Big speakers, are they really the best way to get great sound?

toddalin   I have neither of those selections, nor do I stream. I prefer classic rock, especially in SACD format. 

Those big speakers do well on C. Rock but delicate music. I heard JBL Everest with Luxman 300B amp from my friend 30 years ago. He also had A7 VOTT. I was in heaven listening Rickie Lee Jones (Pop Pop). 

One of serious limitation for big horn speakers (compression driver) is the dirty and rough sound. Only thing it does well is hard hitting sound such as a drum. I don't want to listen C Rock all the time.  

My system does well on all kinds of sources (CD, MP3, MP4 (YT music), MOV, etc.) and genres (Rock, vocal, classical, small chamber, Piano, violin, audiophile, fusion, etc.). Live recordings below. Many of them are YT downloaded MP3. Alex/WT

Schbert - Fantasie C Dur, Allegretto, 

Vivaldi - Winter (Four season) 

Mozart: Violin Concerto No. 3 - Hilary Hahn,

Scorpions - Wind of Change

Pink Floyd – Time

Self Control - Laura Branigan

Lidia Borda - Cuando silba el viento

Stars Fell On Alabama - Ella Fitzgerald, Louis Armstrong

Wipe out (Surfaris); drum by Sina

Cantate Domino - Hosianna

Edith Piaf - Non, je ne regrette rien

toddalin

BTW, I hope that you are aware that the version of Hey 19 I recorded is from the SACD and not the red book CD so may sound a bit different just by virtue of that fact. Also, it is not just your Hey 19 recording that sounds "cupped" to me. I think most/all do to some extent. I don’t think I could live with it.

1st, no audio reproduction is perfect. I know my system is not perfect but my system is closest anyone can get in reproduction audio.

You are right and I agree that most/all my recordings sound "cupped". I know its because all original records are cupped in some extent. I said all audio systems in the world are flawed, also all recording equipment are flawed too. Ex.) All microphones in the world are not made properly. Same problem for mixers. I only know how to make them properly and I’ll start to make proper microphones soon. Alex/WT

1st, no audio reproduction is perfect. I know my system is not perfect but my system is closest anyone can get in reproduction audio.

@mihorn Your statement is a little presumptive, don’t you think?

I heard your system at the last THE show; let’s just say that it might behove you at the next show you attend to actually go around the various rooms and have a listen to what the other exhibitors are doing.

mihorn,

I don’t use horns on the Mermans because I believe in time alignment and think that this is a prerequisite to a better soundstage and imaging.

I do have horns on my JBL L200/300s, and one-off, custom tri-amped, Altec Big Red Supers, but neither hold a candle to the imaging I get from the Mermans which is totally unlike anything I’ve heard at any price.

The History of the Mermans

I was dis-satisfied with the way the L300s rendered female voices (especially Joni Mitchell) and was determined to produce a speaker that could do females justice. But the caveat was that they had to play LOUD! Ethel Merman was well known for having a very powerful voice, but being Too Loud "Too loud they said," she says in one of her movies.

Ethel Merman (born Ethel Agnes Zimmermann, January 16, 1908 – February 15, 1984) was an American actress, artist, and singer. Known primarily for her distinctive, powerful voice and leading roles in musical theatre, she has been called "the undisputed First Lady of the musical comedy stage".

Among the many standards introduced by Merman in Broadway musicals are "I Got Rhythm" (from Girl Crazy); "Everything’s Coming Up Roses", "Some People", and "Rose’s Turn" (from Gypsy—Merman starred as Rose in the original 1959 Broadway production); and the Cole Porter songs "It’s De-Lovely" (from Red, Hot and Blue), "Friendship" (from DuBarry Was a Lady), and "I Get a Kick Out of You", "You’re the Top", and "Anything Goes" (from Anything Goes). The Irving Berlin song "There’s No Business Like Show Business", written for the musical Annie Get Your Gun, became Merman’s signature song.

Performance style
Merman was known for her powerful, belting mezzo-soprano voice and precise enunciation and pitch. Because stage singers performed without microphones when Merman began singing professionally, she had a great advantage, despite never taking singing lessons. Broadway lore holds that George Gershwin advised her never to take a singing lesson after she opened in his Girl Crazy.

Profanity
Merman was notorious for her brash demeanour and for telling vulgar stories at public parties. For instance, she once shouted a dirty joke across the room at José Ferrer during a formal reception.

While rehearsing a guest appearance on The Loretta Young Show, Merman exclaimed "Where the hell does this go?" Young, who was a devout Catholic, advanced towards her waving an empty coffee can, saying "Come on Ethel. You know my rules. That’ll cost you a dollar." To which Merman replied "Ah, honey, how much will it cost me to tell you to go f-ck yourself?"

daveyf OP

I heard your system at the last THE show; let’s just say that it might behove you at the next show you attend to actually go around the various rooms and have a listen to what the other exhibitors are doing.

I made some mistakes with my audio system at last Orange County show. I am not happy with that sound. My system is much improved after The SHOW 2023. Also, I didn't use the sub-woofer then.

I look around almost other rooms to hear any thing changed at the show every year. 

Thank you very much for your interest and watching me!   Alex/WT