How do you get from mixing bands live and engineering Flying Nun records to creating your own brand of superb loudspeakers? GARY STEEL chats with Tex Houston.
When Witchdoctor first heard that Tex Houston โ a backroom man of considerable distinction in New Zealand music circles โ had come up with his own high-end loudspeakers, we were stumped for words.
The words โFlying Nunโ and โhi-fidelityโ arenโt exactly the most obvious bedfellows, but then, how many real music fans want to spend their lives listening exclusively to Dire Straits and Norah Jones records?
And when you start to grasp the gist of Tex Houstonโs experience and history, it all starts to make sense. The guy has sound credentials in the real world, having started his professional life mixing gigs for that 1980s pop/soul phenomenon, the Netherworld Dancing Toys, and subsequently becoming live sound engineer on international tours for some of the bigger names on the Flying Nun roster in the late โ80s.
Later, he co-owned Fish St Studios in Dunedin, where he recorded the likes of The 3Ds, The Able Tasmans, The Verlaines and The Clean.
It turns out that Tex โ apart from being a knob-twiddler supreme โ is also an inveterate fiddler. And by that, we mean the kind of guy who can have a party with a bit of wiring and a broken amp to fix. But thatโs not all. Itโs clear that heโs more than โthat guyโ who lurks in the back of the mancave, perpetually soldering things just for fun. Heโs also a fellow who lusts after all that is excellent. As he revealed in our chat, itโs not just great sound that he pursues, but great everything: he roasts his own coffee beans, brews his own beer, and is no doubt a kitchen whizz as well.
So perhaps itโs not such a bizarre notion that someone whose musical associations are mostly with alt-rock bands would concoct his own rather excellent brand of loudspeakers, Tex Tones.
Launched quietly late last year through his website (there are currently no retail shops carrying the speaker, although the new Relics Hi-Fi shop in Dunedin, which will concentrate on locally manufactured audio gear, will stock them), the Tex Tones have a small but ardent fan base.
The respect with which the speakers (and Tex) are held is reflected in the new Art Speaker range of Tex Tone speakers, for which notable artists like Chris Knox, David Kilgour (of The Clean), Robert Scott (The Bats), and Nicola McLaren (an artist and ceramist whose work is apparently held in high regard) have unleashed their paint-on-wood powers.
Theyโre stunning, and while theyโre a couple of grand more to buy than the normal Tex Tone speakers, the art alone would surely be worth more than that if it was on exhibition. A bonus is the fact that the curved surface of the speakers works so well in displaying the art from whichever angle youโre viewing it.
The special edition art speakers have just been launched, and to mark the occasion, we had a nice long chat with Tex.
Gary Steel โ Iโm finding especially in the last year or so that local companies and even importers and distributors are going, โthereโs just no shops to sell my stuffโ.
Tex Houston โ I know, thatโs exactly right. I havenโt explored getting into shops too much. Iโve had a few approaches about selling them overseas, but the thing is it becomes so incredibly, ludicrously expensive by the time it gets over there and the mark-up goes on and all that sort of stuff. The whole idea initially was to try out the website, see how it goes, see if we can sell them through that, and then maybe try and get into the shops as well. Weโll have to see how that goes.
Gary โ Do you have a shop in Auckland thatโs selling them?
Tex โ No. Relics, which is a second-hand shop in Dunedin, is starting a shop next door called Relics Hi-fi. Theyโre going to have a pair in there. Iโve sold a few pairs in Auckland.
Gary โ Itโs a tough one because just selling them on the website means people canโt hear them until they buy them.
Tex โ Exactly, and with a high end, expensive item you really want to audition them first. It is really tricky. Itโs funny because I started this off for myself and never envisaged it going any further, but it grew. I started exposing them to friends of mine and they were like โWow! Can you make me a pair?โ And it grew from there really.
Gary โ What made you thinkโฆ This is going to sound rude. Donโt take offence, butโฆ with all these speaker companies around the world putting hundreds of thousands into R&D, what made a guy down in Dunedin think that he could produce speakers that were as good or better than what those guys are doing?
Tex โ Iโve had so much experience listening to speakers and been in studios and listening to gigs. Just looking around me at the moment Iโve got Genelecs, Questex, ATCs, Spendors, Kefsโฆ Iโve been a speaker nut for a very long time. But I also understand things like crossover systems through PA systems. Iโve got a lot of knowledge, and really Iโm a DIY guy and I thought โI can give this a goโ, and I gave it a go and then I thought โthatโs okay but itโs not that greatโ, and then I thought โI can make it better thoughโ and I kept going on until I eventually got this this point and just went โwow, thatโs really awesomeโ. I thought, โIโve got something quite special hereโ and when I played them to audiophiles and friends who loved music they agreed. It certainly wasnโt arrogance on my part. I know that if I have good drivers, good crossover components and get everything right Iโm going to come up with something pretty good. And I did mess around for an awful long time with boxes and drivers and different crossovers, etcetera, until I was kind of happy. But I have been listening to active speakers in the studio a lot, and I wanted to get the active speaker vibe but put it in a passive box because I donโt think active speakers have ever really taken off in domestic hi-fi. People have their amps and sources and they like to be able to change bits and pieces about.
Gary โ Itโs interesting hearing someone like yourself who actually know the technical reasons for a speaker doing what it does, and trying to understand it. Itโs a fascinating realm.
Tex โ It is, itโs really fascinating. I donโt want to stop with where I am either, because itโs actually a lot of fun to explore the different options out there. People have asked me for little bookshelf speakers and so Iโve got a prototype going on those at the moment. I had someone ask last week whether I was going to make a floorstander. And I would like to try an active pair as well. But thatโs on the assumption that I can at least break even and keep things moving.
Gary โ One of the fascinating things with your situation is that youโre actually a music guy for a start and youโve been involved in studio engineering and live work, too. Which is very rare when it comes to the rarefied world of hi-fi. In my experience with hi-fi sometimes they donโt actually like music that much.
Tex โ Itโs more from a technical perspective.
Gary โ Technical and the music they like is geared towards that audiophile spectrum which would be as far away from Flying Nun as you could imagine โ the alt-rock aesthetic.
Tex โ I would never call myself an audiophile, thatโs for sure.
Gary โ So thatโs the question, really. They look like audiophile speakers. And youโre obviously seriously into good sound.
Tex โ Iโve started experimenting with DACs and things. I used to make a lot of mic preamps and compressors and all sorts of gear for the studio, and I like fiddling with electronics. I brew my own beer and roast my own coffee.
Gary โ How did you price the speakers in the end? Was it based on the practical aspect of the work that goes into them and the material costs, or did you look at the market.
Tex โ I havenโt really looked at the market. Iโm just not really that person. Iโm not very good with money. I might have to think about that question.
Gary โ Are the art speakers a specific price?
Tex โ I put them two thousand dollar more so theyโre $8,900 and that two thousand dollars goes directly to the artist.
Gary โ Thatโs an absolute steal for those who have the money.
Tex โ I think so. That is a lot of money but itโs hard to put a price on art.
Gary โ A well known local artist would sell one artwork for 20 or 30 grand, soโฆ
Tex โ Exactly, and youโre getting two canvases here.
Gary โ How did you come up with the idea to put art on them?
Tex โ We were just looking at them one day, me and my partner Nikki, and she was like โwow, you could actually do artwork on these,โ just because of the curved shape it lends itself. Your standard box speaker would look weird with its sharp corners. Iโve done a short 20-second video of each one (on the website) so you can actually see when it spins around whatโs going on as well.
Gary โ How did you choose your drivers and tweeters?
Tex โ I went with the lower end when I was just starting out and then I started ramping it up because I found the more I paid, the more money I spent on drivers, the better the speaker is. Itโs just quite incredible really. The high-end drivers just sound great. These ones are made in Indonesia, theyโre called SB Acoustics but theyโre ex ScanSpeak engineers who have branched out. A lot of the forums rave about them. Theyโre an amazing sound. Even the six-and-a-half-inch driver is pretty full range. It sounds very nice all by itself. It just gets a bit ragged at the very top, so I think just the high quality driver makes a big difference and it also makes for a more simple crossover which I think also benefits the sound. Less components in the crossover is a good thing, you know.
