Видео

Vielen dank,du inspirierst mich ...

I wish i could listen to Geri Halliwell Bag It Up, on this epic setup.

He can enjoy a cigar while listening to his great system with great music, must be heavenly.

Awesomely put together video/argument. I try bringing out the artist's intent and energetic input so I increase the chance that many recordings surprise/impact me, or that I 'get a piece' with it. This seem to come mostly from optimising the room-speaker-amp combo but It's very hard developing this and it seems fragile; some small change can ruin it...

Thank you for this video

fucking pimps

hello handsome grandpa. i already listened the top of the line wilson audio, sonus faber, tidal and the nautilus B&W they are big disappointment only loud dominant bass and no imaging. performers inside the box. what do tou call a system with thick and heavy footprints at the center speaker and wall disappear.

The only issue in high end audio is whether or not the owner enjoys listening to the system and whether that enjoyment is sustained. Everything else is self-referential projection. As a friend once told me, “I know it sounds wrong but I like it”. Nothing else matters.

i remember being on his forums many years ago . The guy was a blast

The problem with recording a stereo playback is that microphones can not deal with early reflections. Our perception can locate reflections but to a microphone it is all only pressure with no directional clues. Comb filtering creates a mess. The larger the radiating area, the bigger the issue.

Welcome!--you have opened the Pandoras box of your knowledge for the great unwashed--followed you for years even in your semi recluse mode--we used to chat back in the Koschca (RIP) days--please carry on and enjoy the limelight !!

I really enjoyed this video. Romy's subjective descriptions about the tones of bass or the textures of bass relative to various configurations and drivers was really great. As if gaining a wider vocabulary for trying to characterize bass. And, I think this corner horn investigation is very interesting. It is hard to find corner loaded horns from manufactured speakers that don't have a lot of corners to try, or the vintage versions are large and somewhat expensive. This experiment suggests it might be worthwhile to try to build a corner horn with simple non resonant bends.

I really enjoy your videos, a very fresh and intellectual approach. Something to learn from. Could you please introduce your system in details? It seem very interesting.

What are u bubblin' high head frm a cigars..Face the facts noobs..Nowdays all analogue rec mechanism are Squeeze into BITs noobs, Like it or not.. Vinyl, CDs n ur case Tapes are just a nostalgic of nice memories..Yup Pcm or Dsd or even Dxd towards flacs that most of users now..Welcome to the futures Noobs!..Yup the quality is Way better then before includin'ur Tapes eras..ha4..be sober when u explaining knowledges noobs..ha5 Peace!

Well your website is broken on your homepage - As well in the link provided here - ??

Really enjoying your videos. Pls keep making more. I am a novice but enjoying horns and compression drivers in my system. Thanks.

Romy the Cat Audio, you have been around for some time, and now here, welcome.

Have heard this guys system and believe me you have no idea how good and deep the rabbit hole goes. I am not a newbie by any means in this game and he is next level

14:35 I didn't know they had ports in the Jubilee's compression chamber. Abomination!

9:01 How would you feel about a 4-way design where the Jubilee horn is plugged into a normal Klispschorn to cover just the lower midrange? In normal midrange K-horns the midrange horn does most of the work, covering, I believe, the range between 300Hz and 3.5kHz (which is about 3.5 octaves) vs. the bass horn which covers the rest (about 3.3 octaves). Interjecting the Jubilee horn for the lower midrange would give the regular midrange horn more room to breath while also possibly lowering the cross-over point to the bass horn by 1/3 of an octave.

Generalisations! I can do that job, too. Blahblahblah. With or without competence. Just add „to me“ often enough to make it an opinion. I only agree to one point: The Hifi-System should not drive your musical taste. A wideband driver does not make any listener more stupid than he already is, equally one could say multi-driver systems make listeners stupid. Just by saying such, you show how handicapped you are. The judgemental boxification of hifi-terms is for morons, regardless of their experience and competence. A mini is a car, so is a beetle or a samba, just like a Maybach, Bugatti, etc. The rest is elitist BS or personal priority.

Within its limitations a well designed single driver back loaded horn loudspeaker can sound very good and combined with well designed simple tube amplification is a great way for people to have a place to start without spending an enormous amount of money. You have to start somewhere.

