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In Reply to: I respectfully disagree, Duke posted by David Yost on December 6, 2006 at 06:25:51:
I agree that adding a supertweeter is a long shot, though I'm not sure it's doomed. That's why I suggested trying an inexpensive one first, so he could see if it's a step in the right direction or not.
I didn't realize that EQ modules were made for the Beveridge, and agree that would be the more ideal approach.
I wouldn't even know how to begin to mate a point source tweeter to a 6' full range line source. Perhaps the way VMPS does it with the Elixir works well...never heard them, but they won Best of Show at a recent CES. In this design, the tweeter is mounted on top of the line and angled downward towards the listener. Any other approach would put the tweeter to the side of the line or in front of part of it, ruining the coherent wavefront the Beveridge lens generates.
FWIW one of my customers had the RM/X Elixirs for a little while. He's now using Martin Logan Summits. Not my cuppa tea; he described them as definitely better than the Elixirs, though, and I agree.
Well, I'll tell you what I would try.
I would point the supertweeter away from the listening area. I would have it only contribute to the reverberant field, so that the first-arrival wavefront stays coherent. This would hopefully address the tonal balance issue without introducing new problems.
If you try to incorporate a supertweeter in a front-firing configuration, you can end up hearing a duet on solo strings - that is, you can hear that the high overtones are coming from a different source than the rest of the instrument. It's a small thing, but for me it ruins the illusion. It's like a tiny little man with a tiny violin accompanying the soloist.
I used this reverberant-field-only supertweeter technique with original Quads, but not yet with a wide pattern line source like the Beveridges. The situation is different so I'm not sure it would work - but it's what I'd try.
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