Här är intressant läsning i en intervju med Linns chefs-högtalarekonstruktör under 80, 90-talet, Rod Crawford.
http://www.stereo.net.au/forums/showthr ... d-Crawford
Och här:
http://www.legendspeakers.com.au/legendstory.html
Hans filosofi numera om vad som är ljudmässigt viktigast är:
1.melodies (tunes)
2.tonal colours
3.dynamic contrast
4.rythm
Om hur en högtalare bör låta musiken ljuda- ska alla inspelningar låta bra eller bör man höra om inspelningen är dålig?:
"Apologies for such a long answer! I guess my short answer to your question should have been that a good loudspeaker must be as transparent a window to the music as possible - with good recordings sounding good & bad recordings sounding bad. We would not put up with looking at paintings through distorted or dirty glass – or take photos with Vaseline smeared permanently on the lens (even though the latter may make some portrait shots more palatable)! However designing a good loudspeaker is not easy – despite those who think that all you need is good drivers and a saw. I once asked Bruce Candy of Halcro why, now having reduced amplifier distortion to vanishing levels, he did not turn his attention to this major source of distortion in the reproduction chain and he replied that loudspeakers were far too difficult!"
Om digitala delningsfilter:
": Your reference loudspeaker, the Kumbar Wirri, has an interesting design. It may be ordered with an external passive crossover, or with a DEQX. DEQX is familiar to most of our readers. Which is your preferred configuration, and why?
Undoubtedly the DEQX version, because its digital Xovers and equalisation make the Kumbar Wirris more accurate than is possible with passive Xovers. The DEQX website (http://www.deqx.com) has various brochures and white papers explaining in more detail why this so. BTW, I first looked at such digital loudspeaker systems at Linn in the late 1980s when I started collaborating with Malcolm (Omar) Hawkesford at the University of Essex who had a couple of PhD students working on these things - we took down a pair of Kabers and I was very impressed by their improvement. Unfortunately it, like improvements in materials, got lost when I could not take the political back-stabbing of Linn anymore (though technically it was excellent). "
Om "source first":
"Rod also had a problem with Linn's theory of the hierarchy of audio components - that the source is the most important link in the hi-fi chain. "My theory is that you should spend about 40 per cent of your budget on your loudspeakers, around 20 per cent on your amplifier and the rest on whatever sources you want. It's true that if you degrade the signal at the front end you can never recover it, but that's also true elsewhere in the hi-fi chain. If you degrade the signal at any point in the hi-fi chain, it's degraded to the ears. So you may have the ultimate signal coming from your turntable but if you put it through an inferior amplifier or a pair of substandard speakers, your ears will hear that. You really have to balance the whole system. But it's true that you can see the worst botches in hi-fi occur at the electromechanical ends of the chain. I see the difficulties as being the mechanical problems at the turntable end and at the speaker end. They're the hardest parts to get right because there are no neat feedback loops to solve your problems, and the real-world effects can really get away from you. It's relatively easy to design electronics, and in terms of components, everything except the power supply and the metalwork are relatively cheap to buy".
"Rod experienced difficulties accepting Linn's philosophy that he should use only Linn components in his listening system, which he found somewhat limiting. 'They also had a policy of changing only one component at a time in the listening tests. The trouble with this, which I only discovered later, is that hi-fi and speaker design is a multi-dimensional plane on which there is a series of peaks. Although you hope you're going higher and higher, it's very easy to get stuck on a local peak. What Linn had been doing, over the previous ten years - at least in my opinion - was to optimise the chain of Linn Sondek, amplifiers and speakers for one another. As time passed, "I had major battles trying to get additional reference equipment. Linn had some Naim amps left from their days of collaboration, and in the end, I convinced them to buy a pair of Epos lls, which had come out at around that time. My opinion was that it was a big and varied world out there, and consumers were running a huge diversity of equipment. Fortunately Linn had dealers in Glasgow. I found I could take my prototypes to their stores and compare them against other brand."
