Stockholmsvitt it is. Eller kanske Södertäljevitt!?
De ska försvinna så mycket som möjligt visuellt, därför vitt mot vita väggar.
Läser om JBLs historia. Coolt hur mycket av arvet som faktiskt avspeglas på något sätt i mina Kebnekaise-freaks. T.ex första kommersiella succén som James B. Lansing tillverkade på 1930-talet (sidan 5), med 15" woofer och storformats kompressionsdriver. "the third project speaker" på sidan 60, med "stor sweetspot konceptet". Hartsfield på sidan 17, lådformen och hörnkonceptet.
http://www.behringer-electric.de/files/ ... nglish.pdf15" woofer och 4" kompressionsdriver i horn känns verkligen som JBL "core", ända från början. Jag är sjukt efter min tid inser jag!
Från s60:
He developed the concept for a new statement speaker around two factors—a wide, stable stereo image and high efficiency. The first factor harkened back to the Paragon. That system had been unique in the use of a curved diffraction panel to create a wide stereo soundfield that was little diminished as a listener moved off axis. Scrogin recognized that an exist-ing JBL Professional horn technology could be employed in a home loudspeaker to a similar effect. That technology was the asymmetrical horn. Don Keele had developed the 2346 horn for the 4660 ceiling speaker. That horn’s asymmetric geometry allowed even coverage, front to back, even though the front listening distance was considerably shorter than the back distance. Scrogin’s inspiration was to rotate the horn 90º. For a stereo pair, the effect was to direct increasing output towards the opposite loudspeaker, counteracting the tendency of the nearer speaker to dominate the stereo image as a listener moved off axis. The result was a stereo image that was stable and uniform at virtually any lateral position between the speakers. The second goal, high efficiency, also harkened back to JBL’s early legacy. Up until the LE series of drivers, all large JBL transducers were known for their very high sensi-tivity. They had an effortless, dynamic character that many audiophiles prized. Therefore, the new project speaker was projected to have a target sensitivity of 100 dB/W/m. The new system was given the name Everest and the model number DD55000 as a reference to the DD44000 Paragon that it replaced. Greg Timbers was ultimately given overall responsibility for engineering.
-Jag fick shimsa upp och flytta fötterna.)