I heard here many times repeated "second harmonics" which was not defined how to understand it .I suspect author has in mind some original harmonics which are due to many reasons lacking because overlayed by most speakers systems . . So far I heard many times about second raw harmonics distortions which is must in el guitar amplifiers.

talkative old dog the ultimate is a system with deep imaging. i already listened the expensive wilson sonus focal and tidal, all garbage no imaging only loud for deaf audiophiles.

Time to give up the smokes I think "

What a sad clown you are !

Romy the cath has good ears and taste, inthe 60 ies in Belgium a audio brand 'Dumortier' Sforzando ' told me 'the best mid ' is the vitavox driver...he prefered actif crossovers , he saw amplifiers having stability issues caused bi caps in passif crossovers....he make klipsch alike systems with vitavox mids and electrovoice 18" bass....

Talking is cheap... ruclips.net/video/_Y0aJ851Kec/видео.html

The Voxativ products tell me a other story to my ears. Just listen;) everybody has other preferences..

You can cut off the whizzer cone and then have an excellent wide band driver.

What was the name of your breakthrough amplifier? I am not hearing you well. Is it Hamal 2? Amal 2? ML 2? Transcripts see it as ml 2. Could you please spell it out? Just wondering. And was this a prototype amp where there was no mass production, or are there examples of it around. As much as I am a fan of audio equipment, the cost does not justify the purchase to my ears since they are not what they were 30 year ago. My passion is discovering new works I have never heard from new composers to me. I am fairly flexible on what system I am listening to them on.

Full-range is a bad name. There is nothing full about their response. Wide band could be more realistic. The issue of tonal requirements for each band is not even understood by the single driver advocates.

Is this the money laundring Audio Mafia :)

Great insights. Sadly today high end audio is too much about egos and insane price tags.

Hard to see you through your haze of cigar smoke Romy! Hopefully all your high end expensive audio equipment doesn’t smell like a old dirty cigar

Sorry I fell asleep.

Wasn't loud enough. Flame didn't get extinguished with last note. Try the “Firebird” next time.

Totally agree, there is no “Absolute Sound” that all the audiophile tends to reach. Beauty is in the eyes of the beholder. 😉 P.S. I like your approach! ❤

Is this the Macondo? 🎉

I used to read your bullshit posts on Audio Review and Audio Asylum, and then some truly ripe horseshit of yours in The Bruckner Journal. And now, here you are, on RUclips. Yow. Same as always, except now you're using more profanity. You're like a real life Freddie Krueger - always popping up.

Love this guy. He needs to be the subject of a documentary. Of course I think he is completely full of it but he's still amusing.

Romy what do you say? Keep a DAC running 24/7 or switch it on and off?

You bring up an important point about discovering something about the way a system “informs” you as to what engages and involves you in the sound. You have to be open to this and it isn’t a cerebral analysis of sound which is the way most audiophiles are oriented. I only differ with you in terms of your often mysterious and extremely complex methods of attaining a compelling system (elaborate horns, SET etc). In my experience, this involvement can often come from very simple systems, often with very obvious errors of sound reproduction (usually omission).

If the Jubilee is the FIRST horn system that someone hears, they will certainly be dazzled by the shear size and scale of the presentation. If they are deaf, they will think that they actually hear highs and lows, BUT soon will discover that scale is much different than extension.

I think it is the best commercial speaker I have ever heard. But that is not saying much.

The passive crossover ($4000) for the Trio G3 is optional for those who don't want to buy the active version of the Trio G3 and like to still drive the trios with tubes. iTorn package is a multi-amp current drive amplification (10 watts solid-state) that uses its own active crossover before amplification, and each amp is directly coupled to a driver. One can buy with just the passive crossover, just iTron or both. There is also a remote switch that allows switching between the two on the fly, its an intresting option for compering current drive to voltage drive mode on Trio G3.

Trio is too light on the bass, like they always have. If floorspsce is sensitive it is better to use it on the midrange and compromise the midbass, instead of some kind of a limp midbass channel with a tiny horn, and try to cross it as low as possible with a large midrange horn. The Trio Basshorn is strangely playing much higher than the usual 80Hz for a subwoofer. And it is not that it plays so much nicer than a regular subwoofer.

We could try it here with. Y woofer horns which hav 2 drivers each, if you have a delay unit? Bill

T R U M P 2024 asssholes!

Articulation, not accents