Högtalarna legend kamas och kantus är direkta efterföljare till linn kaber.
Om isobarikprincipen:
"An easier way to achieve the same result is just to double the mass and magnet system of a single driver.This is what we do at legend with our sub-woofers."
"Q: Linn is known for its isobarik subwoofer design. Your current subwoofers, the Kurlo and the Kurlette, appear to be sealed box designs. What are the pros and cons of the isobarik design, and why did you decide to adopt a more conventional subwoofer design?
I think there is a lot of misunderstanding about the ‘isobarik’ principle, some of it promoted by Linn for commercial reasons (and it was not Linn’s idea first but was described at least in Olson’s book on Acoustics a decade earlier - so it should not have got a US patent)! Linn sold its advantages in terms of the back drive unit removing the built up pressure on the front unit, allowing the latter to move more freely and so more deeply. However, this ignores that the back unit itself has to compress the air in the sealed box – there is no free lunch. A better explanation is that the 2 drive units act as one at low frequencies where they are tightly coupled acoustically (provided the driver separation is much less than the wavelength) and so the effective mass of the driver is doubled, thereby lowering its resonance frequency (by the square root of 2) while maintaining the high damping factors because there are 2 magnet systems. An easier way to achieve the same result (given the second drive unit behind is a real pain to build) is just to double the mass and magnet system of a single driver. This is what we do at Legend with our sub-woofers.
Q: How has your philosophy changed since you left Linn? Australian listening rooms are different to UK listening rooms - has this had any influence on your designs?
When I first went to Linn my design philosophy was heavily influenced by the BBC school of design – LS5/3As, Spendor BC1 etc which were tonally quite neutral but were not dynamic enough for Linn’s ‘foot-tapping’ philosophy. So I tried to achieve both – or at least a better balance between the two philosophies. Previous Linn speakers like the Kan & Index had large holes in their frequency response between 1-3 kHz which removed hardness due to bass/midrange driver breakup but caused all pianos to sound like honky-tonks."
Intressanta fakta om vilken musik han gillar:
"Q: What type of music do you enjoy? What electronics do you use at home?
My music tastes are fairly catholic, though they gravitate towards classical music where I like most forms, with a particular preference for chamber music – my favourites being the late Schubert & Beethoven quartets. But there are many symphonies, from Haydn to Shostakovich, as well as concertos, from Vivaldi to Sculthorpe, that I also love. Although I like church choral music, I am not a great fan of opera – perhaps because I heard too many Dame Nellie wanna-be’s at the free Myer Music Bowl concerts when I was a student at UniMelb! With rock music, I’m not sure how I would classify my tastes. I grew up with (and still like) bands such as the Stones, Beatles, Pink Floyd, Jethro Tull, Genesis, Heart etc – more recent bands that I enjoy are Radio head, Silver Chair, Metallica etc. Then I like Paul Simon, Peter Gabriel, Phil Collins, Patricia Barber, Tori Amos, Rebecca Pidgeon, Laurie Anderson etc whom I’m not sure how you would classify – perhaps as people with something interesting to say musically! I don’t have a lot of time to explore less well-known pop artists, though I do enjoy listening to JJJ in the evening when not listening to Classical FM.
My home electronics (which has evolved through a lot of substages such as Rega Planar & Sondek turntables and Quad II & Levison 29 amps) currently consists of a Sony SCD9000ES CD/SACD player, a Denon 2910 universal player (mainly for DVDs including DVDAs), a DEQX PDC (DAC/digital Xover-equaliser/preamp) and home-made 4 channels of power amps for driving the Kumbar Wirris (Big Reds) actively."
Rod använder alltså numera en Sony SCD9000ES SACD/CD spelare och en Denon 2910 universalspelare som "signalkälla".
Han gillar inte opera, men gillar iövrigt mestadels klassisk musik, gärna kammarmusik.
Han kör med aktiva digitala filter till sina högtalare.
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