Dusty Chalk

Actually, NXT almost exclusively licensed their technology as far as I know (maybe they were some sort of subsidiary to one or the other? I dono): Sonic Impact: link link NEC: link Toyota: link Logitech: link Lots more: link google Obviously, they would come in a variety of qualities with that sort of (quantity) output. I don't have high hopes for the speakers built into the CD cases to sound any good, so the question was more along the lines of the higher end ones -- the $300 ones disguised as works of art, etc. Or if there were any manifestations that were any good. I'm very curious about the Cyrus ones. (And I actually wrote to the company to find out who made that rack in that one picture.)

Anyone heard any of the NXT-based planar speakers? How do they compare?

What changed?

That sounds good right about now.

I shouldn't laugh -- I think I was the fortunate recipient of one of his wanes of affection. (Am I remembering that correctly?)

Just keep watching eBay and the like. There were once a pair posted that the owner didn't even specify that they were Grados -- he just called them "retro headphones" or something. They were like NOS. Unfortunately, they'll probably be posted on Head-Fi like that. I'd entertain south of $1,500...but admittedly not by much. You got a sister? Perhaps we could work something out. Do you even know what they sound like? Their sound is not for everyone. Or just by a lot of stock now, while the economy is bottomed out. You should be able to afford a pair in a year or four.

I don't know, I think I'd prefer to be banned, myself.

Nik B

Quoted for awesomeness.

Yeah, that makes sense -- reduces resonance by acting as a braking mechanism.

Those are my favorite two, but the whole album is good. Some of the stories from that album are particularly interesting -- Alex standing on a boat in the middle of a lake to get that just right wind-whipped sound during "Red Barchetta" is a favorite.

Okay, I have to add Timeout Drawer (specifically the album Nowonmai) to my list of favorite tones. When they go into full on rock mode, I just get these wonderful little feelings of bliss. Cases in point, "Blue-Eyed and Full of Horror" and "What Looked Like Morning was the Beginning of Endless Night" and the track that can be found on their MySpace and a bunch of other places, "Bursting with Tears, I Commit to Destroying You". I think they're doubling the guitar with some Moog, that's part of why I heart so much.

This coincides exactly with what my thought exercise of superimposing a sloped filter on a the frequency response you've described is. If you start the slope too high, you thin out the bass too much; if you start the slope too low, you accomplish nothing; one basically wants to shoot for a "sweet spot" of attenuation of the peak you described with the slope, but before the slope gets too high (as with lowering frequencies) and attenuates too much bass. If I remember correctly, this is the same sort of thing that bass reflex math yields. So which would it have more of an effect on -- the 40's (closed design) or the 50's (open design)? That's the main reason I got both. I'm more of a closed design guy, but if the 50's yield better sound, I'll stick with those.

Scrap all of those, I just let the Mac roll on down to Timeout Drawer.

I actually came to work.

I can delete you all.

Tylenol <-- that's me holding my head, not a facepalm.

NP: The Maid We Messed, Matt Elliott as Third Eye Foundation OD: Keith Jarrett or Boris Berman, don't know, maybe Helene Grimaud.

Mine is/are outdated and silly. And so is my hair.

And you can tell they're huddled together for warmth.

Pic post fail.

I wouldn't.

Alright, so to test my understanding: it's not to absorb acoustic backwave, but to act as sort of a broad "notch" filter? Except that wouldn't wind resistance continue to go up with lower frequencies (I.E. wouldn't it act as a broad sloped filter)?

Thanks, I'll wait until all signs of whatever I have has passed before I do so, just to be on the safe side.