I agree, your room, and your future room when you move (a few times perhaps), can be different, even hugely different than when successfully auditioned elsewhere and purchased. Or, bought based on high consensus of reviews/owners.
They may not seamlessly blend as designed/measured at that distance in that room within those decor limitations.
driver level controls: my vintage 3 way speakers have ’brilliance’ and ’presence’ rear controls.
They can work to modify the relative volume driver to driver (after the crossover has done it’s frequency division work). (I’ve tried equalizers, but they work prior to speaker crossover, never got results I preferred).
tricky, or very tricky, but if carefully adjusted, a lot of patience, some help from tools/controls/friends they can improve results, ’save the day’, some, or entirely.
even more tricky, because they are interactive, like an old carburetor, fuel mixture interacts with idle speed, adjust presence changes horn mid before you change brilliance, etc.
15" woofer, horn mid, horn tweet. new enclosure, drivers from fisher president console, from 1958. Electrovoice Drivers, electrovoice crossover, Ceramic/copper wound rheostats (no brand). 16 ohm. they can be seen in one of the pics in this eBay listing
https://www.ebay.com/itm/133527873619
I have used these speakers in 3 separate rooms, and with a variety of tube and ss pre/amps.
My av consultant’s pro sound meter achieves mathematical balance driver to driver and side to side (lot of work/patience/start/break/back at it). However, like my JSE Infinite Slope Model 2’s, the most accurate speakers I have owned, after several years, you might decide perfection is too analytical. I happily went back to my tubes, horns and LP’s.
McIntosh Preamp’s Mode Control has been the true successful tool for this, combined with very very familiar music.
see pgs 6 and 7. it was new for my current mx110z; and I used it on my SS C28
http://www.berners.ch/McIntosh/Downloads/MX110_own.pdf
To get the full range of frequencies of a piano, matched so no wander occurs side to side, no slight height movement out of imaging, oh boy, however, once achieved, you can think of them as if the speaker designer came and designed an individual crossover for your room. Move to a new room, like the shampoo says, ’repeat’.
get Cassandra Wilson’s full range to refine mids, again, no wandering relative to frequency.
also, our hearing changes as we age, and not always symetrically, so adjustment ability can be an asset, again, that McIntosh Mode switch a huge help.
They may not seamlessly blend as designed/measured at that distance in that room within those decor limitations.
driver level controls: my vintage 3 way speakers have ’brilliance’ and ’presence’ rear controls.
They can work to modify the relative volume driver to driver (after the crossover has done it’s frequency division work). (I’ve tried equalizers, but they work prior to speaker crossover, never got results I preferred).
tricky, or very tricky, but if carefully adjusted, a lot of patience, some help from tools/controls/friends they can improve results, ’save the day’, some, or entirely.
even more tricky, because they are interactive, like an old carburetor, fuel mixture interacts with idle speed, adjust presence changes horn mid before you change brilliance, etc.
15" woofer, horn mid, horn tweet. new enclosure, drivers from fisher president console, from 1958. Electrovoice Drivers, electrovoice crossover, Ceramic/copper wound rheostats (no brand). 16 ohm. they can be seen in one of the pics in this eBay listing
https://www.ebay.com/itm/133527873619
I have used these speakers in 3 separate rooms, and with a variety of tube and ss pre/amps.
My av consultant’s pro sound meter achieves mathematical balance driver to driver and side to side (lot of work/patience/start/break/back at it). However, like my JSE Infinite Slope Model 2’s, the most accurate speakers I have owned, after several years, you might decide perfection is too analytical. I happily went back to my tubes, horns and LP’s.
McIntosh Preamp’s Mode Control has been the true successful tool for this, combined with very very familiar music.
see pgs 6 and 7. it was new for my current mx110z; and I used it on my SS C28
http://www.berners.ch/McIntosh/Downloads/MX110_own.pdf
To get the full range of frequencies of a piano, matched so no wander occurs side to side, no slight height movement out of imaging, oh boy, however, once achieved, you can think of them as if the speaker designer came and designed an individual crossover for your room. Move to a new room, like the shampoo says, ’repeat’.
get Cassandra Wilson’s full range to refine mids, again, no wandering relative to frequency.
also, our hearing changes as we age, and not always symetrically, so adjustment ability can be an asset, again, that McIntosh Mode switch a huge help.