Đánh giá về loa đang sử dụng

Thế thì để hôm sau tớ trả lời nhé, hỏi lại thằng nhóc ở nhà cho chắc ăn. À mà bác Ngao nghe AR9 chưa? Nghe đi để xem AR302 nó ở mức nào của AR. Thân!

Chào bác Ngốc Thiền, Hân hạnh làm quen với Bác, chả là rảnh mà, với lại có bạn nói chuyện thì vui chứ sao. Chúc Bác vui nhé!

Chào bác Ngốc Thiền, Hân hạnh làm quen với Bác, chả là rảnh mà, với lại có bạn nói chuyện thì vui chứ sao. Chúc Bác vui nhé!

Đây, chi tiết về loa AR 302 đây; Tôi cắt bớt các loa cùng serie 303 để post lên thì mới được .
Đúng là phối ghép Fisher 800 T với Ar3a thì nghe rất hợp .
==========
This history was provided by Howard Ferstler, author of:
High Fidelity Audio Video Systems
High Definition Compact Disc Recordings
The Home Theater Companion
The Digital Audio Music List
Many thanks to Howard for getting a much more detailed history online!
There are people out there who know a lot more about the history of AR than I do, but here is a stab at providing some fairly detailed tidbits.
The first AR speaker was the AR-1. It was a rather large bookshelf model and used a 12-inch, mostly enclosed-air-controlled (acoustic suspension) woofer. The tweeter/midrange was a modified 8-inch unit (from GE or General Radio or RCA, I cannot remember exactly). So, the system was a two-way model that was able to go into the deep bass range better than just about anything else out there. In ad***ion to that superior bass performance, it was small and that mattered a lot in an era when stereo was just starting to appear. If it had any drawbacks, those involved its need for a lot of amplifier power in an era when a lot of amplifier power could cost real money.
The AR-2 came shortly later. It was in a smaller box, had a lighter 10-inch woofer and two 5-inch cone midrange/tweeters. The crossover point was at 2 kHz, whereas that of the AR-1 was at about 1 kHz, I think, although I could be wrong about that one. The AR-2''s big advantage was that it cost quite a bit less than the AR-1 and it did not need quite as much amp power. Its disadvantage was that it could not go as low into the bass.
Both systems were given a shot in the sales arm by a review in Consumer Reports magazine in 1958 that showed them and some similarly configured KLH models to be superior to just about anything else available, particularly in the bass. (See below for more on KLH.)
Obviously, the AR-1''s 8-inch tweeter/midrange was a serious compromise, at least in the top octave, and even in the upper midrange. Edgar Villchur, the man in charge of the company, was aware of that. So, once they had the necessary capital he came up with the AR-3, which had the first dome tweeter and dome midrange along with the AR-1''s 12-inch woofer.
A dome''s big advantage, at least at that time, was not so much an inherently superior dispersion compared to a same-sized cone (a cone of the same size should disperse nearly as well), as it was power handling. A dome would ordinarily have a larger voice coil than a cone of similar diameter, and that made it more efficient. A bit later on, I believe the AR-3 was given a more modern, easy-to-build version of that original 12-inch woofer.
Backing up a bit, I should note that while the first AR-1 was initially designed (and patented by) by Ed Villchur, the guy who actually came up with the final-design-version of the woofer was Henry Kloss, who made it possible for the unit to be assembly line produced. Villchur held the patent, of course, and Kloss was more or less second in command when AR first got going.
Fairly early on, they split (Kloss was company presidential material, not vice-presidential material), with Henry starting KLH with two other gentlemen. Part of the separation deal was that KLH got rights to use the acoustic-suspension principle that Villchur had patented. KLH went on to make some very good loudspeaker systems, and the two of the best, the KLH-6 and KLH-4, were among those that Consumer Reports lionized in 1958, along with the AR-1 and AR-2.
The AR-3 was the company''s top system for several years and a bit later the AR-2a joined the lineup. The AR-2a added the AR-3 tweeter to the existing AR-2 system. The tweeter allowed the cheaper system to deliver genuine high frequencies. So, then we had three systems in the company offerings: AR-3, AR-2a, and AR-2. At that time the company was also producing the AR Turntable, which Villchur designed.
