The first Atomic CLR test from a KPA user ?

    As the DXR has also a very good dispersion this is nothing that gave me the WOW effect with the CLR.
    IT IS GREAT and it may even be wider than the DXR but it's not so much superior (compared to the DXR) that it decides the game for me.
    Fact is: when you're used to hearing guitar speakers, both the DXR and the CLR are jawdroppingly good in respect to dispersion.

    Quote from Ingolf

    As the DXR has also a very good dispersion this is nothing that gave me the WOW effect with the CLR.
    IT IS GREAT and it may even be wider than the DXR but it's not so much superior (compared to the DXR) that it decides the game for me.
    Fact is: when you're used to hearing guitar speakers, both the DXR and the CLR are jawdroppingly good in respect to dispersion.

    So for half the price, for one, or for the same price as one CLR I can get two DXRs.
    If the difference is so small I guess I should go for the Yamahas?

    Quote from Ingolf

    In short: yes.
    If you like the Yamahas, go for them.


    Ingolf, have you used the DXR's as a main monitor ie home studio application? Do you think they would be suitable? I am using a pair of Behringer Truth's and considering something better - but at the same time am very interested in a full range active set up for my KPA. I have my name on the list for a CLR, but this may kill tow birds with one stone.

    You're damned if you do and damned if you don't

    Quote from Mic2002


    Ingolf, have you used the DXR's as a main monitor ie home studio application? Do you think they would be suitable? I am using a pair of Behringer Truth's and considering something better - but at the same time am very interested in a full range active set up for my KPA. I have my name on the list for a CLR, but this may kill tow birds with one stone.


    Like I said, I think that the DXRs, as awesome as they are, don't have the same fidelity to the signal as the CLR, which is not necessarily a bad thing.
    If you are using the Behringers just check how well your patches translate and maybe you even think they are enhanced by the DXR.
    But don't forget the DXR is not a studio monitor after all.

    Ingolf, you've said in a previous post that the DXR10 is a little bassier than the CLR, did you have them both on the floor positioned as wedges? Did you switch the CLR to wedge mode for the comparison? Have you ever compared them mounted on speaker stands? The reason I ask is because I'm considering the DXR10 as an alternative to my QSC K10, which has a somewhat unpleasant (exaggerated) high mids response and way too much bass even when used on a stand.

    Quote from Deny

    Ingolf, you've said in a previous post that the DXR10 is a little bassier than the CLR, did you have them both on the floor positioned as wedges? .


    Yes, side by side positioned as wedges.


    [quote='Deny',index.php?page=Thread&postID=83650#post83650
    Did you switch the CLR to wedge mode for the comparison? [/quote]
    Yes, of course. And the DXR also has a similar mode switch.


    [quote='Deny',index.php?page=Thread&postID=83650#post83650Have you ever compared them mounted on speaker stands? .[/quote] No, not on a stand, but in an upright, cab-like position with similar results.



    [quote='Deny',index.php?page=Thread&postID=83650#post83650
    The reason I ask is because I'm considering the DXR10 as an alternative to my QSC K10, which has a somewhat unpleasant (exaggerated) high mids response and way too much bass even when used on a stand.[/quote]
    I can nothing but totally recommend the DXR 10, for its sound quality, price to quality ratio, and its very small footprint on stage.
    I made an output EQ preset for the DXR to compensate for the small deviations I have perceived from comparing with my Yamaha HS 80 Studio Monitors and the CLR.
    Try them, they're awesome.

    I ended up with the following settings for monitor out for the DXR 10 which make for a good match:
    Bass = 0
    Middle = 0
    Treble = + 1.7
    Presence = + 1.2


    I know that in contradiction to what I wrote above there is no low cut, but with this configuration I don't perceive any substantial differences between the studio monitors/CLR and the DXR.
    Also I will say that I haven't tweaked this output mon configuration to end, yet.
    Only to 'Good enough for Rock'n'Roll'. :)

    Thanks a lot Ingolf, I was going to go for an Alto TS110A but here it costs 4x as much as the US street price so I might as well spend a little more and go with the Yamaha DXR10 which can be had for a little over 2x its US street price and seems to be sturdier and louder :)

    Quote from Ingolf

    I ended up with the following settings for monitor out for the DXR 10 which make for a good match:
    Bass = 0
    Middle = 0
    Treble = + 1.7
    Presence = + 1.2


    with this configuration I don't perceive any substantial differences between the studio monitors/CLR and the DXR.

    This info makes me wonder whether Jay provides 'loudspeaker and electronics design and testing services' to Yamaha? ;)

    Granted I didn't apply any scientific approach to my testing.
    And in no way I want to diminish what the CLR's do.
    I think my take home message after spending some time with both is that the Yamaha DXR's sound awesome, especially for the price they can be had for.
    The ultimate accuracy in sound reproduction may be desirable but OTOH is a theoretical construct with the weakest link being the FOH also not being 100% accurate anyway.


    So in the end I think the Yamaha's go more in line with the Kemper paradigm (that I shouldn't bother about accuracy but more after awesomeness that is).

    Glad to see that more people are skipping the hyped to expensive stuff. Remember we are talking speakers here. And EVERY speaker will colour you tone because you play in different coloured rooms, studios and stages. More over your ears are different from mine or anyone elses. So there is realy no point that theoretical responsare is flat. More important is that the sound is pleasant (no fatigue) and not icepickey on performace wattages.


    Ergo TEST the solutions yourself and buy what YOUR ears like. And test them loud! And do not be surprised that the cheaper boxes sound nicer then the so called flat hyped solutions. Especially when they are also made in China, have a hypex Class D module and use an ancient Celestion driver.


    BTW how Rock or Metal are speakers on a stick?

    Quote from DADA

    Glad to see that more people are skipping the hyped to expensive stuff. Remember we are talking speakers here. And EVERY speaker will colour you tone because you play in different coloured rooms, studios and stages. More over your ears are different from mine or anyone elses. So there is realy no point that theoretical responsare is flat. More important is that the sound is pleasant (no fatigue) and not icepickey on performace wattages.


    Ergo TEST the solutions yourself and buy what YOUR ears like. And test them loud! And do not be surprised that the cheaper boxes sound nicer then the so called flat hyped solutions. Especially when they are also made in China, have a hypex Class D module and use an ancient Celestion driver.


    BTW how Rock or Metal are speakers on a stick?


    Yeah they should make a 4x12 with a slot cut in it for the FRFR to sit in !!! 8)

    You're damned if you do and damned if you don't

    Quote from DADA

    Glad to see that more people are skipping the hyped to expensive stuff. Remember we are talking speakers here. And EVERY speaker will colour you tone because you play in different coloured rooms, studios and stages. More over your ears are different from mine or anyone elses. So there is realy no point that theoretical responsare is flat. More important is that the sound is pleasant (no fatigue) and not icepickey on performace wattages.


    Ergo TEST the solutions yourself and buy what YOUR ears like. And test them loud! And do not be surprised that the cheaper boxes sound nicer then the so called flat hyped solutions. Especially when they are also made in China, have a hypex Class D module and use an ancient Celestion driver.


    Well, no doubt buy what you like best. But I'd make a distinction here, and not generalize.


    How good a guitar combo's sound is, is certainly subjective since none of them is linear or "hi-fi". And since they're not meant to be so, everyone is free to base their appreciation over personal expectations or tastes.
    But, while there're infinite ways of being "not-hi-fi", there can teorethically be only one way to be "truly hi-fi" (by which I mean flat, extended, no phase rotations,"infinite" velocity response).


    While I agree on the opportunity to not feel hyped for anything (as long as this may distort your perception), I'd not base any judgement over an audio system on the idea that "every speaker will colour you tone because you play in different coloured rooms": a coloured speaker will just add colours to the room's colours, giving back a worse sound (in terms of hi-fidelity); you might even end up liking it more, but this would let the sound quality to chance. It would be like buying a crappy stereo system because the room is going to colour the sound anyway.


    The purpose of a linear system is to faithfully render a sound. In a digital device like the KPA, you should let the Profiler make all the work and give the cab the only task to faithfully amplify and diffuse what the Profiler created. This way you'll always know what the KPA is outputting, and you'll for example be sure what will end up "on tape" when you record. Otherwise, chances are your profiles will sound good only when played back through your (non linear) cab.