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RE: In my house...

Posted by Inmate51 on November 4, 2014 at 10:44:42

In Reply to: In my house... posted by Ivan303 on November 2, 2014 at 19:11:14:

The double bass produces fundamentals down to about 40 Hz (open E string, IIRC), but it also produces significant overtones to well over 1000 Hz.

Given that you'd be crossing over at approximately 100 Hz (at whatever slope), the sub will be producing harmonics well above 100 Hz - along with the main speakers producing them as well, producing an unnatural effect of hearing the double bass sometimes emanating from multiple locations. This effect will vary depending upon the notes being played, and may even produce a "swimming" effect.

If you wish to avoid this problem, you would do well to cross your new sub at about 50 Hz. With a 12 dB/octave slope, output will be down 12 dB by 100 Hz, thus avoiding the majority of hearing multiple sources. Whether or not your current speakers will provide enough output down to, say 70 Hz, to make this workable, I don't know. If you can cross at a faster slope, e.g., 18 or 24 dB/octave, then you can move the crossover frequency up a bit, but you still want that sub down by at least 12 dB by 100 Hz.

Alternatively, if you need to cross higher than about 50 Hz, get two subs and place them next to each of the main speakers. In either case, two subs will provide the best integration.

Another thought is, given the size of the LF horn of your Titan IIs, you might consider just replacing it (both of them) with a 12" or 15" driver in a direct radiator box of appropriate design (vented or sealed). This, of course, also depends on how high the current LF horn is being asked to go. But certainly, if it already contains a 15" driver, converting it to a direct radiator to gain more low end is clearly an option.

To Kyle's point about orchestra layouts: very true. Having played in orchestras and now playing in a wind symphony, I've experienced multiple layouts. Further, given that you're listening to music recorded over multiple decades, you'll find that preferred layouts have changed over the years.

For example, I've not seen an orchestra recently which places the first violins to the left of the conductor and the second violins to the right, although it was not uncommon in the mid-twentieth century. Certainly, there are all kinds of variations with regard to the woodwinds, and, depending on the conductor and the venue, the timpani can be anywhere from left to center to right. So, don't view the M-W dictionary diagram as a hard-and-fast rule - it's just one possibility.

:)

Edits: 11/04/14

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