To clarify the explanations a little bit: These were a prototype design that we (B&O mostly, Sausalito Audio a little) did in 2000-2001 as part of the general development of Acoustic Lens Technology. They were visualized as "meter-bridge studio monitors", and designed to sit on top of consoles in recording studios. The original system

I'm pretty much full on with Peter here. The big problems in audio have to do with transducers, particularly the ones which convert air to electricity or vice-versa. Really big losses occur during such conversions. For the rest of the audio chain, it is all pretty robust and stable in my production experience. Because DACs are, in fact, transducers

Good questions: The shape of the BL11 has little effect on its dispersion, because all of the wavelengths it produces are "large" relative to the device (ca. 3 - 18 meters). It is definitely NOT an acoustic lens! Regarding the BL2, I've never believed it was "slow" in an auditory sense, as described by many. I've found it

In response to jc's question: I've never auditioned the BL11, and have no opinion of it. However, it will not solve the problem I discussed. 2 drivers (as a general rule) do not have enough bandwidth to cover the 10 octaves of the audio spectrum (say, 20 Hz. to 20,000 Hz.). A good, well-implemented driver might cover 2.5 octaves in a reasonable

Happy New Year, everyone! May you prosper mightily this year!!! jc makes an interesting point, and he's not wrong. The BeoLab 3 is a 2-way speaker, and there is NO way that a 2-way speaker can cover the entire audio spectrum. Keep in mind that I use BL3s for professional production work, find them viable and like them a lot. Nonetheless, there is

Thanks, Andy, for posting this thread again! I really enjoyed my visit to Manchester, abnd it was fun to relive it through your posts! I've been quiet on this site for a while – there's not much to report on right now, I've had a couple of personal losses that have really bothered me, and health has begun to be an issue for me (I think

Alex asked: "Out of interest, as I really want to increase my level of knowledge about mastering, what do you actually use as a reference CD - a technical recording with test tones etc... or musical content. If the latter, what do you actually use, and how do you choose it?" About five years ago, I created a CD for this very purpose. It includes

This is quite an interesting thread. For background information there's an article on my website that you may find useful: http://www.moultonlabs.com/more/taming_wild_mastering_levels/P0/ It is writeen for audio professionals, not consumers, and it discusses the problem from the standpoint of mastering ngineers. Nonetheless, you all may find it

Stick with the BL1s. Great speakers! Best, Dave

I'd like to apologize for not having followed up on this thread. I caught the Mother of All Colds, got behind, acquired some new projects suddenly, and have also been traveling. Next week: Texas! I promise to get back to you all with thoughts on this when I get back from that trip. The thread is actually quite interesting, and I think it raises