Post by: leon garrity on July 03, 2010, 08:26:34 PM
The first night i used the system was not very good as i used a main Left Right/Aux Sub mix and if im honest it sounded not very good,it was quite a hash but not of the boxes sounding bad but down to the fact i didn,t do a proper set up.More of a rush job.
I set the
tops to a 65hz 24db BW/20kHz 6 db BW
subs to a 25hz 24db BW/75 hz 24db BW
the tops sounded not very full and quite harsh,the subs sounded a little mushy,not the boxes but due to to user set up more so i think.
Tonight was a different matter i used a full stereo mix with the same settings as above also with the SH100 being brought into play as a side fill as it was an awkward shaped venue,i have to say i think this is an amazing box and if im honest it sounds a little sweeter than the SM60 but thats my opinion,although albeit not as loud but it is an amazing box.
When my Bass player sang i went around the room to listen i was amazed how the sound was even throughout,very full and no holes in the sound,it projected very well but with a smoothness all round,in comparison to my old EAW rig it sounds just as fullif not fuller but with more coverage,Even though EAW states that the KF695 is 133 db max i think that the SM60 is a louder box but nicer on the ear,when i used the Gunness focusing from the UX8800 on the EAW it sounded sweet but IMO it lost feel.The Danleys did not and that had no processing apart from the simple BW slopes applied.
I know this is my first 2 days using the rig and once set up properly it is going to be everything i thought it would be,all in all im really happy with what i have heard so far.My next thing to do is another 2 SH100 to use as extra coverage and also the Danley processor rather than the UX8800.
If anyone has any advice for me then please feel free to offer as i just want the best from the rig,whether im using the correct crossover setting's etc.
Leon
Post by: Reggie Kendrick on July 04, 2010, 11:58:21 AM
| leon garrity wrote on Sat, 03 July 2010 20:26 |
Well first weekend for the Danley SH100/SM60F/TH115 set up.... I set the tops to a 65hz 24db BW/20kHz 6 db BW subs to a 25hz 24db BW/75 hz 24db BW the tops sounded not very full and quite harsh,the subs sounded a little mushy,not the boxes but due to to user set up more so i think... Leon |
Hey Leon,
If I'm not mistaken, I believe part of your issue is having your tops conflict in the 65Hz-75Hz range with the sub. I would think you should have your tops start at 85Hz-90Hz with a longer slope since your subs end at 75Hz. The way you have it set up would yield a muddy/mushy sound in that frequency area.
Post by: Langston Holland on July 04, 2010, 07:43:12 PM
| Leon wrote: |
My next thing to do is another 2 SH100 to use as extra coverage and also the Danley processor rather than the UX8800. If anyone has any advice for me then please feel free to offer as i just want the best from the rig,whether im using the correct crossover setting's etc. |
Hi Leon:
Both the UX8800 and Danley processors have more than enough power to address anything you'll need to do with your new loudspeakers. You do not need to buy a Danley processor to optimize the performance of your Danley loudspeakers, but if you need another processor it's a good choice.
Post by: Ivan Beaver on July 04, 2010, 08:03:38 PM
| Langston Holland wrote on Sun, 04 July 2010 19:43 | ||
Hi Leon: Both the UX8800 and Danley processors have more than enough power to address anything you'll need to do with your new loudspeakers. You do not need to buy a Danley processor to optimize the performance of your Danley loudspeakers, but if you need another processor it's a good choice. |
Agreed. His money would be better spent on another loudspeaker.
The Danley processor does not have any "presets" in it. So there is no advantage there.
Post by: leon garrity on July 04, 2010, 09:23:25 PM
I dont know if im using the UX8800 correctly?????
I will explain how i have got it set up.
Output 1 & 2 tops from input A & B
Output 3 & 4 subs "" "" "" ""
output 5 centre speaker from input D
Now on the X OVER function i dont know if i have set it wrong?
where it says frequency, there is an upper and lower frequency
is the top one the LPF say from where you want it to start and the bottom one the HPF where you dont want it to go above? or have i got them wrong?
i have set on outputs 1 & 2 top frequency setting at 65 hz 24db bw,bottom frequency set at 20 khz 24 db bw.
i have set on outputs 3 & 4 top frequency set to 25 hz 24db bw
bottom frequency set at 85hz 24db bw.But i am having to add 8db of gain just for it to match or it gives very little to the amp?????
Im not familiar in using the UX8800 as a system processor?????????
