Good one! I gotta put that one on. Funny but I don't listen to all that much music like this, but that album to me is so perfectly realized that it's become a big favorite of mine. it's like if something is done at a high enough level it doesn't really matter what genre it's in... it transcends all of that.
Massive Attack had some pretty decent stuff back when. Of the same era, Crystal Method's song High Roller will give just about any rig a test when the bass eventually kicks in -- it goes down loooow. I was surprised once when I queued it up on a buddy's system with some mid sized bookshelf speakers and the note just wasn't there...
You need to experience a Stereo Integrity 24 inch subwoofer some day. significant 120db output at 16hz in a normal room, and 8hz shakes your core. And has some of the tightest audiophile quality bass out there. 1 of them has the same amount of displacement of (8) 18 inch drivers.Me again.
This time, back to Persian Mysticism EDM (Trance? classical persian mysticism, solidly electronified)
live recording by,....
https://www.dropbox.com/s/74u2u5ik91qhmo9/mysticism-edm_1644_t04.flac?dl=0
Solid standing spike at 18hz (see towering spike at the -48dB graph). I love getting hammered into my seat by massive amplitude.
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I can't stop listening to this genre, due to the recent FUBAR'ing. I have lots of dear friends from the surrounding regions (fortunately here stateside for decades now).
This organ used Velodne and Cerwin-Vega subs for three of the larger pedal stops (at the time of this recording). CV did the big reed, I think. Velodyne for the flue stops.
They used maaaany subs in the original design. This is a common practice in organ building when there’s no room for actual 32’ pipework. That stuff can be quite huge, both in height and width.
I built the subs for that organ as I worked for the company for 7 years. After I left he went back to using the antiquated huge box (32 cu ft) Walker Technical units. It was ridiculous trying to put those refrigerator sized boxes in the chambers. I designed all my subs to use Sonotube enclosures as they were lightweight and could stand up in the corners, or even be hung from the ceilings when there was no floor space left because of all the wind chests.
I worked with Angerstein on voicing the 32’. It wasn’t easy in that room, there’s a lot of null. The 32’ reeds were way too soft, I had him program some bite.
You need to experience a Stereo Integrity 24 inch subwoofer some day. significant 120db output at 16hz in a normal room, and 8hz shakes your core. And has some of the tightest audiophile quality bass out there. 1 of them has the same amount of displacement of (8) 18 inch drivers.
80 pound magnet for total control of the moving assembly/zero boominess. This one has the optional Carbon Fiber cone and dust cap
When you hear and buy one of these you will have bought the last sub in your life.
That is a Stereo Integrity employee. The rotary is 13K dollars and you have to have a rear room/chamber for it. The 24" SI sub goes down to the single digits too at a fraction of the cost and does so in a small box and kills the Fathom in output and extension.
now that I look at it more, I think that was the last organ I worked on and didn't go on the installation. Dan is a cool guy but I'm really surprised that Cornel hired Dan as Dan was on his poo poo list when I left the company. At one time we were using the 824 Mackie studio monitors, but I heard he went back to all Walker stuff.
Charles, the then music director of the church (and very good friend) pushed for Dan A. He did well for that instrument.now that I look at it more, I think that was the last organ I worked on and didn't go on the installation. Dan is a cool guy but I'm really surprised that Cornel hired Dan as Dan was on his poo poo list when I left the company. At one time we were using the 824 Mackie studio monitors, but I heard he went back to all Walker stuff.
