chunnybh wrote:Oops, that's pointed out an error on my page. 270 degrees not 27. Now corrected.
Yes the 270° refers to the bend of the horn inside the cabinet. The opening on my Mk VII is 17½ inches. Unfortunately mine is in storage at the moment so I cannot measure the overall acoustic length.
Over to you Andy.
I love the Hans Bottermund video. Made my day. Thanks.
Many thanks! 17.5 inches means the mouth is 240.5 square inches, which is pretty large compared to other models of the period.
Many thanks indeed for all the kind comments! I must admit that I'm really besotted with this one - it doesn't have quite the huge performance of the later external horn EMGs and Experts, but the beauty and delicacy of the sound is absolutely enthralling and quite unique. I was a little puzzled when the previous owner (a concert pianist) said he preferred listening to this Mk VII over the Expert Senior, but I can fully understand now. I can't "agree" as such - simply because they don't compare directly! And different records sound better on each, as with other EMGs and Experts (also different soundboxes) - all part of the great magic. One can get lost in the audiophile minutiae, with endless pleasure and interest, but I always come back to the simple "TRUTH" (as Frank James himself puts it) that these amazing machines deliver, the enjoyment of music itself.
In response to questions - it has a large Paillard motor, but I'm so busy urgently sorting through the thousands of records that came with this and the Expert Senior (and uploading the odd one) I haven't lifted the motorboard to have a look yet. When I do, I'll try to get a good estimate of the acoustic length. Roughly measuring the horn's path from outside the cabinet it looks as though it may be closer to 7 feet (including the tonearm of course).
May I add belated astonishment at the absolutely stunning quality of this machine? You are fortunate indeed to own such a treasure. (Since that un-rebuilt sound box performs so well now, I can only wonder how it could sound better with pliant gaskets and a tune-up. Please be sure to post sound clips after rebuild!). Thanks again for posting.
Judging from the up-front bass output in this video -- https://www.youtube.com/watch?v=nOq9VYH5Mys -- the range probably exceeds the HMV 193, which I was told was fitted with a seven foot (re-entrant) horn.
OrthoFan wrote:Judging from the up-front bass output in this video -- https://www.youtube.com/watch?v=nOq9VYH5Mys -- the range probably exceeds the HMV 193, which I was told was fitted with a seven foot (re-entrant) horn.
OrthoFan
Ah, and Chunny helpfully gave the acoustic length at the time of that video! 79". I should have remembered - I watched that video lots of times whilst I was patiently waiting to collect my Mk VII.
Andy, this must have been the most enjoyable piano solo recording that I've ever listened to!!!
I'm sure that the EMG and your needles has their part on it, but also the record has to be one of the most well recorded ever! I'm absolutely impressed by the clarity of tone, lack of flutter, and its consistency throughout the record! My goodness I'm absolutely sure that I would have skipped this record at any flea market - but hear what's in it!!!
It almost compells me to go out and buy a full album of those penny-a-dozen piano 78s (that I would inevitably dump few hours later...).
Marco Gilardetti wrote:Andy, this must have been the most enjoyable piano solo recording that I've ever listened to!!!
I'm sure that the EMG and your needles has their part on it, but also the record has to be one of the most well recorded ever! I'm absolutely impressed by the clarity of tone, lack of flutter, and its consistency throughout the record! My goodness I'm absolutely sure that I would have skipped this record at any flea market - but hear what's in it!!!
It almost compells me to go out and buy a full album of those penny-a-dozen piano 78s (that I would inevitably dump few hours later...).
It's a wonderful piece. It amazes me how a 'study' to develop the left hand technically can be so beautiful musically.
I must play and maybe upload more piano music on the Mk VII to see whether that recording was exceptional...
Not to detract any merit off this wonderful gramophone whatsoever... but it's a point to note that the piano, cello and violin recordings are among the best and kindest to play in any machine, because of their lovely definition and sweetness of music. Don't know how to express this exactly... but for instance, recordings as the HMV Kreislers, Heifetzs, Casals', Cortots, Menuhins and the like are always my preferred ones to play on the huge HMV 194. I believe these records bring out the most these machines can deliver. One of my favourites is DB 945, La plus que lente, by Heifetz.
In the other hand, certain operatics, as Gigli's, for instance, are also my preferred ones for this same characteristic. Even the latter Gigli recordings on HMV DB 21000 series, with heavy powerful orchestrations, as Turandot's Nessun Dorma (21138), or Kirsten Flagstad's En Drom by Grieg (21020)... oh! guys... You have to listen to those records on a big reentrant machine... On the EMG/Expert League, they must be the most of the most....!
Marco Gilardetti wrote:Andy, this must have been the most enjoyable piano solo recording that I've ever listened to!!!
I'm sure that the EMG and your needles has their part on it, but also the record has to be one of the most well recorded ever! I'm absolutely impressed by the clarity of tone, lack of flutter, and its consistency throughout the record! My goodness I'm absolutely sure that I would have skipped this record at any flea market - but hear what's in it!!!
It almost compells me to go out and buy a full album of those penny-a-dozen piano 78s (that I would inevitably dump few hours later...).
Why would you throw out piano records? They're usually awesome--even acoustics.
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