Post by: Langston Holland on July 04, 2010, 10:17:55 PM
I own a couple of UX's and can help you figure out how to set it up, but I need to understand what your goal is first.
Three questions:
1. Do you want to have independent control over sub volume from your console by using another output in addition to the two you'll be using for the left and right mains?
2. Do you want the center loudspeaker to have a different mix in it than the left and right mains, or a summation of the two?
3. Do you want to have independent control over center loudspeaker volume from your console?
If you want independent volume control from your console of all of the above, you'll need (4) outputs on your console with the ability to send what you want to each of them. You can achieve an excellent result just using the left and right outputs and have the processor route things as needed. It just depends on your taste and console's ability.
I'm going to have both SM60F's and TH115's at my disposal later this week, but I'm slammed with shows through the 11th. If you can give me clear answers to the above I'd be glad to develop a preset that you can load, study, then try out.
Post by: leon garrity on July 05, 2010, 02:01:22 AM
many thanks for your reply,im going to set different settings so to speak,i will explain then you can grasp my goal.
The console i use for my shows is the Presonus Studiolive 16,4,2
the reason beingits got everything in one console,comps,gates etc....
it has main left/right and a mono sum but not independent on a slider it works in conjuction with the main slider but there is a gain pot on the back to level up with which goes from -80 to +6db of gain.....
My options are this.
Main Left/Right tops SM60f
Aux Sub TH115
Mono summed centre SH100, now i tried this way and to be honest even setting the SM60 to 65hz at the low end they didnt give much in the way of bottom end vocal,unlike the KF695z did.They sounded very bright too bright really for my liking also the SH100 sounded beautiful from the mono sum output and that had a 160Hz crossover applied,but whether that was because it was recieving both left and right i dont know?
The subs were a little mushy on an Aux send,i couldnt really find how to blend them effectivly enough for my liking.
Also because the centre was summed and the mains were split left and right the SH100 shone out and seemed louder with less power and less sensitivity so whether that would cause problems i dont know,just for curiosity after last nights gig i sent the mono sum through all the UX8800 inputs and it sounded the same across the front of house very full and even in tone, i know some people dont like using full stereo ,but we use Backing tracks created in stereo and i like to keep it that way as i was told mono summing a stereo track can cause phase problems??????
so i have three ways of doing it.
1. Stereo mains and subs/mono sum centre.
2. Stereo mains and aux sub/mono sum centre.
3. All mono sum.
but then does the 3 different ways need to be given different crossover points.Also the UX8800 imports i think a factory set limiting/compression when you set your map.Does this work for Danley boxes even in system processing mode? or does that need to be turned off?
The thing which puzzled me the most when i did a full stereo mix for the tops and subs i had to apply a 10 db gain to the subs on outputs 3/4 to bring it back in line?????????
I hope all what i have written makes sense,thankyou for your advice.kindest reguards Leon
Post by: Ivan Beaver on July 05, 2010, 09:52:03 AM
Are you absolutly sure that your wiring to the SM60's doesn't have a polarity reversal somewhere? It could be in the signal or speaker cables or in a bridge setting on an amp or possibly an output polarity setting on the DSP. It sounds like you may be getting a LF cancellation.
Try this. Just using the Sm60's (no subs or Sh100)put them side by side-hardpacked angled sides together-not both facing forward.
Now in the DSP make sure both output channels are identical. If there is a copy/paste function that copies the whole output channel-then use that.
Now listen to some material that has a good amount of low freq.
In the DSP flip the polarity of ONE of the outputs (not both). Did you get more bass or less-ignore what happens to the mid/highs? If you got more bass-then you have a polarity reversal somewhere. If you got less-then your wiring etc is correct.
Regarding the sub output, adding level is normal-for a couple of reasons. There is loss associated with the crossover filters. Also typically our ears "want" the bass to be louder-so it sounds even with the higher freq.
Post by: Tim McCulloch on July 05, 2010, 12:25:08 PM
In the VerTec v.4 presets, the 4889/4880 preset increases the sub output by 10dB relative to the LF band pass.
While you might have some other things going on (and it sounds like you need some time to sort through stuff), adding gain to the subs isn't unusual.
Have fun, good luck.