Still later on, the AR-3 was replaced by the AR-3a (although the AR-3 remained in the line up for some time after the 3a appeared), which had the same woofer as the AR-3. However, the tweeter and midrange were changed, as were the crossover points, which were all lower than what the AR-3 had: 575 and 5000 Hz, rather than 1000 and 7500 Hz. The later AR-2ax also got the AR-3a tweeter, plus a new midrange driver that was different (much cheaper) from that of the AR-3 or 3a.
The AR-3a was designed mainly by a very competent man named Chuck McShane, under Roy Allison''s direction. Roy had joined AR in 1959, after Kloss left, and became Villchur''s plant manager. Prior to that he had been a contributing e***or at High Fidelity magazine, along with none other than Gordon Holt.
So, after the AR-3a we had the AR-2x and AR-2ax, plus the AR-4, AR-4x, AR-5, AR-6, AR-7, and AR-LST (the latter being the only one of the group that was more potent and more expensive than the 3a), each of which was designed under the supervision of or else fully designed by Allison. Allison also was in charge of getting the AR Amp, AR Tuner, and AR Receiver into production. Much of the work on the latter was done by Robert Grodinsky.
By the time these later systems (including the electronics) started to show up, Villchur had sold AR to Teledyne, and Roy became vice president, with Abe Hoffman serving as president of the AR branch of the corporation. Under their command company profits and sales doubled. However, the company was still losing market share to outfits that were making cheaper speakers, and so a new man was brought in by Teledyne to replace Hoffman.
A number of years later, after his contract ran out, Allison left the company and those who were left behind produced the AR-8, AR-LST/2, AR-9, etc., none of which Roy had anything to do with.
Allison had been doing research on speaker/room interactions, and after he left AR his knowledge became the foundation for what eventually became Allison Acoustics. His research was partially the a result of what had happened when Consumer Reports gave the AR-3a a so-so review in the late 1960s, and partially because he was aware that much was to be learned about mid-bass boundary artifacts and the relationship between reverberant-field and direct-field sound in home-listening rooms.
Getting back to AR, I believe that the 10pi was mostly designed by Victor Campos, or at least was designed under his supervision, who had joined the company some time after Roy left. He may also have been involved with the AR-9, although I am not sure. The 10pi was the first AR speaker to use Ferrofluid cooling I believe.
The AR-303, which of course comes somewhat later (after the company was purchased by Recoton, I believe), was actually designed by Ken Kantor, who had also designed the sound-stage manipulating AR-MGC-1 system for the company somewhat earlier. I believe that at that time Ken was the driving force behind NHT, too. NHT is also now owned by Recoton, as now is Kloss''s old company, Advent. The 303 was supposed to be a modern version of the 3a, and I believe
that Ken designed it with that in mind.
As noted in this web site''s introductory comments on AR, Cary Christie indeed did design the HO series, and some time back I reviewed a pair of the 310HO models for The Sensible Sound (issue number 68). I found it to be a really good system. Cary obviously knows what he is doing. The HO stands for high output, by the way, and that line of speakers is considerably more power efficient than the older AR models.
Another very good, current AR system is the Phantom 8.3 model. I reviewed a pair of them for The Sensible Sound a while back (issue number 82) and found them to be exemplary performers, although for deep-bass work they would need the assistance of a subwoofer. I currently have a pair installed in my living-room system (assisted by a Velodyne subwoofer) as mid-price reference systems.
Được tuansanphaply sửa chữa / chuyển vào 08:50 ngày 30/12/2004

