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41 thoughts on “JBL 4355 with External Passive Crossover Networks 1/2”

  1. 「日本の大太鼓」青柳嘉剛 japanese big drum aoyagi yositake speaker aging music? bigbasssound
    https://www.amazon.co.jp/dp/B0007WZYE8

  2. this is a great track who is it in english and yes to texas boxes there something too best in there day and hard to beat 35 years later

  3. The 4355 was a short lived studio monitor for JBL.   Little Mountain Sound Studios in Vancouver Canada was designed and built in 1973.  The two large control rooms had 4355’s in each room.  The important thing to understand, is that systems such as these are not floor standing monitors intended to be placed next to a wall.  The correct or much preferred method is to soffit mount the speakers into a massive “boundary layer” wall, with the left and right systems “toed in”, so that the mix engineer is on axis when seated at the console.  Such a wall and mounting system may be seen here on our web site link:

    http://www.leadercinema.com/leader-acoustic-labs-and-leader-sound-technologies-provides-professional-services-in-the-acoustical-design-and-related-studio-systems-applied-to-music-recording–production-and-high-resolution-monitor.html

    The 4355 was a very difficult to impossible speaker system to balance in any room.  The directivity index between 200 Hz to the top end was exceptionally erratic.  Absolutely no amount of external equalization together with a massive degree of parametric EQ could fix the design flaws in this system.  Little Mountain Sound did use  STUDER A68 amplifiers in bridged mono mode to power these monsters in the late 1970’s.  This only somewhat improved the system due its complex passive crossover network above 290 Hz for the upper 3 sections.  But, still the erratic imaging was impossible to tame, as the directivity did not match at the crossover points between the transducers. 

    When we sold 3 STUDER A80-VU 24 track recorders to LMS in 1978, the 4355’s were removed and another monitor system which was then in far greater use throughout the American studio industry was installed, with the STUDER A68 amplifiers remaining in place.  In short, I professionally feel that the 4355 “monitor” represents a poor example of what a professional reference system should be.  JBL did make improvements later with the 4435.  The Directivity Index was much smoother, resulting in superior off axis power response.  The fidelity (the most important aspect) was also far superior.  Again such speakers should be soffit mounted much the same way you would find Kinoshita monitors in a studio control room setting.

  4. I don't mean it in disrespect. I am a person of color as well. Finally found it. Not everybody is a racist stereotype. I actually come here quite a bit because I love vintage equipment as well. I have jbl 4312a and l100s with a pioneer sx 1250.

  5. I love it. Did you see some Asian writing on YT and figure, "Fuck it, maybe they know where I can find that Kung Fu flick I've been looking for forever." I'm actually LMAO

  6. You guys restore and build some masterpieces.

    Hope some day I can come to visit the shop but it will be a very long and expensive trip.

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