Purifi in exotic speakers 
! https://soundprism.nl/en/
Not 100% sure what I'm looking at but this surely can't work well?? Woofer seems to be closed in the back.
! https://soundprism.nl/en/Not 100% sure what I'm looking at but this surely can't work well?? Woofer seems to be closed in the back.
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Looks to be an AMT centrally mounted to a PTT.
Their bigger models look be multiple PTT speakers suspended by coiled springs, again with centrally located AMT.
it seems to a more modest than @CharlieLaub ‘s dare to bare all / Playboy centrefold / fully naked sexyspeakers.
Their bigger models look be multiple PTT speakers suspended by coiled springs, again with centrally located AMT.
it seems to a more modest than @CharlieLaub ‘s dare to bare all / Playboy centrefold / fully naked sexyspeakers.
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Obviously closed, because with another series "Airlink" they say it has no airbox. Very little real info on their homepage https://soundprism.nl/en/
Purifi team i cannot find the speaker plans on your site also if possible can you also add dsp files either hypex or minidsp there are many hobbiest who cannot make mesurements and some members here seem to not share . A sincere request. Even if you charge for the plan I am ok like I did for LXmini
Check hificompass.com, there you can order complete plans for speakers using purifi drivers. And @HiFiCompass is very open about its designs.
Yes thank you I am aware but plans too expensive for diy hobby and no active miniDSP file , LX mini is right price according to me
Also say I need 4" PTT 2 way with active linkwitz transform dsp I cant find such soution. Also the way SEAS has DIY kit plans absolutely free both active and passive why cant purifi team do. Or they say they dont want to compete with thier OEM customers. Purifi should offer the way SEAS does. It more buisness for them
Also say I need 4" PTT 2 way with active linkwitz transform dsp I cant find such soution. Also the way SEAS has DIY kit plans absolutely free both active and passive why cant purifi team do. Or they say they dont want to compete with thier OEM customers. Purifi should offer the way SEAS does. It more buisness for them
The SPK8 is here
https://www.diyaudio.com/community/...ifi-woofer-speaker-builds.352063/post-6996303
You can turn the passive crossover into biquads for MiniDSP or EQ equivalent using VituixCAD.
Google search Purifi SPK pdf and you might find others.
I appreciate that you may not be able to measure yourself, but a little lateral thinking instead of complainig might work better.
I would like to share this Purifi/Bliesma speaker with all of you folks.
All of the drivers are the aluminum versions and the paint is Porsche Chiffon white and ash for the baffle.
That's a 4" mated with a single 6" passive radiator.
The gentlemen I communicated with via email from Purifi were incredibly kind.
I hope to use their drivers more in the future!!
All of the drivers are the aluminum versions and the paint is Porsche Chiffon white and ash for the baffle.
That's a 4" mated with a single 6" passive radiator.
The gentlemen I communicated with via email from Purifi were incredibly kind.
I hope to use their drivers more in the future!!
Attachments
Purifi PRs Go Boom
Part 1 – Fi12v1 DSP bi-amplification
On forums like diyAudio and YouTube things rarely go wrong, following my impression that human nature leads us to more quickly post successes while silently hurrying past failures. Perhaps less so on YouTube, I’ve watched lots of hot rodders grenade engines with excessive supercharger boost. Today I will add my first Purifi driver failures brought about by the hi-fi equivalent of excessive supercharger boost. Not quite melted cylinder heads or connecting rods through blocks but fair warning, cone abuse lies ahead. Also ahead are glimpses of what heretofore-unexplored deep bass capabilities are present in the Purifi driver architecture.
As background the following posts earlier in this thread detail other experiences where I pushed the PTT6.5 woofer and matching PRs to their limits.
For this tale each bass system is the Purifi powered speaker I call the Fi12 the ‘12’ denoting enclosure size 12 liters loaded with one PTT6.5W and dual PTT6.5PRs. Tweeter GR Neo3 horn loaded. Crossover and EQ (more about that EQ later) Danville Signal audio DSP setup as bi-amp into four channels of ACG 1000 amplification. Crossover and EQ set for 6 dB/octave crossover @ 1800 Hz 0 dB tweeter attenuation, used with analog attenuation on tweeter feed. Woofer EQ +10 dB @ 20 – 60 Hz and +3 dB @ 20 – 200 Hz. Tweeter EQ +1 dB @ 10 – 20 kHz.
Yes, these early days down in the foothills of the DSP learning curve we have a configuration that has a big old bunch of bass EQ. Digital and analog gain match the horn loaded planar tweeter to the PTT6.5 and addresses a 1 dB droop between 10k and 20k Hz. The +3 dB 20 – 200 Hz is intended as baffle step correction. The +10 dB boost across 20 – 60 Hz is a deep bass extension experiment. Not unexpectedly this DSP program is bass heavy compared to flatter response configurations.
