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yvesspinelli

@yvesspinelli

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He/Him/His
@spinellikilcollin co-founder
Follow ⬆️ for jewelry
This is my personal account where I mostly post records

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I’ve been slowly testing different components on these guys. I switched my 1005 horn for a 311B-60. The 1005 was radiating 100 degrees—far too diffuse for this small space. The 311 radiates 60 degrees, so is much more direct and controlled. I’ve had to adjust the horns more minutely. It’s a bit longer than the 1005 and can crossover lower, but I’ll likely keep them crossed around 600 Hz with the 288s when I redo them.

My channels still need to be matched, and I’m working on that this week. Then, I’m going to swap the 416A woofers with original coned 803A woofers I’ve had for a few years.

#altec #vott #listeningroom #vinylcollectionpost #hornspeaker by @yvesspinelli

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22 days ago

Fall vibes in the music room.

These Altecs are my latest DIY project. I’ve had them in my office for several years, and just brought them home last week. I spent several hours aligning them in the music room, and I’m going to make new crossovers for them. Scroll through for more information ▶️

#altecvott #altecspeakers #hornspeaker #listeningroom #vinylcollection

Altec 416A
Altec 288C drivers
Markus Klug wooden 1005 horn
A7 cabinets by Gary Fischer

These are very sensitive—likely close to 100 dB, or more. They are warm and dynamic and a much more vintage character with lovely midrange and relaxed highs. I’m going to rebuild the crossovers, but I also may consider adding a tweeter for more air.

My room is not very deep, so I had to tilt the horns to better integrate with the woofer. My room is also asymmetrical and the concrete floor is uneven, so I had to tilt the right side 1/4” less than the left. The beauty of these speakers is that the horns can be adjusted and fine-tuned.

These vintage 288C drivers were surprisingly well-matched. I have 288G drivers that I was going to try first, but one of them needs help.

I measured each speaker separately. The 288s had a flatter response when I reversed the polarity. The crossover that Gary Fischer built is crossing over around 600 Hz, which seems to be working well with the horn.

One of my 288s was distorting and needed a new diaphragm. Luckily I got some from GPA several years ago. I also cleaned the gap with masking tape—there was a lot of dirt in there.

I’m going to address this response, but I aligned them in the room. The highs are rolling off before 10 kHz. The 288Cs should extend a bit more. by @yvesspinelli

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2 months ago

It’s been 5 weeks since we started construction on our new LA Flagship! If destroying things counts as progress, we’ve made a lot.

We signed our first lease 2 years ago, and now we’re expanding. In the time since we’ve been here, Melrose Hill has become one of LA’s most concentrated pockets of art, design, food and fashion. It was always home coming for me because the art scene has always been my LA community, and my friends and galleries are here. And soon I’ll have a store with a large enough living room here to invite you all.

In the mean time I’m smashing but you can still visit us safely next door. @spinellikilcollin taken in Melrose Hill, Los Angeles by @yvesspinelli

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3 days ago

Yves Spinelli is coming to Houston 🔗

Join us Friday, October 9 from 11AM–5PM for a special personal appearance by Spinelli Kilcollin Co-Founder Yves Spinelli.

Stop by for coffee, conversation, and styling with Yves himself.
No appointment needed. Private appointments are also available.

📍 Zadok Jewelers Houston
1801 Post Oak Blvd
Friday, October 9 | 11AM–5PM

#spinellikilcollin #yvesspinelli #houstonevents #finejewelry #luxury taken in Houston, Texas by @yvesspinelli

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7 days ago

I’m still testing variations for these. Yesterday, I switched horns from a 311b-60 to an 805b. Before that, I had a wooden 1005 made by Markus Klug. The 1005 had too wide a dispersion for this room, which I knew would happen. That will likely go into the bigger space we’re building in our new store.

The 311 has a 60 degree in contrast to the 100 degree dispersion of the 1005 (see photo 3). It was a much more focused presentation—maybe too focused with my current crossovers. It was beaming a 1-3 kHz peak right at me, which was exciting for a bit, but then got fatiguing.

The 805 is a beautiful balance in my room. It flattened the 1 kHz peak, and the 80 degree dispersion is grand, and a perfect balance. I added two Fostex T90A super tweeters I had and soldered some spare capacitors on the lead totaling a 3.8 µF value. It was more proof on concept, but I extended HF out to 20 Hz. I’m going to tune it better when my Parts Express order comes this week.

I’m still dialing this in, but I’m very happy with my results. I’m awaiting gaskets to put on my 803a woofers to replace next. Stay tuned.

By the way, the new DSS of Reckoning is incredible.

#altecvott #vott #altechorns #listeningroom #hornspeaker by @yvesspinelli

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15 days ago

Before music became something we carried everywhere, listening to it was often an experience in itself.

Listening rooms were designed around sound.

Part interior design, part ritual, they turned music into something slower, more intentional and more social.

In a world built around constant noise, the appeal feels more relevant than ever.

#listeningrooms #music #art taken in Sydney, Australia by @yvesspinelli

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19 days ago

His fur goes this deep. taken in Ojai, California by @yvesspinelli

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22 days ago

New York Fashion Week: We found it as we left it last: crowds, celebrities, DJ’s and parties.  But this time we lost it all together at times, finding ourselves on rooftops or deserted streets. But where we found it absent we made our own.  Our party was fancy, you could tell because of the jazz and diamonds.  Congrats to @mikeamiri on the grand opening, @yoon_ambush on the @papermagazine party, to all of the designers for pulling it off once again, to @attiken on the book, and to the PR ‘s of the week for surviving it.   See you next time! taken in NYC by @yvesspinelli

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24 days ago

HOW DO YOU SEE IT @yvesspinelli & @dwyer.kilcollin of @spinellikilcollin !!! Design, intention, authenticity, & more!

