Archived from groups: rec.audio.high-end (More info?)
From: "Norman Schwartz" nmsz1@att.net
>Date: 5/5/2004 3:57 PM Pacific Standard Time
>Message-id: <vjemc.38594$I%1.2474129@attbi_s51>
>
>"Harry Lavo" <harry.lavo@rcn.com> wrote in message
>news:c7alht02tov@news4.newsguy.com...
>
>>
>> This was the Tympani IIIa system, which became The Abso!ute Sound's first
>> reference system. The following is a succinct description from Vol 2,
>> Number 5, page 19-20:
>>
>> "It is a very large speaker system that consists of, all told, 8 six-foot
>> high panels (less than one-inch thick). Each of the panels is
>approximately
>> 16-inches wide. two panels (tweeters); two panels (midrange(; four panels
>> (low bass). It requires no imagination whatsoever to perceive that a
>set-up
>> like this will absolute(sic) dominate, if not engulf, the ordinary
>listening
>> room."
>>
>> "The most effective arrangement: using the tweeter-mid/range panels up
>> front, with the four bass panels placed several feet back of the two
>> out-rigger panels, in back and dead center. To prevent excessive bass
>> cancellation, I (Harry Pearson - HL) angled the outside bass panels (on
>> either side) slightly back.
>>
>> This system was eventually replaced by the Infinity Servo Static 1a as the
>> reference system.
>>
>> The big Maggie system was spectacular on orchestral music, since as set up
>> in the main listening room it was flat into the mid-30's and extended its
>> airy treble high enough to leave no room for complaint. But to me, it was
>> the midrange that was so striking (Harry Pearson disagreed with me on the
>> significance of this, but I still remember the impression it left on me.
>We
>> used Cat Steven's Tea for the Tillerman as a key reference for voice and
>> guitar, and they mid-range dynamics from this record exceeded anything I
>had
>> heard since my dad's JBL corner horn of the early '50's. Response was
>> smooth, and transparent. The large panels seemed to prevent "he is here"
>> imaging, but except for that fault, it was an exceptional sounding
>speaker.
>> And keep in mind this was within two years of the company's founding
>(again,
>> IIRC). This was in 1974 when Magnapan was still distributed by Audio
>> Research.
>>
>> Just for the record, the remainder of the system: an ADC XLMII in a
>Vestigal
>> Arm, on a Technics SP-10 (later replaced by Linn Sondek with Black Widow
>> Arm), Audio Research SP-3a Preamp and Dual 78 Power Amps (main) plus
>> Ampzilla (bass panels), ARC 1a active crossover, Revox A700 tape deck.
>
>Thanks Harry. I was familiar with the 8-ohm Maggie IIIa from frequent visits
>to a friend who eventually had them in different rooms after having moved. I
>myself owned the 4 ohm Magneplanar IIIB for a short while, but that's an
>entirely different (and unhappy) story. The Cat hisself kinda mastered one
>of his albums using Maggies in a well known dealer's showroom and is storied
>to have worked on his project into the early hours in the morning. One thing
>I cannot agree with, however, is that the panels prevent "he is here"
>imaging. If anything they put you front row center and far too close, as
>sitting in the front row at your local movieplex. I remember Ralph Hodges
>have written very similar, if not the same, words in Stereo Review when
>reviewing Maggies (model ?). Anyway IMHO whether it be The Tillerman, Teaser
>and the Firecat, Izitso, Catch Bull at Four, Numbers, or Mona Bone Jakon,
>nothing even comes close (pun intended) to the front-row, lightning fast
>vocal and instrumental transients as do the Cat albums. The CD, SS and the
>newer Maggies magnify the situation even more. Of course sound of this
>variety isn't everyone's cup of "Tea"
.
>
>
>
>
>
>
>
If you get a chance listen to an original US issue of Donovan's "A Gift from a
Flower to a Garden."
From: "Norman Schwartz" nmsz1@att.net
>Date: 5/5/2004 3:57 PM Pacific Standard Time
>Message-id: <vjemc.38594$I%1.2474129@attbi_s51>
>
>"Harry Lavo" <harry.lavo@rcn.com> wrote in message
>news:c7alht02tov@news4.newsguy.com...
>
>>
>> This was the Tympani IIIa system, which became The Abso!ute Sound's first
>> reference system. The following is a succinct description from Vol 2,
>> Number 5, page 19-20:
>>
>> "It is a very large speaker system that consists of, all told, 8 six-foot
>> high panels (less than one-inch thick). Each of the panels is
>approximately
>> 16-inches wide. two panels (tweeters); two panels (midrange(; four panels
>> (low bass). It requires no imagination whatsoever to perceive that a
>set-up
>> like this will absolute(sic) dominate, if not engulf, the ordinary
>listening
>> room."
>>
>> "The most effective arrangement: using the tweeter-mid/range panels up
>> front, with the four bass panels placed several feet back of the two
>> out-rigger panels, in back and dead center. To prevent excessive bass
>> cancellation, I (Harry Pearson - HL) angled the outside bass panels (on
>> either side) slightly back.
>>
>> This system was eventually replaced by the Infinity Servo Static 1a as the
>> reference system.
>>
>> The big Maggie system was spectacular on orchestral music, since as set up
>> in the main listening room it was flat into the mid-30's and extended its
>> airy treble high enough to leave no room for complaint. But to me, it was
>> the midrange that was so striking (Harry Pearson disagreed with me on the
>> significance of this, but I still remember the impression it left on me.
>We
>> used Cat Steven's Tea for the Tillerman as a key reference for voice and
>> guitar, and they mid-range dynamics from this record exceeded anything I
>had
>> heard since my dad's JBL corner horn of the early '50's. Response was
>> smooth, and transparent. The large panels seemed to prevent "he is here"
>> imaging, but except for that fault, it was an exceptional sounding
>speaker.
>> And keep in mind this was within two years of the company's founding
>(again,
>> IIRC). This was in 1974 when Magnapan was still distributed by Audio
>> Research.
>>
>> Just for the record, the remainder of the system: an ADC XLMII in a
>Vestigal
>> Arm, on a Technics SP-10 (later replaced by Linn Sondek with Black Widow
>> Arm), Audio Research SP-3a Preamp and Dual 78 Power Amps (main) plus
>> Ampzilla (bass panels), ARC 1a active crossover, Revox A700 tape deck.
>
>Thanks Harry. I was familiar with the 8-ohm Maggie IIIa from frequent visits
>to a friend who eventually had them in different rooms after having moved. I
>myself owned the 4 ohm Magneplanar IIIB for a short while, but that's an
>entirely different (and unhappy) story. The Cat hisself kinda mastered one
>of his albums using Maggies in a well known dealer's showroom and is storied
>to have worked on his project into the early hours in the morning. One thing
>I cannot agree with, however, is that the panels prevent "he is here"
>imaging. If anything they put you front row center and far too close, as
>sitting in the front row at your local movieplex. I remember Ralph Hodges
>have written very similar, if not the same, words in Stereo Review when
>reviewing Maggies (model ?). Anyway IMHO whether it be The Tillerman, Teaser
>and the Firecat, Izitso, Catch Bull at Four, Numbers, or Mona Bone Jakon,
>nothing even comes close (pun intended) to the front-row, lightning fast
>vocal and instrumental transients as do the Cat albums. The CD, SS and the
>newer Maggies magnify the situation even more. Of course sound of this
>variety isn't everyone's cup of "Tea"
.>
>
>
>
>
>
>
If you get a chance listen to an original US issue of Donovan's "A Gift from a
Flower to a Garden."
/www.bancodelmutuosoccorso.it/
. In terms of 
Facebook
Twitter