|
Audio Asylum Thread Printer Get a view of an entire thread on one page |
For Sale Ads |
69.59.200.72
In Reply to: RE: Metal Cone loudspeakers -- Anyone like them? posted by Presto on June 14, 2015 at 16:14:52
. . . you, if anyone, could get the best out of a 6.5" or so metal woofer!
Can you do 48dB/octave or steeper transfer functions? Can you implement two or more narrow notch filters, to kill the resonant peaks? Can you time/phase align the midbass and tweet via digital delay?
If so, you could probably with little effort match or exceed the performance of, say, the Joseph Audio Pulsars, which use all metal SEAS drivers. Some of the SEAS metal dome tweeters are robust enough to cross down low -- say 1.6 kHz -- with a sufficiently steep slope, giving the aluminum midbass driver more stopband to get out of its own way.
The apparent virtue of these metal cones is their ability to remain pistonic throughout their intended passband, thereby yielding superior transient response. It's just all that breakup garbage up top that makes them troublesome if you're doing a passive XO: the parts count, expense, and sheer bulk of components on the board quickly becomes excessive.
Follow Ups:
Strangely... I can only do up to 7th order with Thuneau Allocator. The best I could do with all drivers in phase is 4th order, but with that I can not only time align acoustic centers but actually correct the group delay of the filter.I don't think one would need more than fourth order if using notch and/or shelving filters to get that break-up out of there. With 5" or 6" or 6.5" drivers it's not bad - but as you go up in diameter that break-up mess happens lower and lower. It pushes your crossover point down accordingly. Then you have to start looking at really low Fs tweeters, even with 4th order slopes - but I mean 4th order acoustic and not specifically 4th order electrical slopes.
It's neat to measure the corrected crossover and get transient accurate reproduction. The first time I did it, it was very exciting.
Another benefit of the Allocator/Arbitrator is that you can toggle (in real time) the phase (group delay) correction and listen with and without it. Honestly, with good phase tracking (deep reverse nulls) the sonic benefits of going to LR4 TA from LR4 is not going to jump out at you and blow off your socks. It's subtle, and on some material it's barely discernible if at all.
I think with complex recordings with mixtures of inverting and non-inverting mixer and sub-mixer inputs on the same soundstage the relevance of TA performance is largely lost in translation. I think it's far more relevant for simple 2-mic soundstage recordings than setups with multiple mics and god knows what combinations of mixers and time/phase related effects going on during the mixing process.
It's neat, though, to have a speaker (of all things) that doesn't make it worse.
I think recording engineers do a lot of needless damage to original sonic events because they believe that the stuff we harp about is not important or even relevant. They "know better" and we are obsessed/deluded.
Cheers,
Presto
Edits: 06/16/15
That nasty break up node and the filtering needed.
Post a Followup:
FAQ |
Post a Message! |
Forgot Password? |
|
||||||||||||||
|
This post is made possible by the generous support of people like you and our sponsors: