MEADOWLARK AUDIO SHOP PICS

I have an assignment for you Pat. Play the highest res file of The Trinity Session you can find on your "latest greatest" (last I recall it was Ibis/Crusher/dual Pelicans?). Play it loud and tell me if you can "feel" the positive pressure of the HVAC system of the church. IE, the "flow of air through the HVAC vents". The sense of space and acoustics in that church are amazing. Or maybe its just me? :)
Hmmmm...that sound is quite evident on Harrier. On the big boys there's a room pressurization feeling even at realistic vocal amplitudes; a really concrete sense of venue that places the performers within it. It feels like it's surrounding you, with much to the rear.

I'm not familiar with that recording but that is a fair amount of noise. Very pleasant stuff, though, we'll try it in the rotation and see if it takes root.

I've been noticing that on some of my fav swing era jazz recordings there can be a bunch of LF that I'm imagining that they were just not aware of, or didn't care, or couldn't avoid getting on the recording. Or maybe didn't expect to be reproduced by customers' stereos. Doors closing, footsteps, the building's elevator. It all adds to the sense that it's real.
 

Wntrmute2

Not So Mediocre Member
Hmmmm...that sound is quite evident on Harrier. On the big boys there's a room pressurization feeling even at realistic vocal amplitudes; a really concrete sense of venue that places the performers within it. It feels like it's surrounding you, with much to the rear.

I'm not familiar with that recording but that is a fair amount of noise. Very pleasant stuff, though, we'll try it in the rotation and see if it takes root.

I've been noticing that on some of my fav swing era jazz recordings there can be a bunch of LF that I'm imagining that they were just not aware of, or didn't care, or couldn't avoid getting on the recording. Or maybe didn't expect to be reproduced by customers' stereos. Doors closing, footsteps, the building's elevator. It all adds to the sense that it's real.
I am always amazed that this recording, and this groups' recordings in general, are not on more folks radar!
 

Olson_jr

Active Member
Pat, since we are throwing sub sub-woofer stuff around I have a question.

Lyle Lovett's recording 'She's Already Made Up Her Mind" from 'Joshua Judges Ruth' has some sub-terranean bass. I have been told that it is 27 Herz. Any time I run a sub and try to hear what is actually on the recording I get what I believe is room lock, extreme boom, and an undefined sound. Any chance you can have a listen and share your opinion?

On Tidal it is here. https://tidal.com/browse/track/45159127


Thanks
 

prime minister

Site Owner
Staff member
I am always amazed that this recording, and this groups' recordings in general, are not on more folks radar!
You're just hanging out with the wrong folks. The album went double platinum up here and the band is very well known and respected.

They've even had some top 10's, which is a pretty great showing for an unusual band like them.

 

Olson_jr

Active Member
You're just hanging out with the wrong folks. The album went double platinum up here and the band is very well known and respected.

They've even had some top 10's, which is a pretty great showing for an unusual band like them.

I am always amazed that this recording, and this groups' recordings in general, are not on more folks radar!

Yep, I have always thought that @Wntrmute2 is hanging out with the wrong folks. Actually, I have told him that many times, he just does not listen, and keeps inviting me over.

🤠💉
 

Wntrmute2

Not So Mediocre Member
Well Olson, I could come over to your place but that wouldn't change much would it?
 
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Pat, since we are throwing sub sub-woofer stuff around I have a question.

Lyle Lovett's recording 'She's Already Made Up Her Mind" from 'Joshua Judges Ruth' has some sub-terranean bass. I have been told that it is 27 Herz. Any time I run a sub and try to hear what is actually on the recording I get what I believe is room lock, extreme boom, and an undefined sound. Any chance you can have a listen and share your opinion?

On Tidal it is here. https://tidal.com/browse/track/45159127


Thanks
Well, that's awfully interesting. Yeah, there's a bunch of LF below what most rigs can do. It's surprisingly textured and tight and tonally modulated and is connected to what sounds like string instrument that's playing notes below what you'd think a bass violin could reach. I'm guessing they processed a bass violin; there's one note that is mildly percussive, sounds like a string slap. There's a lot of music in the way it's being played and, no, there's no sense off slop or mud, it's very focused and deliberate and is, in a weird way, the foundation for the tune.

I'm wondering why they did that, knowing how hard it is to reproduce?