Đây, chi tiết về loa AR 302 đây; Tôi cắt bớt các loa cùng serie 303 để post lên thì mới được .
Đúng là phối ghép Fisher 800 T với Ar3a thì nghe rất hợp .
==========
This history was provided by Howard Ferstler, author of:
High Fidelity Audio Video Systems
High Definition Compact Disc Recordings
The Home Theater Companion
The Digital Audio Music List
Many thanks to Howard for getting a much more detailed history online!
There are people out there who know a lot more about the history of AR than I do, but here is a stab at providing some fairly detailed tidbits.
The first AR speaker was the AR-1. It was a rather large bookshelf model and used a 12-inch, mostly enclosed-air-controlled (acoustic suspension) woofer. The tweeter/midrange was a modified 8-inch unit (from GE or General Radio or RCA, I cannot remember exactly). So, the system was a two-way model that was able to go into the deep bass range better than just about anything else out there. In ad***ion to that superior bass performance, it was small and that mattered a lot in an era when stereo was just starting to appear. If it had any drawbacks, those involved its need for a lot of amplifier power in an era when a lot of amplifier power could cost real money.
The AR-2 came shortly later. It was in a smaller box, had a lighter 10-inch woofer and two 5-inch cone midrange/tweeters. The crossover point was at 2 kHz, whereas that of the AR-1 was at about 1 kHz, I think, although I could be wrong about that one. The AR-2''s big advantage was that it cost quite a bit less than the AR-1 and it did not need quite as much amp power. Its disadvantage was that it could not go as low into the bass.
Both systems were given a shot in the sales arm by a review in Consumer Reports magazine in 1958 that showed them and some similarly configured KLH models to be superior to just about anything else available, particularly in the bass. (See below for more on KLH.)
Obviously, the AR-1''s 8-inch tweeter/midrange was a serious compromise, at least in the top octave, and even in the upper midrange. Edgar Villchur, the man in charge of the company, was aware of that. So, once they had the necessary capital he came up with the AR-3, which had the first dome tweeter and dome midrange along with the AR-1''s 12-inch woofer.
A dome''s big advantage, at least at that time, was not so much an inherently superior dispersion compared to a same-sized cone (a cone of the same size should disperse nearly as well), as it was power handling. A dome would ordinarily have a larger voice coil than a cone of similar diameter, and that made it more efficient. A bit later on, I believe the AR-3 was given a more modern, easy-to-build version of that original 12-inch woofer.
Backing up a bit, I should note that while the first AR-1 was initially designed (and patented by) by Ed Villchur, the guy who actually came up with the final-design-version of the woofer was Henry Kloss, who made it possible for the unit to be assembly line produced. Villchur held the patent, of course, and Kloss was more or less second in command when AR first got going.
Fairly early on, they split (Kloss was company presidential material, not vice-presidential material), with Henry starting KLH with two other gentlemen. Part of the separation deal was that KLH got rights to use the acoustic-suspension principle that Villchur had patented. KLH went on to make some very good loudspeaker systems, and the two of the best, the KLH-6 and KLH-4, were among those that Consumer Reports lionized in 1958, along with the AR-1 and AR-2.
The AR-3 was the company''s top system for several years and a bit later the AR-2a joined the lineup. The AR-2a added the AR-3 tweeter to the existing AR-2 system. The tweeter allowed the cheaper system to deliver genuine high frequencies. So, then we had three systems in the company offerings: AR-3, AR-2a, and AR-2. At that time the company was also producing the AR Turntable, which Villchur designed.
Still later on, the AR-3 was replaced by the AR-3a (although the AR-3 remained in the line up for some time after the 3a appeared), which had the same woofer as the AR-3. However, the tweeter and midrange were changed, as were the crossover points, which were all lower than what the AR-3 had: 575 and 5000 Hz, rather than 1000 and 7500 Hz. The later AR-2ax also got the AR-3a tweeter, plus a new midrange driver that was different (much cheaper) from that of the AR-3 or 3a.
The AR-3a was designed mainly by a very competent man named Chuck McShane, under Roy Allison''s direction. Roy had joined AR in 1959, after Kloss left, and became Villchur''s plant manager. Prior to that he had been a contributing e***or at High Fidelity magazine, along with none other than Gordon Holt.
So, after the AR-3a we had the AR-2x and AR-2ax, plus the AR-4, AR-4x, AR-5, AR-6, AR-7, and AR-LST (the latter being the only one of the group that was more potent and more expensive than the 3a), each of which was designed under the supervision of or else fully designed by Allison. Allison also was in charge of getting the AR Amp, AR Tuner, and AR Receiver into production. Much of the work on the latter was done by Robert Grodinsky.
By the time these later systems (including the electronics) started to show up, Villchur had sold AR to Teledyne, and Roy became vice president, with Abe Hoffman serving as president of the AR branch of the corporation. Under their command company profits and sales doubled. However, the company was still losing market share to outfits that were making cheaper speakers, and so a new man was brought in by Teledyne to replace Hoffman.
A number of years later, after his contract ran out, Allison left the company and those who were left behind produced the AR-8, AR-LST/2, AR-9, etc., none of which Roy had anything to do with.
Allison had been doing research on speaker/room interactions, and after he left AR his knowledge became the foundation for what eventually became Allison Acoustics. His research was partially the a result of what had happened when Consumer Reports gave the AR-3a a so-so review in the late 1960s, and partially because he was aware that much was to be learned about mid-bass boundary artifacts and the relationship between reverberant-field and direct-field sound in home-listening rooms.
Getting back to AR, I believe that the 10pi was mostly designed by Victor Campos, or at least was designed under his supervision, who had joined the company some time after Roy left. He may also have been involved with the AR-9, although I am not sure. The 10pi was the first AR speaker to use Ferrofluid cooling I believe.
The AR-303, which of course comes somewhat later (after the company was purchased by Recoton, I believe), was actually designed by Ken Kantor, who had also designed the sound-stage manipulating AR-MGC-1 system for the company somewhat earlier. I believe that at that time Ken was the driving force behind NHT, too. NHT is also now owned by Recoton, as now is Kloss''s old company, Advent. The 303 was supposed to be a modern version of the 3a, and I believe
that Ken designed it with that in mind.
As noted in this web site''s introductory comments on AR, Cary Christie indeed did design the HO series, and some time back I reviewed a pair of the 310HO models for The Sensible Sound (issue number 68). I found it to be a really good system. Cary obviously knows what he is doing. The HO stands for high output, by the way, and that line of speakers is considerably more power efficient than the older AR models.
Another very good, current AR system is the Phantom 8.3 model. I reviewed a pair of them for The Sensible Sound a while back (issue number 82) and found them to be exemplary performers, although for deep-bass work they would need the assistance of a subwoofer. I currently have a pair installed in my living-room system (assisted by a Velodyne subwoofer) as mid-price reference systems.
Được tuansanphaply sửa chữa / chuyển vào 08:50 ngày 30/12/2004

