"TapeZilla" Has arrived

I have said it before on numerous occasions that the 350s blow the sounstage open in every direction. They do sound big and by that, I don't mean bloated. Very realistic sounding for sure. Space and time machines is another descriptor I have used in the past.

As with all recaps and changes to passive componets there is a breakin time some systems are different in how you can tell.I have always noticed changes in the performers height location in relation to the speakers.When the performer is low and the transperency of the overall performance is "light" as I call it. Then I know the breakin period is still ongoing the system will go back and forth becoming more fullbodied and back to "light" .Sort of light to dark as an anology.
This process also has a single constant more volume is needed in the "light" phase and less volume (gain) in the "dark" phase.

That is what is happening right now .So the breakin continues as it takes upwards of 100-200 hours to get a real handle as to what the system or componet will sound like.Sometimes it is much longer.

There are tells in my experience and they can be subtle or abrupt great sense of air and realism such as the audience clapping in a live performance.The other side of this is the dynamic factor something such as a cymbal crash that raises you off the seat, in essence from pfft to PFFT in a flash.

The breakin period continues......

Gary D said:

There are tells in my experience and they can be subtle or abrupt great sense of air and realism such as the audience clapping in a live performance.The other side of this is the dynamic factor something such as a cymbal crash that raises you off the seat, in essence from pfft to PFFT in a flash.

The breakin period continues......

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I agree, Gary, applause is an excellent quality indicator, it should have a tremendous intensity and almost shock factor in it, perhaps even more so than a cymbal crash. How's the invisibility of the speakers going, as in impossible for the ears to locate from anywhere in the room?

Frank

fas42 said:

I agree, Gary, applause is an excellent quality indicator, it should have a tremendous intensity and almost shock factor in it, perhaps even more so than a cymbal crash. How's the invisibility of the speakers going, as in impossible for the ears to locate from anywhere in the room?

Frank

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Yes Frank the speakers are invisible that hasn't changed an iota, chalk that up to the speakers crossover network.
Do you think that applause is more real when it sounds like driving rain? I would think it would be more of a airy sound as your two hands compress air between them.A good example is "Serenity" featuring Stan Getz in Copenhagen live or a "Fair Summer Evening" with Nanci Griffith, the cut I like most is 5 & Dime. The audience is recorded very well with spatial Q'S front to back, left to right, floor to ceiling. The applause here is very open and airy.

Best,
Gary

Gary D said:

Do you think that applause is more real when it sounds like driving rain? I would think it would be more of a airy sound as your two hands compress air between them.A good example is "Serenity" featuring Stan Getz in Copenhagen live or a "Fair Summer Evening" with Nanci Griffith, the cut I like most is 5 & Dime. The audience is recorded very well with spatial Q'S front to back, left to right, floor to ceiling. The applause here is very open and airy.

Best,
Gary

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Of course the trouble is that different recordings have applause mixed in in various ways. One way to describe it is that it is open and airy, and sharp and intense at the same time. The airiness should come from the echo of the auditorium mixed in, the sharpness comes from the impulse of air exploding sideways at the moment the hands contact, it creates a very bright, powerful transient.

In general, very hollow, echoey reverb is something a lot of systems have trouble getting right. A good test I've used for a long time is the drum intro on an early track of Paul Simon's Graceland which has massive reverb added to give it a certain character. Most setups make a complete muddle of this, a dead giveaway that more work is needed ...

Cheers,
Frank

Hi
thats some rig you got going.
I am building one myself
I have 351s and 350s
Thats exactly what i want to do.
Did you have a custom head block done to work with the 350s?
Or did you use a transformer to couple the head block of the C transport to the 350s.

Louis

Ampex 350 with 440 C Transport

RogerD said:

Hi Louis,
It been so long since I configured this machine,but iirc these 350's have the high impedance transformers (see photos 3 transformers). This enabled me to use a 440 headstack. This deck is playback only. The 350's have a sound all there own...I did recap these using Mundorfs lytics and film caps. Contact John at JRF magnetics he is the expert. Good luck!

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Hi Roger
Thanks for getting back so fast, that was sweet.
I thought the heads on the 440 are low impedance?
I know John pretty good, i spoke to him the other day about a custom head block.
Let me look at the photos
Putting together a really cool system,i am a big Mcintosh person.
I have a MC3500, mc75s mc60s
.
Cant wait to get my 350s up and running.
Right now i am working on my 351s
What do you like more 351s or 350s?

Louis

Congratulations, Roger! It looks fantastic!