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Wow, even Acoustic Research made a KABUKI!

bully said:
They look like kabuki to me. Or Rectilinear speakers.

Thats what I wanted to stress. They appear to my eye to fall into the kabuki class. Dosen't mean they sound like arse. I also wonder how the same drivers would sound in a classic AR box with maybe 1 or 2 tweeters and 1 or 2 mids with the same woofer.

I wish I could sample their sonic capability but I probably never will in my lifetime. :sigh:

Didn't mean to stomp anyones toes here. Just my at times harmless bluntness.
 
For the Record...

There is a definiton of "kabuki", as it relates to speakers, and this discussion.

Our own Don McR is credited with this definition

The LST is so many ways removed from "Kabuki". I heard a pair only once, but the memory stays, of a speaker which compels you to listen. Not casually, while you chat, but with full attention.
 
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TrexT said:
Thats what I wanted to stress. They appear to my eye to fall into the kabuki class. Dosen't mean they sound like arse. I also wonder how the same drivers would sound in a classic AR box with maybe 1 or 2 tweeters and 1 or 2 mids with the same woofer.

I wish I could sample their sonic capability but I probably never will in my lifetime. :sigh:

Didn't mean to stomp anyones toes here. Just my at times harmless bluntness.

So, what I'm getting here is that any speaker with more than 3 drivers in it is kabuki to you. Guess you can make your own definition if it makes you feel good. Going by that criteria, here's some more kabuki:

SDA_SRS.jpg
 
Do the name DiPolar or BiPolar mean anything. . . Everyone was searching for "spatial" sound or the next better thing than just plain stereo. . . Several high dollar speakers took this a step farther and some highly regarded not so expensive speakers as well. . .

Kinda reminds me of an early Definitive Technology BP-10/20. . . Got to remember back then there were only ears listening. . .not the computer models we have today. . .

I might say 911 but I am not going to insult AR. . .

Maybe I am not saying this right but I too know these speakers. . .A friend of mine's Doctor father bought a pair of these and every audiophile in the city had to listen to them. This was a small town in South Georgia so it was big news there. . .

Matter of fact it kinda bristles the hair on the back of my neck as well to hear them compared to Kabuki. . . . Hardly. . . Even if it did not work it was a serious attempt to push the envelope not some bull **** just to make more money and sell the nare do wells a speaker for nothing but sheer sound pressure levels. . . .
 
Granted the LST may have a certain "kabuki" aperance to some and frankly they are not the most atractive speakers AR has produced imho, but most people who have had the opertunity to give them a listen have been most impresed by them. Provided they are set up in the room correctly. They have to be placed at least 2 feet above the floor for optimum performance (preferably wall mounted). You also have to bare in mind that these were initialy designed for profesionall aplications and I think were only offered to the public through speacial order. I just hope I'm fortunate enough someday to find myself a pair, or at least someone who owns a pair that I can give a good listen too.
 
If you think the LSt is kabuki then you'd be better off dropping the use of the term altogether. The LST probably is the pinnicle of the original mission that started AR which was to make a small box match the sound of the big box speakers of the day. The LST did it in spades. When you talk of desired charactoristics of speakers today most of the terms do not apply to the big box sound that was designed to give a wall of sound. The AR1 and 3 did many things well but next to the big boxes still sounded like a small speaker and the race for soundstage was set in motion. The LST got the wall of sound the 1 and 3 missed reproducing. In today's norm of small speakers few may understand this. The LST is the only speaker IMHO that really got into that select realm of the upper crust of speakers for sound. They do not go for as much as I think they should (I don't own them so not a self serving statement) and to mate them with electronics that they need to work well with can cost 2x as much as the average price of them. Also, need a really good shelving setup since they were designed specifically for a shelf and tying to the wall and it needs to be inert. Not an easy task given the weight.
 
That was Bob Hinkle. Played lots of music and managed many well knowns.


Bob toured with the legendary Mitch Ryder and the Detroit Wheels, singing backup vocals for Ryder and opening the shows with his own group, The Good Earth. One night in Cleveland in 1966, Jimi Hendrix and Noel Redding were hanging out backstage. Hendrix borrowed Bob's guitar and sat in. It wasn't a great guitar but Hendrix was so incredible he didn't seem to notice or care. He was happy just to play. In those days, an artist did live television shows in the afternoon and played the concert at night. Bob has remarked that he was at times the only one on the tour bus who wasn't high, and that convinced him to earn a BA in Broadcasting from the University of North Carolina.

After training at advertising giant Young & Rubicam, he became Co-Director of Ampex Records and recorded for the label as an artist. From 1972 to 1974, Bob consulted for Capitol Records, The Band, Albert Grossman (manager of Peter, Paul & Mary, Bob Dylan and Janis Joplin) and Audio Fidelity Records.