nói thật với đồng chí tôi ko thích chất âm của AR302 cho lắm vì thế cho nên ko tiềm hiểu thêm về dòng loa này . bây giờ tôi đang chơi loa kèn JBL và ALtec tôi rất là thích chất âm của nó vì tôi đả thử qua wá nhiều loa , Tanoy, Lowther, Puppy Watt , B&W , KEF va much more . loa kèn là số một với điều kiện là (we must know how to set them up )

nói thật với đồng chí tôi ko thích chất âm của AR302 cho lắm vì thế cho nên ko tiềm hiểu thêm về dòng loa này . bây giờ tôi đang chơi loa kèn JBL và ALtec tôi rất là thích chất âm của nó vì tôi đả thử qua wá nhiều loa , Tanoy, Lowther, Puppy Watt , B&W , KEF va much more . loa kèn là số một với điều kiện là (we must know how to set them up )

Oh, nhiều thế cơ à, bái phục, bái phục.
Trên giang hồ ngày xưa, Minh chủ võ lâm là người có võ học uyên thâm nhất, được mọi môn phái tôn vinh, nể trọng. Nhưng hắn đâu có biết hết tất cả các võ công của các môn phái đâu.
Có khi nào Bác Ngao nghe âm thanh phát từ loa tivi là hay nhất chưa? Có đấy. Thân!

Oh, nhiều thế cơ à, bái phục, bái phục.
Trên giang hồ ngày xưa, Minh chủ võ lâm là người có võ học uyên thâm nhất, được mọi môn phái tôn vinh, nể trọng. Nhưng hắn đâu có biết hết tất cả các võ công của các môn phái đâu.
Có khi nào Bác Ngao nghe âm thanh phát từ loa tivi là hay nhất chưa? Có đấy. Thân!

Bác Ngao ngủ rồi, thèm nói chuyện với Bác tuansanphaply quá. AR3 đi với Fisher 800T, giống như Dương Quá với Tiểu Long Nữ vậy.