Tim Mc
Post by: Ivan Beaver on July 05, 2010, 05:51:10 PM
| Tim McCulloch wrote on Mon, 05 July 2010 12:25 |
Specifically addressing the issue of added gain to the subwoofer band pass, it's fairly typical. In the VerTec v.4 presets, the 4889/4880 preset increases the sub output by 10dB relative to the LF band pass. While you might have some other things going on (and it sounds like you need some time to sort through stuff), adding gain to the subs isn't unusual. Have fun, good luck. Tim Mc |
And you typically don't run into any overload issues as the level has been reduced through the crossover "action" and the gain is just to get it back up.
Post by: leon garrity on July 06, 2010, 07:50:41 PM
Well had the rig set by an engineer today and it sounds frightingly good,very clear and goes loud without sounding nasty,
the engineer says it was amazing how good the pattern control is and how good it sounds everywhere in the room,give a further update after thursdays gig
Post by: leon garrity on July 11, 2010, 08:40:56 PM
well tonights show was scary for the reason that in 16 years of using various rigs from EAW to D&B to now Danley,the sound coming from these boxes was amazing but also how the rig had lifted in volume and clarity but only using half power,so im puzzled to say the least.Whether my connection from my 32 amp distro is faulty and not connecting correctly ,but the room was about 120' long 40' wide and 15 ' high.
The room was full of sound very even soundstage,the bass was defo hitting me right at the back but with clarity ive never heard before?????????????
can incorrect power affect the way Lab Gruppen amps work.
I am very confused.
Post by: leon garrity on July 18, 2010, 09:48:57 PM
well found that my patch bay was wired out of phase on the sh100 which explains the dodgy sounds i had (COMPANY WHO WIRED IT WANTS SHOOTING).
Also ran the rig very hard tonight and when i took the SM60 down the cab was warm,is it normal for this to happen,i think i pushed it a little more than it liked as it sort of went off for a second twice tonight.Only one of the boxes???????
Is there any protection in the boxes?????????
So now i know where i can push it to,from what the amps are giving out i reckon 1300 watts is going into the tops,i know there rated at 800 watts and 1600 program,does this mean you can give them 1600 watts or is that too much.
what would you ideally put into these top boxes.
The Sh100 can go loud with 800 watts at 160hz crossover,im crossing the SM60 at 100 HZ.Would i better dropping the SML on the Lab 3400 by 2db and it would get 1100 peak instead 1450?
Leon
Post by: Weogo Reed on July 19, 2010, 12:24:32 AM
I'm one of the very interested folks following your SM60F review - thanks for the update!
How many watts you can give a box is partly answered by how long a duration, and how frequently it is hit with higher power.
Clean or clipped signal is also going to make a big difference.
With the boxes getting warm, it sounds like they may be getting more power than they are happy with.
More rig??
Good health, Weogo
Post by: Silas Pradetto on July 19, 2010, 10:15:10 AM
| Weogo Reed wrote on Mon, 19 July 2010 00:24 |
Hi Leon, I'm one of the very interested folks following your SM60F review - thanks for the update! How many watts you can give a box is partly answered by how long a duration, and how frequently it is hit with higher power. Clean or clipped signal is also going to make a big difference. With the boxes getting warm, it sounds like they may be getting more power than they are happy with. More rig?? Good health, Weogo |
For the 100th time:
The shape of the waveform is irrelevant...it is only the actual power in the signal that matters. Yes, "square" or "clipped" waves may have more average power than a clean signal, but it's only the actual power that matters. (I guess you could say, that as the waveform gets squarer, less voltage is required to achieve the same power.)
If a speaker is rated for 500 watts RMS, it will take 500 watts RMS of clipped sine waves just fine.
As far as the speaker warmth, you have to remember that a speaker is very inefficient--only about 5% of the amplifier power makes it out as sound. The other 95% is made into mostly heat. So if you're powering a speaker with 1000 watts for a few hours, you essentially just ran a 950 watt space heater in the box for that long. It's no surprise that it gets hot!
If nothing's blowing up, then the heat is probably normal. There are a LOT of drivers in that Danley box in a small space, so heat is not unexpected.
Post by: Ivan Beaver on July 19, 2010, 11:12:37 AM
| Silas Pradetto wrote on Mon, 19 July 2010 10:15 |
As far as the speaker warmth, you have to remember that a speaker is very inefficient--only about 5% of the amplifier power makes it out as sound. The other 95% is made into mostly heat. So if you're powering a speaker with 1000 watts for a few hours, you essentially just ran a 950 watt space heater in the box for that long. It's no surprise that it gets hot! If nothing's blowing up, then the heat is probably normal. There are a LOT of drivers in that Danley box in a small space, so heat is not unexpected. |
Agreed-there is not a lot of airspace in that cabinet-and the driver magnets are right up against the panels. In fact they go into the panels a little bit (recesses to allow for proper placement along the horn).
