I think I figured it out - the best speakers for Pink Floyd must have linear bass.
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You know, while I like PF some effects take having everything dialed in just right. Anything less and you miss a good portion of what's in the album. On the one hand, this means the producer got very creative, but on the other it means lots may miss what's on the track. It's like a movie where only the best systems produce all the dialogue. It makes me wonder what kind of speakers and set up they were mixed with. The PF Albums I can think of were definitely not mixed for ghetto blasters, unlike a lot of early digital albums. Best, Erik |
DSOM 5.1 and WYWH 5.1 SACD were mixed and mastered on ATC speakers by James Guthrie. Same gear that David Gilmour has used for for more than two decades http://www.pinkfloydz.com/other-exhibits/rocky-mountain-audio-fest/ |
For the seminal albums, Dark Side of the Moon and Wish You Were here, you need the 5.1 SACD mixes and a Vandersteen surround system (Quatro Woods, VCC-5, VSM-1, subwoofers of your choice - I like the Audiokinesis SWARM). Of course, for the stereo recordings a good set of headphones and an appropriated-stuffed Jib-Jab constructed hooter work just fine ! |
audiobill1231 posts02-12-2016 8:05pmPink Floyd sounds real good with my talon khours and talon roc sub driven with bash 500sub amp khorus driven with a Rotel 1090 amp 1090 preamp and musical fidelity A5 cd player When I first heard Talon Khorus I've always been thinking what can really sound great on these speakers and frankly haven't found a single piece of music that does. It seemed that advent minis($10 at goodwill stores) powered with Pioneer SX 626 did a-bit better job in imaging than Talon Khorus and imaging is very important for Pink Floyd. |
Not to take this thread off topic but for all you Pink Floyd fans (and if you can't get to see either Gilmore or Waters in concert) there is a band called Brit Floyd presently touring across the country who are absolutely awesome! I saw them in Atlantic City in the spring and then a couple of weeks ago in San Diego and they were incredible. They are of course a tribute band but they are all extremely talented musicians who play the hell out of each PF song. If they are in your area, and if you have the chance, you will not regret getting tickets and seeing them! |
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Interesting question as I have often wondered why PF does not have the bass I remember feeling and hearing on speakers of the yore. I am sure it may have something to do with the refinement in sound over the years or maybe its just my mind playing tricks. What ever the reason, and I am sure many will consider this plain criminal, I jack the bass up substantially on my Mac when listening to PF albums. And It works for me. |
If a drummer wants to sound like John Bonham in the "best" way then they buy Ludwig and preferably a vintage set from the same era and in the exact same sizes and model that Bonham used and use similar heads and tune them up the way Bonham did. The precise Bonham sound is not embodied in every dogs breakfast of drum manufacturers, drum sizes, batter and reso heads; in any Sabian, Zildjian or Paiste crash, ride and hi-hat or just any choice from among hundreds of different drum tunings! There is such a thing as precision in sound reproduction....even in speakers! |
As a huge PF fan for countless years and one that has attended numerous concerts, on and off this continent, and as a dyed-in-the-wool audiophile that has heard the Floyd on dozens of high-end speakers I would offer this choice (subject to components and cabling): - for bigger rooms the ProAc Carbon 8's; - for smallish to medium sized rooms the ProAc K6's. The ribbon tweeter with the dome mid and a dynamite cross-over that lets them align perfectly, makes them my first choice. |
Without question I totally agree with Owenlee. I own the Spatial Audio hologram-3. I have the Turbo Xover upgrade with a twist since it is a very minimal 2 HD order Xover I paid extra for his new prototype Mundorfs silver Gold Oil cap for the ,highs and Mundorfs resistor and reference Titanium Nitrite Reference 1.75 inch compression driver in the center of the Emminance 15 inch driver ,then a matching 15 inch to low midrange and Low bass to 30 HZ. Please remember anything under 29 HZ is roughly just vibrations ,lowest concert grand Piano 28hz Maxed out this 4 ohm speaker is 93 do efficient at 1 watt for under $3k these open baffle speakers just open up and flow effortlessly even in a small 10x 12 room ,and no boxiness or energy being sucked out . Check them out . A no Brainer Best Buy !! |