Any experienced listener would recognize the bass heavy tuning of this DSP load. And many listeners would recognize it as very much big time fun. The little PTT6.5W and PRs got to it sounding like the fat muscular sound of an Altec or JBL 12-15” woofer in a refrigerator sized reflex box. I was also reminded of the typical too high bass levels used when subwoofers are first added to an audiophile grade HiFi rig. During the new toy honeymoon period extra deep bass after which the sub’s gain is adjusted down to a flatter level more in tune with a goal of balanced HiFi reproduction. Nonetheless I lingered in the bass fat land of the lotus-eaters.
With typical music and video sources the EQ boosting frequencies below the driver/enclosure system tuning added explicit first octave bass like what one gets with subwoofers or very large enclosure volume 3- or 4-way speakers.
Graph below shows in-room response of the Fi12v1 thus configured. The 30-50 Hz boost is a room mode, mentally subtracting that room mode see the –3 dB is 20 Hz. The weeks (yes, so much fun for weeks) this configuration was in place in my listening room that response to 20 Hz made its presence known while playing music with organ and synth we audiophiles catalog containing sub-40 Hz bass. Playing movies, the low frequency effects in action adventures and the very low frequency tones added to enhance tension lit up the room with power.
Part 2 – Edge condition spoils Thursday HiFi night.
In engineering we refer to edge conditions and the need to account for them. Devices have a range of conditions they are expected to operate across. These often fall into a classic bell curve with 90 to 99% of those conditions in the fat middle of the curve, however beware the 1%, 5% or 10% of conditions that live on the trailing edges of the curve. The classic example in audio engineering is an amplifier’s stability, getting the feedback loop correctly compensated. Everything is fine with resistive loads, then add some capacitance and/or inductance and oscillations appear. On that fateful night Fi12v1s encountered an edge condition known as Igor Stravinsky.
Specifically, the recording Stravinsky: The Rite of Spring performed by Minnesota Orchestra conducted by Eiji Oue on Reference Recordings catalog number RR-70 (https://referencerecordings.com/recording/stravinsky-the-rite-of-spring/).
During Thursday HiFi night my friend Michael requested the Eiji Oue Rite of Spring.
I was not that familiar with the performance so when it started very quietly, I increased the volume to bring the level up to 70-80 dB. It’s a wonderful recording and all was well for the first 9 minutes, then the orchestra, including massive drum whacks, goes from quiet to triple fortissimo the level instantly jumping many 10s of dBs as the percussion section wails on their drums. Before it was humanly possible to reduce levels the Fi12s were making very un-musical noises of extreme distress. Got playback stopped and surveyed damage. No voice coil rubbing or other damage to the woofers, amazing. Passive radiators did not get away similarly unscathed. All four PRs had suffered creased cones. Later disassembly found one PR had such extreme excursions the inner spider detached from the mass slug.
Not a happy result. Purifi makes very rugged drivers however there is a limit. The photo of the front side creasing makes the cone look flattened, that is not the case they still have their original dish profile. The extreme excursion creased the cones but they did not tear. Using medium thickness CA glue the one detached spider was reattached. While the creases activate my audiophile obsessive tendencies truth is with the one PR’s spider repaired and the four PRs placed back in service the Fi12s sound fine.
Part 3 – Post crash analysis.
With crystal clear 20/20 hindsight it is easy to see my attempt to turn the Purifi PRs inside out resulted from both operator error and design oversight. Operator error playing dynamic material at too high a gain setting. Design oversight implementing EQ boost below Fs without complementary dynamic frequency specific limiting.
I have been around the audiophile music block more than a few times thus should have questioned what the dynamic range of a Reference Recordings recording of a large classic war horse might contain. Further investigation shows RR-70 is truly extraordinary in this regard. The following two images are the track loaded into Adobe Audition with the dynamic range shown on the waveform display.
This display shows all 21 minutes of the movement, notice the first 9 minutes average –30 dB with louder sections at –20 dB. Then at 9 minutes 20 seconds all hell breaks loose and levels jump to –3 dB!
The second Audition screen capture zooms in to the couple of minutes before and after the dramatic jumps in levels. Playing the track in Audition the music before 9:20 is averaging –25 to –35 dB then when the triple fortissimo with drums hits at 9:20 level jumps to –3 dB. A 32 dB step change in output in the bass into a system with 10 dB bass boost using an amp capable of a kilowatt into 4 ohms, what could possibly go wrong? What I find so very impressive is the woofers took such thermal and mechanical abuse on the chin and survived. The PRs, well like a race car a pit stop after wall contact was required and we have some dings but they too race on.