Regarding the cutting out, there is no protection to keep you from letting out the magic smoke. If it was cutting in and out it could be one of a couple different things. The amp channel-the cable going to the loudspeaker or something loose inside the cabinet.
Intermittants are really hard to track down-especially if they happen only once or so a night.
Here is a fiberglass cutaway cabinet view.
Post by: Steve Hurt on July 19, 2010, 05:59:26 PM
It's action packed!
Post by: Weogo Reed on July 20, 2010, 01:03:36 AM
Thanks for the correction.
Good health, Weogo
Post by: leon garrity on July 20, 2010, 07:37:59 AM
Understanding how speakers work is valuable,just never felt heat on boxes thats all.Glad ive not fried them.
Went to listen to the boxes when my singer did his solo at the venue,its unreal how loud the boxes go but with clarity,no harshness just full sound.I understand that its not about volume but its good to see that a box can go loud and keep sonicaly good.We play in venues where the use sound meters which cut you off at a certain level of volume but generaly its bad bass frequencies that push it and make it trip.Since using the Danleys ive run it very loud and no trips.
Experienced bass from the subs to which ive never felt before,which delights Scott (BASS PLAYER) but when your wearing in ear monitors its a little unnerving when you swear you can feel the stage flexing,withoout doubt these subs are the best ive ever heard,i only have 2 quandries so to speak because of the light weight to size ratio of the subs they jump around and move,also there a little awkward to carry upstairs,ok if you have the handles but if your the guy at the bottom of the box its a tough carry.Was there no way that you could have incorpurated carrying handles into the boxes without altering the sound,every other manufacturer who makes touring subs places handles conveniently for ease of handling.I believe that Danley can become a major market leader in the use for concerts rather than the line array every concert seems to use these days.But my opinion is that they need to be more easier to handle.Other than that they are quite the perfect sub.
I know the tops are new on the market but IMO there is nothing on the planet in its size that can match it for output of a true DB rating and for more importantly the sound that comes from it,i used to use D&B c690 a very well made 12/2 box which sounded nice could go loud ,roughly the same price as i remember when i first purchased it.However not in the same league as this little baby.
Post by: Steve Hurt on July 20, 2010, 08:23:51 AM
| leon garrity wrote on Tue, 20 July 2010 07:37 |
\i only have 2 quandries so to speak because of the light weight to size ratio of the subs they jump around and move,also there a little awkward to carry upstairs,ok if you have the handles but if your the guy at the bottom of the box its a tough carry.Was there no way that you could have incorpurated carrying handles into the boxes without altering the sound,every other manufacturer who makes touring subs places handles conveniently for ease of handling. |
Rubber mats under the subs will help cure the walking.
Anyone who wants to make a sub that is user friendly to carry should look at the Yorkville UCS1 and copy the handle locations, especially the ones at the bottom and the bottom sides.
(my uneducated opinion is: if they were sealed, handles on the bottom and bottom sides of the TH115 wouldn't alter the horn path. I may be entirely wrong though.)
Post by: Ivan Beaver on July 20, 2010, 12:20:54 PM
Most concert systems are not carried up stairs. ALthough I have done more than my share of carrying a full rig up steps
.A handle or two could be added at the bottom front of the box without affecting the horn flare if you wanted to do it yourself.
Of course you could always just tip the cabinet a little more and let the guy on the bottom grab the wheels. That would probably make it easier on the guy on the top also.
Post by: Tom Danley on July 20, 2010, 12:38:55 PM
In an earlier post, in all caps as I recall, you asked “how do they do that?” and now commented “Understanding how speakers work is valuable” and the perceived sound vs what your used to.
I should have replied to your first question but I was very busy on something and sometimes it’s hard to shift gears. I will take a shot at that now.
We hear in stereo, in fact more than that, we can hear height and depth as well as left and right, we hear in 3d.
When we take one microphone and record or measure, we record the pressure information from one point in space.
If you put a speaker on a stick outdoors and play a voice through it and close your eyes, you can normally easily hear not just what direction it is but how far away it is also. Some speakers radiate “something” which makes them easy to identify in depth, others less so.
In the last 12 year I have been working on these horns, I found that the closer they became to one single source, the more difficult it was to hear how far away the speaker was with your eyes closed.