But great demo, pretty obviously out-there. Thanks!
 
Pat, since we are throwing sub sub-woofer stuff around I have a question.

Lyle Lovett's recording 'She's Already Made Up Her Mind" from 'Joshua Judges Ruth' has some sub-terranean bass. I have been told that it is 27 Herz. Any time I run a sub and try to hear what is actually on the recording I get what I believe is room lock, extreme boom, and an undefined sound. Any chance you can have a listen and share your opinion?

On Tidal it is here. https://tidal.com/browse/track/45159127


Thanks
I'm surprised and pleased that Harrier does a fine job of portraying She's Already Made Up Her Mind, less the very, very low stuff it resolves the bass timbre nicely. Perfectly coherent; the advantage of going with a critically damped moving system with gobs of boost, a cake and eat it too kinda thing.

Grabbed the glam shots of Harrier Classic yesterday. Got a few laughs, here, by getting the job done with my cell phone.

Yes, that's a California poppy grown here in northern NY. :D


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Mo' Meadowlark Nightingale pics:

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Meagan really knocked herself out on this pair and it shows. Right down to getting the complexion of the paint on the screwheads right. I must admit I was getting a tad impatient with the time she was spending fussing, but I'm glad I bit my lip.

Yesterday, I enjoyed the privilege of showing my pair off and proved once again that Nightingale's Dual Band bass system takes no prisoners. The 9.5" Satori delivers texture and attack from 90 - 200Hz, while twin 10" pumps take care of business to 20. Thanks to a directly coupled 500 Watter on each of the three woofers, they just keep on coming, delicate and brutal all at the same time. Lots of coil, lots of venting, pound as hard as you like, everybody stays cool and on their game.

Note the wide and supple fabric surround on the beryllium dome. Naturally, a tweeter doesn't stroke very much but it's important for good dynamics that the suspension compliance remain constant with position. If your tweeter can't keep up, you'll experience a darkening under pressure. Obviously, here, the demands are out of the ordinary. I roll it in at just 2.1KHz - and still, not a hint of a ruffled feather.

This pair is gonna have to 'cool its jets' awhile as a matching Pelican subsub, a custom center channel and a pair of Blackbird rear effects speakers put themselves together.


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Audionut

Next Round Is On Me
Mo' Meadowlark Nightingale pics:

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Meagan really knocked herself out on this pair and it shows. Right down to getting the complexion of the paint on the screwheads right. I must admit I was getting a tad impatient with the time she was spending fussing, but I'm glad I bit my lip.

Yesterday, I enjoyed the privilege of showing my pair off and proved once again that Nightingale's Dual Band bass system takes no prisoners. The 9.5" Satori delivers texture and attack from 90 - 200Hz, while twin 10" pumps take care of business to 20. Thanks to a directly coupled 500 Watter on each of the three woofers, they just keep on coming, delicate and brutal all at the same time. Lots of coil, lots of venting, pound as hard as you like, everybody stays cool and on their game.

Note the wide and supple fabric surround on the beryllium dome. Naturally, a tweeter doesn't stroke very much but it's important for good dynamics that the suspension compliance remain constant with position. If your tweeter can't keep up, you'll experience a darkening under pressure. Obviously, here, the demands are out of the ordinary. I roll it in at just 2.1KHz - and still, not a hint of a ruffled feather.

This pair is gonna have to 'cool its jets' awhile as a matching Pelican subsub, a custom center channel and a pair of Blackbird rear effects speakers put themselves together.


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@Pat McGinty the consistent attention to detail here is first rate! Love the smooth finish, book matched veneer, even gapping at each recessed & flushed driver (a feat in itself). Just wow!
And if this isn’t a superb enough two channel setup, I can only imagine how killer of a surround sound setup this would be!
 
Not a snowball's chance in h--- I could afford to buy it, but what would happen if, say, someone (me, f'rinstance) were to say, perhaps slightly mischievously, "I double dog dare ya."?
Yeah...once an idea like that infects the dog brain, there's only one fix. The problem is that I design in my sleep so am powerless to stop it. Once the imagined thing appears as three dimensional form, I'm done-for and heading to the saw.

Too, I have a few clients who have very large spaces who genuinely need idiotic output to arrive at satisfying pressures. So, you see, I'm talking myself into it. The trick will be to avoid making something so big and heavy we can't deal with it.
 
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