As an example of just how the much an edge case the Eiji Oue RR-70 Rite is here is an Audition capture of Stravinsky conducts Stravinsky on Sony Classical.
With the quiet vs loud parts of the piece at different times it is apparent this is a different arrangement. Here the point is that the quiet parts average -15 dB, at least 10 dB louder than the Reference Recordings version by Oue. The Sony recording has good dynamic range, the RR truly exceptional in this regard.
Part 4 – Advance to 2024.
This incident occurred in Summer 2022, quite a bit of water under the speaker design bridge since then. One takeaway was that whoever with experience in DSP controlled active speaker systems was first to use a PTT6.5 driver with a dynamically controlled bass boost design would blow minds rather than drivers. And along comes Mads Buchardt & teams’ Anniversary 10 (https://buchardtaudio.com/collections/active-speakers/products/anniversary-10). And the result I envisioned. I find their expressions and reactions typical after a good demo for someone new to Purifi drivers.
The video is 70 seconds of fun
, the coming review will be an interesting add to those already linked on the A10’s product page.
Part 1 – Fi12v1 DSP bi-amplification
On forums like diyAudio and YouTube things rarely go wrong, following my impression that human nature leads us to more quickly post successes while silently hurrying past failures. Perhaps less so on YouTube, I’ve watched lots of hot rodders grenade engines with excessive supercharger boost. Today I will add my first Purifi driver failures brought about by the hi-fi equivalent of excessive supercharger boost. Not quite melted cylinder heads or connecting rods through blocks but fair warning, cone abuse lies ahead. Also ahead are glimpses of what heretofore-unexplored deep bass capabilities are present in the Purifi driver architecture.
As background the following posts earlier in this thread detail other experiences where I pushed the PTT6.5 woofer and matching PRs to their limits.
Finding the limits of Fi16v1
https://www.diyaudio.com/forums/mul...purifi-woofer-speaker-builds-post6244079.htmlPTT6.5W04 and the evil twins PTT6.5PR want to explode your speaker box
https://www.diyaudio.com/community/...er-speaker-builds.352063/page-24#post-6383932For this tale each bass system is the Purifi powered speaker I call the Fi12 the ‘12’ denoting enclosure size 12 liters loaded with one PTT6.5W and dual PTT6.5PRs. Tweeter GR Neo3 horn loaded. Crossover and EQ (more about that EQ later) Danville Signal audio DSP setup as bi-amp into four channels of ACG 1000 amplification. Crossover and EQ set for 6 dB/octave crossover @ 1800 Hz 0 dB tweeter attenuation, used with analog attenuation on tweeter feed. Woofer EQ +10 dB @ 20 – 60 Hz and +3 dB @ 20 – 200 Hz. Tweeter EQ +1 dB @ 10 – 20 kHz.
Yes, these early days down in the foothills of the DSP learning curve we have a configuration that has a big old bunch of bass EQ. Digital and analog gain match the horn loaded planar tweeter to the PTT6.5 and addresses a 1 dB droop between 10k and 20k Hz. The +3 dB 20 – 200 Hz is intended as baffle step correction. The +10 dB boost across 20 – 60 Hz is a deep bass extension experiment. Not unexpectedly this DSP program is bass heavy compared to flatter response configurations.
Any experienced listener would recognize the bass heavy tuning of this DSP load. And many listeners would recognize it as very much big time fun. The little PTT6.5W and PRs got to it sounding like the fat muscular sound of an Altec or JBL 12-15” woofer in a refrigerator sized reflex box. I was also reminded of the typical too high bass levels used when subwoofers are first added to an audiophile grade HiFi rig. During the new toy honeymoon period extra deep bass after which the sub’s gain is adjusted down to a flatter level more in tune with a goal of balanced HiFi reproduction. Nonetheless I lingered in the bass fat land of the lotus-eaters.
With typical music and video sources the EQ boosting frequencies below the driver/enclosure system tuning added explicit first octave bass like what one gets with subwoofers or very large enclosure volume 3- or 4-way speakers.
Graph below shows in-room response of the Fi12v1 thus configured. The 30-50 Hz boost is a room mode, mentally subtracting that room mode see the –3 dB is 20 Hz. The weeks (yes, so much fun for weeks) this configuration was in place in my listening room that response to 20 Hz made its presence known while playing music with organ and synth we audiophiles catalog containing sub-40 Hz bass. Playing movies, the low frequency effects in action adventures and the very low frequency tones added to enhance tension lit up the room with power.
Part 2 – Edge condition spoils Thursday HiFi night.
