No where does he ever state or imply "equal importance". All #3 suggests is that < 700 is a factor. "Equally important" is your interpretation, but seems to me to be clearly wrong. Thats like saying that if I take and make everything < 700 Hz mono, that the localization of sound images would be the same as if I took and made everything > 700 Hz mono. That simply seems an absurd claim to me.
To get the thread back on topic. One can avoid crossing over high when using a horn like Klipsch K402. I use this horn myself and cross over at 500 Hz. I don't feel any need for another tweeter. There's enough output till about 17 KHz. The result is a coherence and a realistic presentation speakers with typical Xover between 1-4KHz simply cannot match. Synergy horn is another approach, something I personally haven't experienced yet.
Presently I'm using JBL 2226 in bass reflex below the K402 (500 Hz and 80 Hz). Planning however to get a horn from 500 to 80 Hz. The disadvantage is only size. However, if you can corner load and use a V folded horn they aren't taking up that much space of the room. The combination of controlled directivity low in frequency and low cross over is something I wish everyone could experience. Combine that with great dynamics and low distortion and good recordings start to sound spooky realistic.
Remember that CD leads to a flatter response, it's not just about imaging. People seems to forget that here.
Presently I'm using JBL 2226 in bass reflex below the K402 (500 Hz and 80 Hz). Planning however to get a horn from 500 to 80 Hz. The disadvantage is only size. However, if you can corner load and use a V folded horn they aren't taking up that much space of the room. The combination of controlled directivity low in frequency and low cross over is something I wish everyone could experience. Combine that with great dynamics and low distortion and good recordings start to sound spooky realistic.
Remember that CD leads to a flatter response, it's not just about imaging. People seems to forget that here.
IOW no test at all. That said, how did you control volume? Someone who knows/cares more about electronics than me once told me that the ice amps are sensitive to input impedance and need a buffer for flat FR if used with an analog pot.
I almost bought this one for my desktop system (2.1). Neat little package. Looks great for an active 2-way with a miniDSP. However, according to the amp maker (Anaview) the modules aren't designed for 4ohm bridged loads. So it wasn't the right option for me.
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Take it for what it is. It's my subjective experience and it follows in the line of what others have experienced. Oh, and none of us are cable believers.
But heck, I hear a difference between Hypex UcD and Hypex Ncore as well, thus I'm probably just a mad audiophoole who no one should listen to.
I used the digital volume control of Lynx Two-B. Straight from sound card to amp. Gives the cleanest sound IMO.
LynxTWO
As a potential fire lighting: There's a swedish magazine/hifi club that conducts blindtest of amps and electronics several times of the year and publish the results. They call it BEFORE/AFTER-TEST. Only a handful of amps have passed the test and have been considered transparent. All the others had some kind of audible coloration. And that's in a setup (speakers and acoustics) that's far from top notch. Just think what the result would have been with the best speakers in a LEDE/RFZ room!
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Here I go again with off-topic but hopefully last time!
Take a look at this about 125ASX2:
http://www.diyaudio.com/forums/class-d/192789-icepower-125asx2-measurements-mods.html
http://www.diyaudio.com/forums/class-d/194698-icepower-asx2-line-practical-thd-performance.html
So perhaps I'm no at completely insane audiophool after all!
Take a look at this about 125ASX2:
http://www.diyaudio.com/forums/class-d/192789-icepower-125asx2-measurements-mods.html
http://www.diyaudio.com/forums/class-d/194698-icepower-asx2-line-practical-thd-performance.html
So perhaps I'm no at completely insane audiophool after all!
These topics have the distinct advantage of being unable to ever arrive at anything conclusive. That's because there is nothing objective about them and anyone at any time can raise their subjective claims without the slightest need to support them. It just like arguing over "which is better Coke or Pepsi". It makes absolutely no difference!
These topics have the distinct advantage of being unable to ever arrive at anything conclusive. That's because there is nothing objective about them and anyone at any time can raise their subjective claims without the slightest need to support them. It just like arguing over "which is better Coke or Pepsi". It makes absolutely no difference!
But one would hope that you could discuss "can you taste the difference between coke and pepsi?" and come to mutual agreement. Unfortunately not
Not quite
http://www.diyaudio.com/forums/multi-way/260900-2d-dipole-array-cd-follow-up-1-4khz-thread.html
In order for a true Bessel arrangement to result in a singular point source result, you need to add another driver and wire then accordingly. That will stop the blooming you speak of.
No, but you're a poor reader, as I wrote the exact same thing in the post to which you replied...
Coca-Cola basically funded my alma mater. So there's that. But neither one is suitable for human consumption. When I lived in Berlin the standard cure for sinks fouled by the city's chalky water was a 1,5L bottle of Coke Light down the drain every couple months. Got me to stop drinking soda real quick!
But one would hope that you could discuss "can you taste the difference between coke and pepsi?" and come to mutual agreement. Unfortunately not
That is almost precisely the situation. You can argue about he differences but then it all comes down to your taste. But what if the goal was to have a cola that tastes like water - i.e. no taste at all. Then which one tastes more like water is irrelevant, neither one tastes like water.
I want my amps to be transparent, just like water. I don't want Coke amps or Pepsi amps, I want an amp that has no description at all. The minute someone puts an adjective to an amp I know one of two things; 1) they have no idea what they are talking about and are making things up or 2) the amps really do have a sound of there own, in which case it is certainly not an amp that I would consider using, so their opinion of it is irrelevant.
I know how to objectively define an amp, just as I do water. I can tell just by looking at the numbers if it is water or not or a good amp or a bad one. If it is a good amp then it will have no adjectives. If it is a bad amp then the measurements will show this, and how it "tastes" makes no difference to me at all.
All bad amps sound different, but all good amps sound the same.
And wires! All wires taste like water.
Except you never "taste" amps themselves (unless someone makes one that plugs directly into your hearing nerves). You always get the taste of the amp + loudspeakers cocktail so in the end that's all that really matters.
Beer (and Coke and Pepsi !) tastes differently in different parts of the world depending on the water used for brewing because water is not that "transparent" as one might wish. While bad beer will taste bad no matter the water, good beer will range from ok-ish to great.
That being said, I do agree with the idea of being better to start with amps that are as transparent as possible (distilled water).
Where's the like button? This site needs an upvote function already!
There's actually quite a war going on at the moment, which is germane to this post here:http://www.diyaudio.com/forums/lounge/260677-voicing-amplifier-general-discussion-33.html
Just in case you're interested.
The Behringer 2031 or older KEF Q-15 (Ebay?). Both of those speakers measured quite well, especially for the money. I would suspect both speakers would have limited SPL capability because of their size, but they may have enough, that is not something that I have a lot of experience with. Lots of my audio friends have the Behringers. On film tracks they seem to loose some quality at higher levels.
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