds like Steve Perry is alive in the next room..."
Zonker92
All shiny and chrome
FWIW, regarding the L212, I try to take his comments with a grain of salt. Some people read his remarks to suggest that the L212 was deeply flawed system, but I don't think that's right. I just think he was disappointed that it didn't live up to his extremely high expectations.
It's been a while, but as I read his words and articles on the subject, my conclusion is that the two major failings of the L212 were the weak-sauce sub and a hump in the range of 80 Hz. I think that with a decent sub and perhaps a HP filter you can correct both problems.
It's been a while, but as I read his words and articles on the subject, my conclusion is that the two major failings of the L212 were the weak-sauce sub and a hump in the range of 80 Hz. I think that with a decent sub and perhaps a HP filter you can correct both problems.
DavidF
Active Member
I recall some comments on the design that involved designing the xover for a flat response in 2 pi (half hemisphere) that was not compensated for when used in the home, or 4 pi. JBL used the factory roof with a pit to place the speaker for testing using the expanse of the roof for the half-space radiation effect. When set in a living room the added boundary reinforcement resulted in some excess energy centered around 200Hz. This characteristic was also picked up in a magazine review of the period.
rob Brandt
Active Member
me too. My uncle had JBL Paragons powered by tube gear--beautiful.
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