The aural clues that identify the “depth” have to do with how the sources radiate in space and NOT what you measure with a single microphone from one point.
So one could say my goal has been to make a multi-way speaker which radiated as a single source in time and space.
To answer “how do they do that”, it’s simple looking back on it.
All you have to do is make sure that the sources are about a quarter wavelength or less apart where they are to combine with each other or an adjacent frequency range. This means, like closely spaced subwoofers, they will combine coherently into an acoustic point source and radiate equally in all directions.
Then, if you don’t radiation in all directions but you also want the frequency response NOT to change with distance, then you want a constant directivity radiation. I chose the CD horn as being only one of very few ways to accomplish the desired CD effect.
A horn has a “high pass” filter effect related to how fast the horn path is expanding, for example a 30 hz horn has to expand at a rate where it doubles it’s area every two feet or so.
If you look at a conical horn, one can see that the area expands very quickly at the throat and slows as you progress towards the mouth. This means the horn has a different “low corner” depending where one taps into it. Thus, the horn is divided up into regions where the highs, mids and lows couple into it.
If you look at the picture Ivan posted, you can see how this is done.
The high frequency driver is at the center and radiates an expanding spherical segment wave front into the horn. As the frequency falls, it crosses over into the mid driver who’s energy is introduced into the horn through the four smallest holes at the rear. The four sources add together into one point source and at the frequency they combine with the high driver are all less than a quarter wavelength apart. As you can see, the hf driver is behind the mid driver. The low frequency drivers are next and occupy a larger dimensions.
In time, the signal emerges first from a high pass filter, then from the low pass filter. By using a non-traditional crossover and the physical offset in that position, one can produce a passive crossover that doesn’t have the phase shift normally present.
The combination of driving the horn at a small dimension makes the beam width constant through crossover, no lobes or nulls anywhere and fixing the time, means that most of the Synergy horns will reproduce a square wave anywhere form good to fair, over a broad band, not particularly dependant on position in the pattern.
If you look at the CLF file for the SM-60, you will see it has a very consistent pattern. As a result of being “CD” its spectral balance doesn’t change with distance or position while in the pattern.
So how does that sound?
Imagine you set off a large fire cracker, it is a short energetic impulsive signal that has a wide frequency spectrum. Imagine you recorded it and were able to spread that out by spectrum, divided into octaves and each octave delayed by a different amount, with the lows delayed the longest.
This is what speakers generally do, they have an “all pass” response in time and occupy different places in time depending on frequency.
The drivers on most speakers are also too far apart to combine coherently so if you look at a simple polar plot, one finds plenty of lobes and nulls in many directions and I believe these are in part what give the speaker a depth identity as well as excite he reverberant field (reflected sounds that compete with the direct sound). The goal with the directivity is to direct the sound to where the people are to minimize the reverberant field.
Reproduce, that firecracker with these issues and it will still sound like a fire cracker but now it is dynamically different, much subdued.
Now, if you look up the work by a hero of mine Dick Heyser and Time Delay Spectrometry, you will find the path that lead to your SM-60.
What you hear is one of my latest attempts to make a real wide band constant directivity acoustic point source. Fwiw, if you are inclined to try this, set the sm-60’s up in your living room and try your favorite recordings and old ones. That lack of depth identity makes for a much stronger stereo image than most hifi speakers can produce and the pattern control indoors is helpful.
For fun, try the fireworks recording at the bottom of the download page. This was from a couple years ago, I have a new one to put up from this year but it’s not there yet.
Anyway, I hope our pricing also makes them attractive relative to what they do, the mantle “you just can’t pay more, for sound this good” is taken so we went a different way. I am glad you’re enjoying the SM-60’s and subs, have fun and good music.
Best,
Tom Danley
Post by: leon garrity on July 20, 2010, 01:47:28 PM
many thanks for the reply unfortunatly i won't be cutting into these boxes as that would be the equivalent of drawing a moustache on the Mona Lisa.(LOL) i will just be carrying them with the wheels.I Kinda see the whole Danley thing as a big family and im proud to be part of it.You should all commend yourselves for the very openness and help in explaining your product,that is rareity in major manufacturers but one which assures a confidence.
I cant put figures down as im no scientist just an ordinary joe singer but for years i had a sound in my head that i wanted from a system, going through rig to rig i found different aspects i liked but not a complete package.
EAW sounded loud and full but needed huge power to get the best,also on some music it couldn,t cut it IMO.My experience with EAW is the tops were gorgeuos sounding but the subs were sloppy not tight.
