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In Reply to: RE: The Sound Of Speakers posted by Inmate51 on January 15, 2015 at 07:53:07
Hi and thanks for the helfpul reply.
My first reaction, and i am not trolling here, is why they do not pubblish?
1) they do not think they are telling anything (then why go thorugh the hassle of performing them ?)
2) the problem is the results that can be too telling.
But it is a old story ... without clear conclusion.
" MLSSA "waterfall" analysis " is very very interesting
I think that most big manufacturers have facilities to perform this test
If i am not wrong it is a full bandwidth impulse test ?
" tetrahedral array of four small microphones "
i am more intrigued by measurements carried out with a well designed artificial head. It is more like the real listening conditions.
But any test can be telling something and a useful tool to get info on speakers and listening rooms.
" speaker system designers have known since forever that the enclosure contributes to the sound "
yes and this is very easy to demonstrate
But during this very interesting discussion, for which i thank you and all the kind Inmates, i am more convinced about the drivers impacting the sound timbre more than other aspects (someone can say obviously)
I think this way now.
That the best enclosure gives to drivers the opportunity to sound as they can, at their maximum and without adding colorations.
And it is not a small thing.
And i am not sure that really good performance needs 200 kg of cabinet.
Separating the big woofer from the rest can simplify life.
This would be my approach like the example in the picture.
Thanks a lot again.
Kind regards,
bg
Follow Ups:
"i am more intrigued by measurements carried out with a well designed artificial head. It is more like the real listening conditions."
Four microphones arranged in a tetrahedron are required to give the up-down/left-right/front-back information. Two microphones only define one plane, three mics can define two planes, and four mics give you the entire sphere, enabling you to pinpoint sources in any direction.
This is actually an idea I had started to pursue in the late 1970s, but did not have the resources (money, time, math skills, programming skills) to see it through. (The late great Michael Gerzon used this principle in his original "soundfield" microphone, produced by Calrec, about that same time. See linky.) I attended Malcolm Dunn's (Marshall Day Acoustics) presentation at the October 2014 AES convention, and was coming unglued that they have a working system for measurement and analysis! Later, I went to their exhibit space and had a nice long talk with Hans Forschner (NAVCON consultants). (See other linky.)
Gerzon Soundfield: http://en.wikipedia.org/wiki/Soundfield_microphone
IRIS: www.iris.co.nz
Hi and thanks again for the very interesting information
This special microphone could be the best also for listening room treatments maybe ?
Nice to hear about the progress of technology
I would follow an approach a little extreme, with speakers with narrow dispersion aimed at the listening spot and a full treatment of the wall behind the listening spot to stop any possible reflection.
It should work quite ok in a normal home
Maybe also some kind of acoustic panel placed on the front wall.
If a wall does not reflect sound i should not hear it i guess.
Thanks again for the explanation and link.P.S. just to add that i have spotted maybe what can be considered the AudioMachina and Magico "ancestors" ... the Celestion sl600/sl700
A sublime cabinet made out of aluminum honeycomb ... and they delivered an extremely good sound
So the concept is not that new in the end
Kind regards,
bg
Edits: 01/19/15
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