Gary โ There seem to be so many speakers at the moment that have got multiple drivers and tweeters. And you just wonder what kind of weird crossover nonsense is going on.
Tex โ Simplicity is really good. Some purists really go for that one-component, first order crossover, but itโs hard to find drivers that are good enough to accommodate them. Multiple drivers in very big speakers โ people must have very large listening rooms! My little speakers โ a six-and-a-half inch and a tweeter, can really fill a room.
Gary โ You wouldnโt need to put a sub with them?
Tex โ No! Thatโs the thing, they really have amazing bass, and I guess doing a lot of gigs with enormous bloody subwoofers everywhere Iโve sort of gone off that. Iโve never been a doof-doof kind of sound guy anyway. I donโt really need that thumping lower octave. But these speakers, they dig really deep, they go right down to 28 Hertz. So theyโre pretty impressive in the bottom end.
Gary โ I think youโre right that the speakers are the key element in the chain and that while the source makes an incredible difference to the sound the fundamental sound is the ability of the speaker.
Tex โ Thatโs right. You notice the difference between swapping the cartridge on your turntable and this CD player to that CD player, but really the most major change comes when you change your speakers. And the amplifier should really be more of a straight wire anyway โ all itโs doing is amplifying. Iโm enjoying the Class D stuff and thinking that itโll probably be the way of the future.
Gary โ One thing Iโve noticed over the years is that hi-fi speakers tend to be voiced in such a way that they sound brilliant on nicely mastered and engineered records but terrible on anything else. Some speakers sound amazing on acoustic music, but a lot of hi-fi gear doesnโt deal well with stuff thatโs multitrack, pop and rockโฆ it tends to sound compressed and thin and lack the dynamic that youโd be hearing if you were putting it through a crappy car stereo!
Tex โ I think the musicality of the speakers is the most important thing. In the โ80s my now partner had a pair of Spendor Preludes and I absolutely loved those speakers, they sounded so musical. And then I ended up buying some Spendor SP1s later and absolutely loved those as well. And theyโre your classic BBC-monitor-type sound. I wasnโt trying to emulate them but they affected the way that I voiced them perhaps. I had someone around yesterday and we played just about everything you can think of apart from classical. We were playing stuff from the โ50s, โ60s, โ70s, pop, electronicaโฆ and my speakers sounded great on all the different genres. Iโm quite proud of them in that way.
Gary โ People tend to take their best sounding records to an audition rather than their favourite records.
Tex โ Yeah, youโve got to play a variety. A friend of mine who used to be in hi-fi retail was saying that you get very, very sick of listening to Dire Straits. You poor bastard, I was thinking. How many times can you listen to โMoney For Nothingโ without going insane?
Gary โ How do those early Flying Nun records would sound on your speakers?
Tex โ Theyโre great (laughs). Maybe Iโm a little biased because I love those tracks anyway. If they were thin then theyโll be thin now.
Gary โ I suppose the key is putting out the authentic sound but having them so that theyโre still listenable. Itโs when you get speakers that are so rarefied that anything thatโs not beautifully recorded sound is unlistenableโฆ
Tex โ Thatโs whatโs wrong. You want to be able to play everything and enjoy it all. I think you can on my speakers.
Gary โ Do you think of them as being specially concocted for domestic use? Or is it somewhere between a studio monitor and a domestic speaker? Iโve never really understood the difference. One is designed to be listened to quite near the speaker?
Tex โ Yeah, the little Genelec that Iโve got in front of me at my deskโฆ theyโre four-inch speakers, but theyโre incredibly flat. Flat is not how most people like to hear things, they prefer a little tilt โ a slightly elevated bass and a slightly softer top end.
Gary โ Why are monitors like that? Why the difference between what people want to listen to in a room and what you listen to in the studio?