D&B sounded fantastic and as a complete package of plug and play,simple.The downsides where it sounded so processed there was no life,music in my opinion should sound good but with a rawness in energy.Also there subs were horredous to use as there was so much bleed onto the stage no matter how you EQ'd them,the downside is that you really needed to purchase the D&B amps to run it.
Turbosound was my fave in my time as a singer bottom end was tight and sounded full,the tops were great vocally.Not bad for a design years old.
Then by chance i read an article on the Net over the TH115 which made my ears stand up, my dilemma was it just another company spowting hype and figures or could this be the shangri la of speakers?????????
single 15" sub performing that well impossible!!!!!!!!!
Top boxes being that good,clear .NOT MUCH PROCESSING!!!! It has to be impossible!!!!!!!!
So i carried on reading the reviews and i knew that i had hear them,at one point i was off on a plane from the UK to poland to hear Piotro's boxes,all my friends said your freaking crazy!!!!!!
So with gut instinct i bought these boxes and you know what in my opinion there aint boxes to touch them sonicaly,musicaly i have to say my friends Meyers do sound good but still dont sound as nice and there 256LBS per box!!!!!!!!! 10 times the size Keep them.
The nicest sounding rig i heard until now was an artistes L'Accoustics rig when my friend did follow spot for him but IMO still not as nice.One thing Danley provides you with is a full package.I fly the boxes 10ft high and theres no hole from top to sub,The SM60 just sings its ass off,never gets sharp in tone and just oozes quality.Since using these boxes the audience have listened more even when ive played very loud,the SH100 for its size should not do what it does for a single 8" Measuring only 10" deep.It astounds me everytime i turn it on.The TH115 scares me but in a buzzing way,my opinion off bass was this it was there just to give some oomph to the sound,never would i thought that bass could do what it does, Growl and Purr then knock your chest rumble your guts!!!!!!!
What i love is this that no one in my field has heard of Danley in the UK but when they've heard it the look of disbelief is a picture.I have never been as proud to use boxes as i do now with the Danley's.
Anyone who is thinking SM60???????? should i or not,well considering that i reckon if EAW or any other mainstream had created this box then you would be paying 2 to 3 times as much which in its self is an added bonus but with one more great addition these boxes are simply amazing.
Post by: Frederik Rosenkjær on July 20, 2010, 03:10:27 PM
| Tom Danley wrote on Tue, 20 July 2010 17:38 |
If you look at the CLF file for the SM-60 |
I would love to see the CLF file for the SM60, but I can't find it anywhere?
Post by: leon garrity on July 20, 2010, 05:25:24 PM
I did what Tom said to try the SM60 in the house as conventional Hi-Fi speakers and all i can say is WOW!!!!!!!!!
I have never heard anything like it,i tried various different types of music from rock,pop,jazz to John Williams Star Wars theme tune CD and my fave Neil Diamond.There aint just a stereo image which is lush but a very sincere 3D feel to all genres.It never gets bright or offensive,it stays beautiful and engrossing making you want to listen to the source material.
I did what Tom suggested and to listen with closed eyes,now ive never in my life experienced that,could i hell tell where the sound was coming from or how far the boxes were away from me????????????????? it took something to the next level i stood there walking too and fro and when i thought they were in front of me ,i opened my eyes and no they weren,t.
Then i played the fireworks download and played it.WOW that is scary espesh when your eyes are closed,you would swear that you were in a field watching rockets.Now thats amazing.
Anyone who wants some Danleys to use but cant stretch to the SH50/60 then these would be pure magic,playing the Star wars soundtrack took me back to my first ever visit to the cinema in 1977.In my home cinema i use Bower and Wilkins,a british speaker and they are in their own right fantastic but these speakers take something to the stratosphere.I know it seems that all i say is good words but with nearly 20 years as a working musiscian i haven't heard anything as good,so looking forward to the day i get the SH50 or 60's.Meanwhile those people thinking of getting some Danley SM60 jump in YOU WILL NOT BE DISAPPOINTED!!!!!!!!!!!!!!
Post by: leon garrity on July 20, 2010, 06:02:09 PM
you need to hear the SM60 mate,its amazing.
Post by: Ivan Beaver on July 20, 2010, 06:09:15 PM
| Frederik Rosenkj
Post by: Art Welter on July 20, 2010, 06:33:51 PM
|
. I just "assumed"-you know what happens when you do that.
.