In addition pumice would display no, or negligible, electric conductivity. The disadvantage is that--being essentially a glass foam, it is relatively fragile, and will withstand torque or shearing stresses somewhat poorly. In that a metallic foam would be superior. . . but do we want the entire speaker to conduct electricity? |
Huh? Not sure if I am missing something in the news, but I was not aware of any recent scurrying movement towards sheltered or reinforced real-estate facilities by any audio manufacturer. |
In a more serious vein, if DK was seeking a superior non resonant material for the speaker chassis, how did choice fall on Aluminum? Aluminum billet rings like a bell when struck. Magnesium for one is a lighter and less resonant metal. More exotic, non metallic materials are used by other manufacturers. One material no one has applied to speakers yet is Pumice, a natural vulcanic glass foam. Extremely light, rigid, and sonically extremely inert. Cannot be used for outer surfaces because of its texture, nevertheless could be used in non exposed load-bearing areas. |
Art, I am herewith electronically blushing! |
Ok, my previous post went right over the edge and its tone was unwarranted. I have requested Agon staff to nuke it. Having fun of Trills, thrills and frills is fine, but the rest was unbecoming.
But let's all use spell-chuckers folks, or our spillings will go on right to the dogs! (or is it to the ducks?) |
Marco, I should have given Italian birra to drink to my Bengal finch. I am sure he would have trilled his little frilly heart out with it for the thrill! But red Barolo would have been even better.
By my request Agon has nuked my original post. |
Hey Boa2, where were you when I was taking ESL classes? You should have voiced your well founded objections with my teacher: that most cruel Mr. De Simoni insisted failing anyone who had more than two spelling errors in their paper.
In the end he clearly turned me into a spelling prude! |
Of course, a much more erudite moniker would be Brazzaman, from the original Italian Brazza, standing for 'viola da Brazzo', then 'viola da braccio' in more modern guises. the German 'Bratche' is but a typical transalpine translitteration. But Essentially, Ellery's observation is correct. . . and, by the way, welcome back Ellery. . . did you stop driving at the edge of the Pacific? |
Very good point JAX2, in fact the aforementioned brazza, was thusly called for being held by the 'brazzo' or arm in vernacular Italian, as opposed to the 'viola da gamba', to be held on or among one's legs. This was also called simply 'gamba' in the English world, or 'gambe' [pron: gambeh] in the Transalpine milieu. Interestingly enough, the variant 'gambo' was never used, where 'voila da gambo' would have meant viola for the stem, probably because this particular term also is often used with the same delightful metaphorical connotations as the otherwise nutritious Bratwurst. Even more so, even though anatomically more precise, 'viola da coscia' [pron: cosha] or thigh viola' was also never adopted, as the sexual association is even more at the surface in most languages. But in some alternate reality the Rose Consort is probably now playing on 'Coscias' while German Early Music bands fiddle on the Kosche or the cosche. Hence in this alternate world Koschenman would make a very brave moniker. I should really contact Dr. Harry Turtledove, master of alternate histories. |
AudioAri1, if only these things were 'jug'-based, I'd be the first in line to buy them. At least they'd be based on something 'tangible' and definitely enjoyable. |
Tom, I actually prefer purely carbon-based, auto-hooking, self-playing and. . . most eminently and concretely 'tangible' 'jugs' and jug-generating systems. |