In 1975, he co-founded Hart & Hinkle Management with partner Jeb Hart. Over the next fifteen years, they successfully managed the J. Geils Band, Harry Chapin, Manfred Mann, Naked Eyes, Patti Lupone, Etta James and many others. As partners in Kragen & Co, they managed Kenny Rogers, Kim Carnes and Dottie West. They had more than fifteen albums in the Billboard Top Ten and five #1 singles. Under their direction, Kenny Rogers sold 20 million records; the J. Geils Band, 5 million; and Harry Chapin, 3 million. In 1982, the J. Geils Band opened for the Rolling Stones world tour and Bob went around the globe on a private jet, often with Mick, Keith and the rest of the band. Bill Wyman nicknamed him "Puccini" after the famous composer. From then on, every time Bob spoke, one of the Stones would say, "Ah, Puccini begs to differ." Bob was also a member of the Carltones, a spin-off doo-wop band composed of members of the Stones and J. Geils Band. Named after the Carlton Towers Hotel in London, a favorite hangout, they rehearsed in Keith's bathroom for its acoustic quality. Their only gig was in a posh London restaurant disrupting Mick Jagger and Jerri Hall's "private" birthday celebration.

Bob's accomplishments already included sales of more than 35 million records when he convinced then-child actors Mary-Kate and Ashley Olson to make albums and videos. He conceived their game plan, executive produced and released their first several videos and LP's; the rest is billion-dollar history. In 1990, he became a founding partner of the Children's Group and launched the very successful Classical Kids audio and video series. In 1992, Bob founded Zoom Express, a co-venture with BMG/RCA. The company grossed over $5 million in the first 20 months and Bob became VP of Creative for BMG Video/Kidz. Throughout his career, he has negotiated recording and publishing contracts, optioned literary works for film and stage, managed worldwide concert tours, negotiated licenses for feature films, television and merchandising, and administered relationships with major talent agencies. Today he has a consulting company, Not Management, notmanagement.com, based in Brooklyn, New York. He advises the Smithsonian Institution, Hallmark Entertainment, BMG, Coat of Many Colors, Inc., Meltzer Media and individual artists. A friendly email will often get a friendly reply.

Bob has always been ahead of his time and so is his new company, Healing Rain. Healing Rain is a record label focused on sound healing music. Bob is producing a series of releases to explore this new landscape, as well as acting as an A&R source and advisor for Infidel Records. He lives in Brooklyn near his two sons who work the door when his band plays.
 
tentoze said:
Methinks if you ever heard a pair, you'd be at least biting yr tongue, if not swallowing it completely.

I agree completely! I have a friend with two sets and they are some of the best sounding speakers I have ever heard! :yes:
 
TrexT said:
Thats what I wanted to stress. They appear to my eye to fall into the kabuki class. Dosen't mean they sound like arse. I also wonder how the same drivers would sound in a classic AR box with maybe 1 or 2 tweeters and 1 or 2 mids with the same woofer.
QUOTE]

See the AR-3a. Which is also, sans grills, ugly as sin.

Hey, I dont' CARE how a speaker looks....the proof is in the sound.

BDT
 
TroyD said:
See the AR-3a. Which is also, sans grills, ugly as sin.

Hey, I dont' CARE how a speaker looks....the proof is in the sound.

BDT
I agree and disagree. I disgree about the 3a being as ugly as sin. I feel that they have a quiet understated dignity to there appearance espeacialy if you are fortunate enough to view a pair that are in mint condition. I do agree that the proof is in the sound. IMO the 3a's are more atractive than the LST's. I don't know why, it's just a subjective thing, but sonicly the LST's would eat my 3a's for lunch.
 
With the grilles on, they are VERY nice. The pair I had, the cabinets were to die for. Without the grills on though, I just never thought they were much to look at.



BDT
 
Well, I have to agree with you on that. Most of the early AR's would never win any beauty contests with there grills removed. However my AR-3's were not all that unatractive in the nude. I think it just all depends on who was working in the factory that day.
 
1) The ARs were designed to include the grill cloth as an integral part of the system sound. Not sure why you'd want it off unless to repair. The ugly "paint" is actually a sealer to assure a complete seal. They found in production that there could be air leaks without it. Maybe more companies should have paid such attention.

Don's def of kabuki actually parrellels what I had first perceived as being the definition as used here early on but the use of the term has moved from it. Only difference between his definition and my perception is his limiting it to Japanese. I tend not to identify it with any country though from my experince the earliest examples of this genre were from offshore.
 
botrytis said:
If you don't like something, don't comment!!

Dave

Wow, interesting concept.
If you don't like/disagree, just shut up. No conflicting opinions, please.

And yes, the emperor DOES have clothes.

Give me a break.
 
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