Tex โ Itโs the definition, making sure everythingโs there. But it can be very tiring to listen to for long periods of time. But having said that I do really love the sound of studio monitors, especially the big full range ones, because when you have the bottom end to compensate for the clarity in the top end, thatโs when youโre really blown away. And itโs sort of what I wanted to achieve with the Tex Tones. I would say theyโre sort of that in-between the studio monitor and the domestic speaker. When I was growing up a lot of people would have these monstrous boxes sitting on the floor and just have this waffly boom going onโฆ waffly and indistinct, and theyโre the complete opposite of that! I do like that sound sometimes though. You go into someoneโs living room and theyโve got an old stereo sitting in a corner.
Gary โ I know exactly what you mean. Iโve been in so many flats over the years with everything set up wrong, really old gear, but theyโre playing some old Neil Young record and it just sounds so organic.
Tex โ Exactly! A really good point! Ultimately itโs the song and the artist. Thatโs what gets me most, more than having to listen to Norah Jones. Theyโre not what moves me, itโs getting inside a good song.
Gary โ What part of your speakers do you think plays the biggest part in making it sound good? Youโve got what seem like different important things like really solid bracing of the cabinets and the curviness of them which must both make quite a big difference, and then youโve got the drivers and tweeters themselves.
Tex โ I think they all contribute but ultimately when Iโm listening to them they do vocals so well. But then Iโll put on electronica with no vocals and it sounds awesome as well. So theyโre just doing something right. Initially I had a fairly flat front and then when I curved the front it totally changed the imaging. So it all contributes, but it paints a pretty nice picture anyway. One thing about my speakers is that you can really walk inside the song, really feel like youโre inside the song. Iโve had many moments where Iโve just thought โthis is as good as you can getโ sort of thing. They can be really special in that way. But Iโm biased.
Gary โ Itโs your job to be biased.
Tex โ But I think other people get it as well judging by the look on peopleโs faces.
Gary โ How efficient are they and what kind of power do they need to drive them?
Tex โ Theyโre 87db but I like to put 100 watts a side. I had an Arcam a while back and it was 75 or something and it didnโt quite do it. Iโve got a couple of amps at the moment โ a Bel Canto which is Class D and thatโs 150 and one that I made myself thatโs 180 and Iโve also had one that was 350 a side, and the speakers didnโt seem to bat an eyelid. You couldnโt use a valve amp unless it was a monster. Not really suitable for valve amps.
Gary โ Is that a conscious decision you made?
Tex โ No, itโs also because the driversโฆ with high end drivers it seems to be a bit of a trend. The better full-range drivers seem to be slightly less efficient. Itโs the price you pay for getting extended full-range in that quality, really. But 87 isnโt that radical. Tannoys will be in the 90s. You can get away with 15 watts or something. Iโve got friends whoโve got a pair of my speakers and they just use a 50 watt Rotel and it suits them fine. Itโs totally dependent on what sort of a listener you are. Some people like to absolutely blast their heads off and others are more than happy to have it ticking away and still get enough enjoyment out of it. Anywhere from 50 to 150 is good. Another thing Iโve learned from doing PAs and band gear and that sort of stuff is that itโs far better to have a shitload more powerโฆ putting 200 watts into that 100 watt speaker is far better than putting 50 watts into that 100 watt speaker, and youโre far less likely to blow it. When you turn up your 50-watt amp all youโre doing is sending horrible square waves in there and it blows up your speaker. Itโs better to have a lot more power than you need.
Gary โ What would you listen to, personally?
Tex โ Itโs funny that you mentioned Neil Young before. Iโve listened to a lot of Neil Young. And since David Bowie died Iโve been going a bit nuts on him. But I listen to lots of variety. I bought that Designer Aldous Harding record and I havenโt been able to stop playing that. But I kind of like pop music. We play The Beatles a lot. It depends on my mood and what Iโm cooking at the time, because I play a lot of music while Iโm cooking.
Gary โ How are your ears after all that live work?
Tex โ Strangely, theyโre pretty good. Youโd think theyโd be damaged or something. But when I had the misfortune of going onto the stage every now and then to fix something I just could not believe the volume that musicians were playing on the stage. In the mixing situation youโre often two thirds back in the auditorium, and I didnโt think I was a particularly loud sound mixer. I think the punters and the musicians have to put up with a whole lot more than Iโve had to put up with.
https://www.textone.co.nz/art-speakers/