That has no importance if the amp use NFB around the OS, a standard amp with a single complementary pair can have 1 milliohm output Z if there s enough NFB, wich is generaly the case at low frequencies.
Other than this tight basses have nothing to do with DF past a minimal value, when basses sound hard this mean that the signal contain most of the audible spectrum along with the bass sound, it s the harmonics that make basses sound tight as without those harmonics a low frequency sound is as soft as snow...
Well perhaps stiction is a misnomer, but one may expect low-level nonlinearities in suspensions that become less important at higher levels.
My own disposition is to use motional feedback for transducer linearization, transitioning to a "plant model"-based variable gain at higher frequencies. I pursued this for a bit and abandoned it for more pressing matters, but the absolute positional transduction approach looked very promising. I disclosed it to a transducer designer, and characteristically he said Oh I can do that by fine-tuning the motor and the suspension yada yada. I forget whether I said Well why haven't you already?
I find transducer designers are among the most closed-minded. And they think in terms of amps and volts. I've been amused by how they hook up drivers in a box---it is as if they imagine that the individual wires must float in the air and not be twisted together. At JBL/Harman they also loved acid-core solder, as it cut through the accumulated grit and grime of the crossover components in bins that probably were there when James Bullough Lansing was still alive. A roll or two of the solder found its way to the Multimedia Lab, and was used to solder some circuit boards, which had amazing problems from flux contamination.
My own disposition is to use motional feedback for transducer linearization, transitioning to a "plant model"-based variable gain at higher frequencies. I pursued this for a bit and abandoned it for more pressing matters, but the absolute positional transduction approach looked very promising. I disclosed it to a transducer designer, and characteristically he said Oh I can do that by fine-tuning the motor and the suspension yada yada. I forget whether I said Well why haven't you already?
I find transducer designers are among the most closed-minded. And they think in terms of amps and volts. I've been amused by how they hook up drivers in a box---it is as if they imagine that the individual wires must float in the air and not be twisted together. At JBL/Harman they also loved acid-core solder, as it cut through the accumulated grit and grime of the crossover components in bins that probably were there when James Bullough Lansing was still alive. A roll or two of the solder found its way to the Multimedia Lab, and was used to solder some circuit boards, which had amazing problems from flux contamination.
Its 10k in euro, sans stand which is 1.6k
Really very reasonable since you get 2 speakers with 6 nCore amps + PSU in each box plus build-in DSP and DAC.
Jan
Yes. Sloppy thinking, that the Ron actually has anything to do with DF in a well-designed amp.
Jan
No 10k pair.
And good to see you have so much experience marketing high-end audio. When did you make your 1st million? ;-)
Jan
Does noise (also the HF residuals from a class D amp) may work there to undo the low level “stiction” ?
George
10k a pair is better! My forte is in volume products, not high end audio these days... I can see why they charge that much, but I doubt I'd ever pay it, unless I'd already got a well acoustically designed listening room...
But somehow She Who Must Be Obeyed thinks kitchens and so forth are more important
But, something similar is on my DIY to do list, for less than 10k in cash, but maybe the equivalent in fun!
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10k a pair is better! My forte is in volume products, not high end audio these days... I can see why they charge that much, but I doubt I'd ever pay it, unless I'd already got a well acoustically designed listening room...
But somehow She Who Must Be Obeyed thinks kitchens and so forth are more important
But, something similar is on my DIY to do list, for less than 10k in cash, but maybe the equivalent in fun!
Nice! Go for it!
BTW What's your hourly rate these days?
Jan
unless I'd already got a well acoustically designed listening room...
The design of this speaker intends to correct for some acoustic issues commonly met in not well acoustically designed listening rooms
George
I don't think many think much about the way spiders are produced and the components of the spider itself. Basically you are talking about a cotton or other material that is doped with a rigid resin system. The initial energy to get that combination into motion is what I think Brad was pointing to with his stiction comment. It is like anything else, once you get something moving it doesn't take much energy to keep it moving in a resonant motion. It is the initial energy to start the motion that I think we are talking about. I have thought long and hard about linear motion in speaker suspension systems, this is definitely not the norm if you look at the spring rates and increasing displacement of any common loudspeaker. Both the spider and surround are anything but linear force vs displacement, one of the causes of that distortion in speakers that is given so little regard.
So, with a high slope filter, say at 125Hz and with a slope >4th order, all amps with the same DF "past a minimal value" will give the same impression of bass "sound"?
Bear, on the flipside there's nothing enticing about trying to bridge over to someone who remains willfully/sarcastically ignorant and entrenched in a certain idealism. Also, SY does have a few articles which are very approachable, and at least one of them is quite free on LA's website. Shouting "Feed me! Feed me!" isn't doing you many favors either.
Basses without high frequency impulse at the first rising hedge will sound mellow, resonnant basses with low DF can still sound hard but they lack a short release time, wich is less influencial than the rising hedge, this is this latter that give the impression of hardness and still, only if it s directed to the ear, a depression of equal amplitude wont create the same effect to our ears.
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