Slamming the rails maybe.As in + &- power rails on and amplifier.
Define it for me... Slam, Ring & Dynamics
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Superampman
AK Member
I think I noticed it in the op. I read it as a desired effect?
Superampman
AK Member
Sorry, I missed your directive.
Blue Shadow
Waiting for Vintage Gear from this century
My speakers Slam bro....
Blue Shadow
Waiting for Vintage Gear from this century
Been using it since 06 here on AK.
For what?
I read your post, If I seen it, I would have asked what you where trying to say with a bit of this on my face.
Blue Shadow
Waiting for Vintage Gear from this century
Basically talking about the difference between Magneplanars and stacked Advents in the amount of sound power hitting you. (stacked advents are an example).
I dunno, I'm 60 so maybe I am a kid around here
From Stereophile...
Though it lacked some bottom-end slam, the Aon 2 had a coherent overall sound, with clean, well-extended highs, lightning-fast transients, and a warm, rich midrange, said BJR.
Read more at http://www.stereophile.com/content/...2017-edition-loudspeakers#wyLfCdQtTcLWzkgF.99
The Zu woofer's voice reminded me just a little of my ancient and beloved Altec 604s: lightning fast, mostly neutral, wide open, and breathy, while the DeVore O/93s deliver a less open but more refined, colorful, and modern sound. What I mean is: the 10" DeVore woofer delivers less dynamic slam, but more nuance and tonal shading.
Read more at http://www.stereophile.com/content/...loudspeaker-herb-reichert#2swV2WkSgfHHZQPV.99
The Suns delivered this gutsy soul music with impressive speed and slam. They revealed the overdriven electric bass's cabinet resonance, the noisy fuzz guitar, the air-pushing sensations of the choogling drum beat.
Read more at http://www.stereophile.com/content/trenner-friedl-sun-loudspeaker-page-2#qBhjHivutxXuIjhO.99
Even venerable JA uses the term from time to time...
Such overcooked rock—OK, country—recordings as the CD release of the 1984 Dwight Yoakam album Guitars, Cadillacs, Etc. Etc. (Reprise 9 25372-2, footnote 2) had suitable "slam" in the bass, the weight still having sufficiently well-defined leading edges.
Read more at http://www.stereophile.com/content/rogers-ls7t-loudspeaker#toK2vsTKgprfszsM.99
I could go on... but I think I'll stop!
I dunno, I'm 60 so maybe I am a kid around here
From Stereophile...
Though it lacked some bottom-end slam, the Aon 2 had a coherent overall sound, with clean, well-extended highs, lightning-fast transients, and a warm, rich midrange, said BJR.
Read more at http://www.stereophile.com/content/...2017-edition-loudspeakers#wyLfCdQtTcLWzkgF.99
The Zu woofer's voice reminded me just a little of my ancient and beloved Altec 604s: lightning fast, mostly neutral, wide open, and breathy, while the DeVore O/93s deliver a less open but more refined, colorful, and modern sound. What I mean is: the 10" DeVore woofer delivers less dynamic slam, but more nuance and tonal shading.
Read more at http://www.stereophile.com/content/...loudspeaker-herb-reichert#2swV2WkSgfHHZQPV.99
The Suns delivered this gutsy soul music with impressive speed and slam. They revealed the overdriven electric bass's cabinet resonance, the noisy fuzz guitar, the air-pushing sensations of the choogling drum beat.
Read more at http://www.stereophile.com/content/trenner-friedl-sun-loudspeaker-page-2#qBhjHivutxXuIjhO.99
Even venerable JA uses the term from time to time...
Such overcooked rock—OK, country—recordings as the CD release of the 1984 Dwight Yoakam album Guitars, Cadillacs, Etc. Etc. (Reprise 9 25372-2, footnote 2) had suitable "slam" in the bass, the weight still having sufficiently well-defined leading edges.
Read more at http://www.stereophile.com/content/rogers-ls7t-loudspeaker#toK2vsTKgprfszsM.99
I could go on... but I think I'll stop!
Ok your getting it on the Stereophile blog page, I never read it.
justjed2
Super Member
Slam is a simple way of referring to compression density. It's about how much air your speakers move, and how they move that air. Faster excursion with less overshoot, and faster recovery. IIRC, some bass frequencies can take up to six feet to develop a full wave. And it's still moving at the same speed as the frequencies put out by the tweeter The faster the cone compresses the air, the "thicker" the shock wave that we perceive as sound. The wave seems to hit you, instead of just washing over you. Like the difference in the feel of thunder from 200yd out and 100yds. The sound is traveling at the exact same speed, but you feel one more that the other. The waves that wash over you from 200yds have lower compression density, and a lower SPL, than the closer waves that seem to hit you with real force.
I like the sound of planar speakers. But they don't move air the same way as a cone. They just don't feel the same.
