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Are they still Tannoys?

Discussion in 'audio' started by cheviot, Oct 15, 2018.

  1. cheviot

    cheviot pfm Member

    Seems like these speakers have morphed into something else. Do these seem like legitimate "upgrades" or just a case of unfettered upgrade-itis? My thinking is that they've been tinkered with to the extent that their original sound and character, the product of decades of development to a particular and distinctive end, may have been undermined. As has their value.
    And what's "C34 Lack"?
    Thoughts?
    https://www.canuckaudiomart.com/det...=web&utm_content=front&utm_campaign=649468814
     
    Last edited: Oct 15, 2018
  2. Tony L

    Tony L Administrator

    Not to my mind! This kind of mod would be all but impossible to remove too. I always swerve obviously tampered-with kit.
     
  3. S-Man

    S-Man Kinkless Tetrode Admirer

    C34 Lack is some sort of magic lacquer. It's supposed to make things sound more analogue or single ended or ????
    Might be made with snake oil or virgin something or other. One thing's for sure - it's not weightless, so it will most likely ruin the tuning of the drive units.

    Actually it seems to be 3 different to this:
    https://www.tnt-audio.com/accessories/c37_e.html
     
  4. Tony L

    Tony L Administrator

    IIRC its a ‘best guess’ reformulation of the laquer used on vintage Stradivarius violins. Violins and loudspeaker drive units being the exact same thing, obvs.

    PS I’m thinking of C37 Lacquer, and I suspect the ad is.
     
  5. yuckyamson

    yuckyamson pfm Member

  6. cooky1257

    cooky1257 pfm Member

    Vandalism and stupidity in equal measure.
     
  7. cheviot

    cheviot pfm Member

    Looks like it. As a matter of principle, I really don't think getting a paper pulp based Tannoy cone wet, particularly with laquer, is the wisest idea.
    They look bumpy, like they've been soaked in something which, it appears, they have been. Alas.
     
  8. ff1d1l

    ff1d1l pfm Member

    It's not.
     
  9. Clay B

    Clay B pfm Member

    Thanks for this. Would you be so kind as to go into further detail. I think we all would be interested.

    Cheers
     
  10. ff1d1l

    ff1d1l pfm Member

    As far as Stradivari violin varnish goes...

    The varnish was not peculiar to the Stradivari workshop, the entire body of violin makers of the city of Cremona used it, its use was widespread, and it is even used on the choir stalls in the cathedral. It predates Strad, very similar coatings used by the Amati family from the 1500's on.
    The latest scholarship leans towards (just as many Strad violins are now thought to have been made to a large under his direction in his large workshop employing his sons and other violin makers, rather than by his hand) the varnish possibly being made locally by an apothecary or specialist maker and being bought in, rather than a Strad invention. It went out of use in the late 18th century, and was regarded as a lost secret for many years. Still "secret" and under research is the preparatory treatment "ground" he used under the varnish, and also what he treated the inside of his violins with, as restorers are adamant that there is something there.

    Recent analysis indicates it was made by boiling rosin (from pine resin), then adding boiling linseed oil and a resin such as mastic.
    More here.
    It can then be thinned with real turpentine. Many violin makers use a varnish similar to this, and make their own, although it can be bought. It takes a day in a UV light box for each coat to dry or up to a week in direct sun. This agrees with a Strad letter to a client apologising for delay in delivery saying the varnish required "The heat of the sun to come to full perfection".

    So, were C37 to be this formulation, a UV box would be required to make each coat dry.

    It's strange how occasionally hi fi makers feel it beneficial to hitch their wagon to the violin making star - Sonus Faber, who as well as naming their range after Stradivari, Guarneri, Amati, also claim their cabinets are finished with violin varnish. Maybe I'm missing a trick and I should call my violins Altec, Tannoy...or even, heh heh, Sonus Faber.

    Having said all that, Deiter Ennermoser, the C37 man, seems to be a violin maker, and this is quite possibly his violin varnish.
    He says a coat dries in a day, which rules out the Cremonese/Strad varnish.
    The Strad varnish is an oil based varnish, but so called spirit varnishes are also used on violins, where resins are dissolved in alcohol. French polish is one such. Thin spirit varnish would soak into a speaker cone, and if enough was used, change it's spec - weight, stiffness, breakup.
    Not necessarily desirably, just change.
    Not to say that modifying the pulp recipe when making the cones wouldn't be a more repeatable way to do the same thing, were it desirable.

    If you really want to try the effect, try painting on some dilute french polish an a speaker cone and seeing if you can hear any change, and if you like it.

    I'd imagine it would take a lot to shift a Tannoy cone out of the general variability in spec exhibited anyway.
    As to painting it on to circuit boards, components etc, have to say this has the overpowering whiff of foo, if not male bovine derived poo.
     

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