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In Reply to: RE: This was the last post of yours I have read and replied to! posted by morricab on January 31, 2008 at 14:45:41
Rubbish, BS and similar terms is not what I would call factual! Such terms are not convincing arguments either!
Some of your points:
You said: "As you can see even at 18Hz and 106db the Wilson X1 has lower distortion than your speaker at 60Hz and 100db."
Wilson: 18 Hz, 106 dB/1m, k2= -40 dB, k3= -47 dB
O500C: 60 Hz, 100 dB/2.1 m: k2= -25 dB
So yes, the Wilson is better than the O500C, but the O500C has one 12" woofer, the Wilson has one 12" + one 15" woofer. If we compared like with like we'd take the O900 subwoofer with its two 12" drivers (which is still smaller than the Wilson). However, no distortion data except from -46 dB THD at 30 Hz, 101 dB/1m.
You say: "I have also pointed out, correctly that the high end speaker I chose fits +- 2.5db in-room "
Yes, in Colloms' room, best placement. The other position in that room is more like ± 5 dB. And in Franassovici's room, the response is ± 3 dB.
Obviously, the in-room response depends entirely on room size, reverberation time, where you place the speakers and where you measure. Therefore, in-room curves are simply meaningless for comparison purposes. The only curves you can reasonably compare are anechoic and here the Wilson do not win. Plus, the sound field in small rooms is direct sound + early reflections, so I'd like to see off-axis graphs for the Wilson.
You said: "They have at the very least switch mode power supplies. I also gave you the phrases in German that show switching [mode] power supply..."
FYI, switch mode power supply in German is "Schaltnetzteil". Does a switch mode power supply need a 1200 VA transformer?
You said: "It's right there in the measurements by K&H!! 30 degrees at high frequency is pretty wide actually."
If you compare the graph with the graph for the Summa, you see that at ±30° the Summa too is within the same 3-5 dB window up to 20 kHz. Such The ±30° listening window you will probably find with most studio monitors because the sound engineer needs some freedom of movement in the horizontal plane.
Overall the Summa is a bit narrower, but that is a matter of design philosphy. Geddes favors narrow dispersion, Moulton favors wide dispersion, who's right, who's wrong? So far I haven't seen many published psychoacoustic research where dispersion patterns have been investigated. What counts is how the off-axis curves behave and for both speakers they behave very well.
Klaus
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