I like the sound of planar speakers. But they don't move air the same way as a cone. They just don't feel the same.
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sheltie dave
Addicted Member
One complete wave for a 20 hz sound wave is 56 feet. a six foot wave would be around 200 hz.
Hmmm, that's interesting that you don't get a full wave in a smaller room... I wonder what the lower frequencies sound like in an adequately sized room... more like a concert hall?
This is a great comment... I remember seeing Sonny Landreth once at an outdoor show. I was standing at the sound booth because that's where the best sound is. And man, the bass just was rocking me!!! That was the single most impressive display of Slam I've ever witnessed anywhere from anything! I don't know what his speaker setup was but solid is the best I can come up with!
Anyway, your comments about planars is where I'm coming from. My Acoustat Spectra 22's were brilliant at clarity, expansiveness, soundstage, depth, all of it... except for Slam. I missed it, I wanted it, I went back and got it!
I will say, Dunlavy SC-IV's and I'm sure V's and VI's are some of the most "Planar like" dynamic cone speakers you'll ever run into for under $5K. You see a pair, you would be wise to give them a listen! No doubt!
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Superampman
AK Member
Why didn't you just get bigger Acoustats?
I always heard "ring" as a negative term related to metal horns that could actually 'ring like a bell" if they weren't properly mounted and deadened.
Its why I had wooden Smith horns in my custom L200 3ways - gave a more natural sound to singers like Diana Krall.
Its why I had wooden Smith horns in my custom L200 3ways - gave a more natural sound to singers like Diana Krall.
It is nice to have some thump to go along with the slam. Get both and your speakers will rock
Does thump exist in the audiophile lexicon?
LOL.... sounds like an Infinity Fan! I did have the Acoustat Sub so there was some "thump" but seriously, there is some sort of difference in the physio-acoustic dimension between planars and cones. I think cones load a room differently. I'm not sure I'm accurate when I say the SPL is different but this is what I'm trying to understand... what is the difference and why do we perceive it? My kingdom for a clue oh wise AK'ers.
sheltie dave
Addicted Member
[QUOTE="justjed2, post: 10503092, member: 246041The faster the cone compresses the air, the "thicker" the shock wave that we perceive as sound. ..The wave seems to hit you, instead of just washing over you. The waves have lower compression density, a lower SPL.
[/QUOTE]
I will have to disagree with you about this. The shock wave is an electrical representation of a physical attack with sticks on a drum kit of mainly wood tubes, metal rings, and drum head skins, or metal cymbals. I want to hear drums with no gating and no compression at all. I want to hear drums that pop, where all the dynamic range, all the signatory audible nature of THIS Gretsch kit, or this Zildjan snare, or this jazz brush, hit hard and ferociously fierce, or delicate and with finesse.
The energy must be there in the first pop, and then dissipate in the same manner as the live event, with a rich swirl of harmonics adding to the complex suckerpunch, and then that too is gone.
A thicker shock wave implies a primary wave burst that lasts longer, which is what we don't want. We also don't want a wave form that excites a larger electrical signal than proportionate to all the other music. We want everything in measure - balanced - and without overhang, overshoot, and hopefully without unnatural enhancement like gating, compression, and overloaded hot micing unless the band/producer set out to capture that specifically.
Slam, pop, hitting you hard all happen because the brevity and visceral energy are defined fully and clearly. They are not accentuated by an uncontrolled piston travel, speaker enclosure tricks, and other pitfalls. The funny thing - if a speaker gets the pop and slam right - then many other things fall into line, because the bottom anchor that is there in live concerts is also there in your listening room.
[/QUOTE]
I will have to disagree with you about this. The shock wave is an electrical representation of a physical attack with sticks on a drum kit of mainly wood tubes, metal rings, and drum head skins, or metal cymbals. I want to hear drums with no gating and no compression at all. I want to hear drums that pop, where all the dynamic range, all the signatory audible nature of THIS Gretsch kit, or this Zildjan snare, or this jazz brush, hit hard and ferociously fierce, or delicate and with finesse.
The energy must be there in the first pop, and then dissipate in the same manner as the live event, with a rich swirl of harmonics adding to the complex suckerpunch, and then that too is gone.
A thicker shock wave implies a primary wave burst that lasts longer, which is what we don't want. We also don't want a wave form that excites a larger electrical signal than proportionate to all the other music. We want everything in measure - balanced - and without overhang, overshoot, and hopefully without unnatural enhancement like gating, compression, and overloaded hot micing unless the band/producer set out to capture that specifically.
Slam, pop, hitting you hard all happen because the brevity and visceral energy are defined fully and clearly. They are not accentuated by an uncontrolled piston travel, speaker enclosure tricks, and other pitfalls. The funny thing - if a speaker gets the pop and slam right - then many other things fall into line, because the bottom anchor that is there in live concerts is also there in your listening room.
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