Yes vicwest and all the re-releases and recent DVD's were done on ATC - some on David Gilmour's setup and some on James Guthrie's setup. Understandably everyone has a personal preference when it comes to speakers but given the rather specific question and that Pink Floyd (mostly Gilmour) pretty much favour exclusively ATC it would seem that this question has a clear answer. (Assuming Pink Floyd are clear and exacting on what they want in terms of how they sound - a fair assumption I would argue...) |
Over the past several years the band has released several re-mastered albums and boxed sets. They are all excellent, I especially like DSOM box set with the 5.1 DVD... Included is a small sack of DSOM marbles... which might be a distributed back-up plan (disaster recovery?) [Also re-released is Ummagumma with a pristine copy of "Several Species" uhhhh... what was I saying oh yeah, and if you have not yet listed to it, "The Endless River" final studio album is really quite good as background/contemplative mood floating content.] |
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As several have mentioned, Pink Floyd use ATC Speakers for studio monitoring (Listening and refining their work before it gets released to market). If you have some special appreciation for the care with which Pink Floyd have produced their albums then you would be wise to check out ATC and have them on your short list. These are not PA speakers or PA monitors but the speakers used in many world class facilities to QC music production before it is released to public. Qualities are exceptional accuracy and mid range clarity even at realistic rock music sound levels. |
Check this one out: http://https//en.wikipedia.org/wiki/Leslie_speaker Also: http://https//forum.audiogon.com/discussions/best-speakers-for-pink-floyd/post?postid=1300928#1300928 Detailed PA notes: FLOYD OUT FRONT A glance at the Floyd's exceptionally neat setup shows quite graphically how much live performance technology -- especially sound reinforcement hardware -- has advanced since this band filled its first Transit van. When Pink Floyd first took to the road, the typical touring sound system amounted to little more than the gear today's local bands might use to play a small bar or club. Standard issue were Vox AC30 and AC50 backline amplifiers and cabinets, which, augmented by WEM (Watkins Electric Music) 4x10 inch speaker columns, would also form the PA system. It was, indeed, with just such a system that the Beatles played their famous final concert at the giant Shea Stadium. You might also have enjoyed the benefits of a small mixing desk -- although these were not so common on professional tours until the relatively high-tech days of 1970/71, when Bill Kelsey marketed his first touring mixers. Bill once recounted the story of how, on a Floyd tour in the early '70s , he pioneered the active DI box; he worked out the circuit, studiously soldered the components onto a small square of circuit board, and taped the whole assembly into an Old Holborn tobacco tin. Today, as you might expect, tobacco tins are not widely in evidence on the Britannia Row Productions' equipment list. Today, the Pink Floyd PA consists of slender, custom-built towers either side of the stage dome, on top of which sit curious 'bonnets' -- actually pig-pens, housing the famed inflatable hogs which, eyes blazing ominously, bob and weave high in the air. They also serve a practical purpose -- under each porcine belly there is an implausibly small cluster of Turbosound's Flashlight PA cabinets. Floyd's touring system has been adapted slightly from its original specification for America, in the light of experience. The delay towers were eliminated in favour of a slightly expanded main Flashlight PA. Controlling and powering this, and the on-stage monitoring system, is a large inventory of Turbosound's dedicated Flashlight system controller racks. There are two Yamaha PM4000 mixing consoles for the main front-of-house mix, a PM3000 which serves for quad effects mixing, and a specially-built Midas XL-3 desk, which contains a unique quadrophonic panning centre, complete with dual joysticks. If you can fit it into your home, than it's perfect speakers for Pink Floyd. |
My Von Schweikert VR-5 HSE speakers, in tandem with my Hsu ULS-15 Mk 2 subwoofer, handle their music just fine -- especially with the LampizatOr Lite 7 DAC serving as sound card when I use my laptop for music playback. The detail, the thump, and anything else you need is right there, in the room. Cheers, Juan |