#nyfw #fashionweek #streetinterview #spinelli taken in New York, New York by @yvesspinelli

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a month ago

Tom Petty and the Heartbreakers - S/T (Shelter), 1976

In early 1974, Tom Petty flew from Florida to Los Angeles to secure a record deal for his band Mudcrutch. Within a week, several labels offered him deals. He chose Shelter Records because its owners, Denny Cordell and Leon Russell, seemed most interested in growing with him. He would come to regret that decision.

Mudcrutch’s first single tanked, the band broke up, and Petty was left on his own. Cordell decided to keep him as a solo artist. In late 1975, Petty recorded tracks with Mudcrutch guitarist Mike Campbell, Al Kooper, Emory Gordy, and Jim Gordon on drums.

After working with session players, Tom Petty decided he wanted his own band. Along with Mike Campbell, he added Benmont Tench from Mudcrutch, Ron Blair, and Stan Lynch. Tom Petty and The Heartbreakers were born.

The new group played clubs around LA for several months, fine-tuning their songs and learning to play together before recording their debut.

They recorded at Shelter Studios in spring 1976 and released their debut in the fall. By then, Shelter Records was struggling financially and with its distributor. Denny Cordell bought out his partner, Leon Russell, after Russell tried to dissolve the company in court.

But with the financial trouble, there was no longer a budget for promotion. The first two singles got no radio play, and by the beginning of 1977, the album had sold fewer than 7,000 copies.

The Heartbreakers, however, found success in the UK when they toured in early 1977. As punk rock rapidly changed musical tastes, the band’s songs and raw, guitar-driven sound appealed to new fans. Their record began selling and entered the UK Top 30.

Inspired by their success across the pond, Shelter re-issued the first single “Breakdown” along with a new promotional campaign. By 1978, the debut record had sold over 500,000 copies.

As 1977 ended, Tom Petty and The Heartbreakers had a bright future. It looked like they had survived the financial turmoil of Shelter Records as they entered the studio to record their follow-up album, but the label problems were far from over. But their label problems were far from over. by @yvesspinelli

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a month ago

Dwight Twilley Band - Sincerely (Shelter), 1976

The Dwight Twilley Band’s debut album should have been a success after their first single broke the top 20. Instead, it sat on the shelf for more than a year while their label’s founders fought each other in court.

Dwight Twilley and Phil Seymour had been writing and recording pop songs for years in Tulsa. They took their tapes to Los Angeles and signed a deal with Shelter Records, the label started by Leon Russell and Danny Cordell.

Danny Cordell immediately sent them into the studio to get comfortable before recording their album. Twilley and Seymour privately agreed they would record a single.

“I’m On Fire” was recorded on their first night. It was released a few months later and started spreading by word of mouth as radio programmers across the country added it to their playlists. In August 1975, it peaked at #16,

By this point, they had spent almost a year recording and had enough material to release a record, but the album still wasn’t out. Cordell sent them back to the studio to finish recording with Roger Linn engineering.

Meanwhile, the relationship between Russell and Cordell, Shelter’s co-owners, was deteriorating. They had switched distributors the year before, and in October, just months after the band’s hit single, Russell filed a court order to dissolve the label, claiming it was losing $25,000 each month.

The dispute was settled several months later, and Shelter could finally release the full album, but their distribution problems hadn’t gone away. It had been over a year since “I’m On Fire” was on the charts, and all the momentum was gone. Shelter had cut their promotion department, and stores couldn’t even order the record because of the label’s ongoing issues with their distributor.

The album received good reviews and is now seen as one of the stronger records from the first wave of power pop, ranked alongside Big Star, The Raspberries, and Shoes.

The original Shelter pressings, mastered by The Mastering Lab, sound massive and are worth tracking down. They are easy to find and essential to own. by @yvesspinelli

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a month ago

David + David - Boomtown (A&M), 1986

In 1986, David Baerwald and David Ricketts made a lushly produced record about people whose lives were falling apart in sunny Los Angeles.

The two had known each other in the L.A. music scene for years, but had only started writing together for a few weeks when they began recording demos in their living rooms. A friend’s sister was temping at A&M Records and gave a copy to one of the executives, who quickly signed them.

The living room demos soon turned into a serious Los Angeles studio production. Baerwald and Ricketts played the various string instruments and hired session drummer Ed Greene and percussionist Paulinho da Costa, along with John Phillip Shenale, who programmed the mass of synthesizers. The mix of acoustic instruments, layered synths, and enormous mid-‘80s drums gave the album a unique sound.

The polished production belied the gritty subject matter of the songs. No one expected the record’s bleakest song to become a hit.

“Welcome to the Boomtown,” a five-minute song with characters who include a college dropout dealing drugs at Denny’s and a wealthy woman who’s falling behind a secret cocaine habit, was a surprise hit, reaching #8 on the Billboard rock charts.

And the album was certified gold in America, selling over 500,000 copies. For a moment, the side project that was David + David looked like it might be the beginning of something. But Ricketts began working with Toni Childs, and the project that was supposed to take weeks took almost two years. The duo eventually returned to the studio to attempt a follow-up, but the album never appeared.

Baerwald went solo, and years later helped assemble the group that became the Tuesday Night Music Club on Sheryl Crow’s first record. He recently published a book titled “The Fire Agent,” loosely based on his grandfather, an undercover spy during World War II. I just finished it, and the story was engulfing—but that’s worth its own post. Ricketts continued writing and producing.

And “Welcome to the Boomtown” is still a beguiling record, mastered by Bernie Grundman. The songs are well-written, and their themes and characters are still relevant. by @yvesspinelli

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a month ago