In engineering we refer to edge conditions and the need to account for them. Devices have a range of conditions they are expected to operate across. These often fall into a classic bell curve with 90 to 99% of those conditions in the fat middle of the curve, however beware the 1%, 5% or 10% of conditions that live on the trailing edges of the curve. The classic example in audio engineering is an amplifier’s stability, getting the feedback loop correctly compensated. Everything is fine with resistive loads, then add some capacitance and/or inductance and oscillations appear. On that fateful night Fi12v1s encountered an edge condition known as Igor Stravinsky.
Specifically, the recording Stravinsky: The Rite of Spring performed by Minnesota Orchestra conducted by Eiji Oue on Reference Recordings catalog number RR-70 (https://referencerecordings.com/recording/stravinsky-the-rite-of-spring/).
During Thursday HiFi night my friend Michael requested the Eiji Oue Rite of Spring.
I was not that familiar with the performance so when it started very quietly, I increased the volume to bring the level up to 70-80 dB. It’s a wonderful recording and all was well for the first 9 minutes, then the orchestra, including massive drum whacks, goes from quiet to triple fortissimo the level instantly jumping many 10s of dBs as the percussion section wails on their drums. Before it was humanly possible to reduce levels the Fi12s were making very un-musical noises of extreme distress. Got playback stopped and surveyed damage. No voice coil rubbing or other damage to the woofers, amazing. Passive radiators did not get away similarly unscathed. All four PRs had suffered creased cones. Later disassembly found one PR had such extreme excursions the inner spider detached from the mass slug.
Not a happy result. Purifi makes very rugged drivers however there is a limit. The photo of the front side creasing makes the cone look flattened, that is not the case they still have their original dish profile. The extreme excursion creased the cones but they did not tear. Using medium thickness CA glue the one detached spider was reattached. While the creases activate my audiophile obsessive tendencies truth is with the one PR’s spider repaired and the four PRs placed back in service the Fi12s sound fine.
Part 3 – Post crash analysis.
With crystal clear 20/20 hindsight it is easy to see my attempt to turn the Purifi PRs inside out resulted from both operator error and design oversight. Operator error playing dynamic material at too high a gain setting. Design oversight implementing EQ boost below Fs without complementary dynamic frequency specific limiting.
I have been around the audiophile music block more than a few times thus should have questioned what the dynamic range of a Reference Recordings recording of a large classic war horse might contain. Further investigation shows RR-70 is truly extraordinary in this regard. The following two images are the track loaded into Adobe Audition with the dynamic range shown on the waveform display.
This display shows all 21 minutes of the movement, notice the first 9 minutes average –30 dB with louder sections at –20 dB. Then at 9 minutes 20 seconds all hell breaks loose and levels jump to –3 dB!
The second Audition screen capture zooms in to the couple of minutes before and after the dramatic jumps in levels. Playing the track in Audition the music before 9:20 is averaging –25 to –35 dB then when the triple fortissimo with drums hits at 9:20 level jumps to –3 dB. A 32 dB step change in output in the bass into a system with 10 dB bass boost using an amp capable of a kilowatt into 4 ohms, what could possibly go wrong?
What I find so very impressive is the woofers took such thermal and mechanical abuse on the chin and survived. The PRs, well like a race car a pit stop after wall contact was required and we have some dings but they too race on.As an example of just how the much an edge case the Eiji Oue RR-70 Rite is here is an Audition capture of Stravinsky conducts Stravinsky on Sony Classical.
With the quiet vs loud parts of the piece at different times it is apparent this is a different arrangement. Here the point is that the quiet parts average -15 dB, at least 10 dB louder than the Reference Recordings version by Oue. The Sony recording has good dynamic range, the RR truly exceptional in this regard.
Part 4 – Advance to 2024.
This incident occurred in Summer 2022, quite a bit of water under the speaker design bridge since then. One takeaway was that whoever with experience in DSP controlled active speaker systems was first to use a PTT6.5 driver with a dynamically controlled bass boost design would blow minds rather than drivers. And along comes Mads Buchardt & teams’ Anniversary 10 (https://buchardtaudio.com/collections/active-speakers/products/anniversary-10). And the result I envisioned. I find their expressions and reactions typical after a good demo for someone new to Purifi drivers.
The video is 70 seconds of fun
@Norman Tracy Oh yes. Mr Eiji Oue is a very handy man. He has found many loose light fixtures, loose HVAC vent, and poorly secured items on bookshelves in my listening room. If you want more fun than Stravinsky, try his RR recording of "Exotic Dances from the Opera", the first track, Snegurochka. I dare you to turn up the volume a little. It has gotten my PTT6.5 to more than Xmax many times before. And yes, very impressively, the driver is bomb proof. I don't use the 6.5PR but surprising to see how fragile it is.
I do have a pair of dual PTT8's. They just laugh it off like they are just warming up, Zone 1 effort.
I do have a pair of dual PTT8's. They just laugh it off like they are just warming up, Zone 1 effort.
