RJ said:
I'm using a Crate 2x15 bass cab. I just got this last weekend used for $49.99 at a guitar store. I took my chances. I'm using this to help my modified 901 on the mid bass frequencies. The Klipsch powered sub I got is only good for 120Hz and below and therefore the sound has a hole in it. The 901s' are great for mid range and high freq and this is what I used them for. Not to mention the 901s' array set up adds to big and spacious sound, filling up the room nicely. I rewired the bass cab for stereo operation, no passive crossover just straight to the amp with the treble control turned down. I'm using an old Denon AVR reciever in Matrix mode for clear vocals on the 901. 901s' are turned backwards so now 8 drivers are facing forward and 1 is facing rear. I also removed the restrictive cloth that muffles the high frequencies. I placed the 901's on the wall about 2 to 3 feet from the side walls. They still function as direct/reflecting speakers as 4 of the drivers per cabinet is firing straight to the sidewalls and the walls reflect the sound towards the middle of the room.
The bass cab is powered by a Yamaha M80 and C80. I'm also using BBE 362 Sound Maximizer which I bought just last month. Great combo, sounds big but not ear peircing. Vocals are creepy sometimes specially when I played Michael Jackson's Gone Too Soon. Some of the vocals I used for testing: Carpenters, Celine Dione, Cranberries. So far so good. Will play some classic rock this weekend and some hip hop also.
An externally hosted image should be here but it was not working when we last tested it.
Here's the pic.
I discriminate between tonal, dynamic, and spacial realism.
Tonal realism means uncolored sound. In this context I like big horn systems with compression driver midrangers like Cessaro (which I have heard with different very neutral sounding valve amps or the Martion Orgon wich is a fully active system with Class A SS amps.
These horns are also very good at dynamic realism, but in this context I like BIG ribbons most. I have listened to Analysis speakers, which have magnetostatic bass panels and to the Daly Scyline with dynamic bass many years ago.
These, like all dipole speakers, are bad at spacial realism. The speakers are not localizable and have some kind of spaceousness, but no realism. The big horns are slightly worse than conventional multi-way-speakers.
In this respect the best I know are my own speakers which were inspired by the late Carlsson orthoacoustic speakers. They can only produce realism when it is there on the recording, however.
A technique that can produce the they-are-here (not you-are-there) Effect also with bad recordings are ceiling firing fullrange-drivers with sufficient treble rise or EQ (no diffusor!).
Tonal realism means uncolored sound. In this context I like big horn systems with compression driver midrangers like Cessaro (which I have heard with different very neutral sounding valve amps or the Martion Orgon wich is a fully active system with Class A SS amps.
These horns are also very good at dynamic realism, but in this context I like BIG ribbons most. I have listened to Analysis speakers, which have magnetostatic bass panels and to the Daly Scyline with dynamic bass many years ago.
These, like all dipole speakers, are bad at spacial realism. The speakers are not localizable and have some kind of spaceousness, but no realism. The big horns are slightly worse than conventional multi-way-speakers.
In this respect the best I know are my own speakers which were inspired by the late Carlsson orthoacoustic speakers. They can only produce realism when it is there on the recording, however.
A technique that can produce the they-are-here (not you-are-there) Effect also with bad recordings are ceiling firing fullrange-drivers with sufficient treble rise or EQ (no diffusor!).
http://www.carlssonplanet.com/oa52_2.php
The Carlsson speakers are placed directly at the rear wall and some distance away from the side walls, close to the floor. Very early reflections are prevented by absorbers. Ideal is said to be a room with reflecting concrete ceiling and absorbing carpet floor. In my listening room both is wood, maybe this is the reason why I need to place the middrange at ear-height. Also good because they are three-ways with fairly big bass box beneath. I don´t want to post pictures no because they are still ugly prototypes and will have their final Polyurethane enclosures in a week or so.
The Carlsson speakers are placed directly at the rear wall and some distance away from the side walls, close to the floor. Very early reflections are prevented by absorbers. Ideal is said to be a room with reflecting concrete ceiling and absorbing carpet floor. In my listening room both is wood, maybe this is the reason why I need to place the middrange at ear-height. Also good because they are three-ways with fairly big bass box beneath. I don´t want to post pictures no because they are still ugly prototypes and will have their final Polyurethane enclosures in a week or so.
hey el`Ol!
I really would like to see those Carlsson-inspired speakers which I perceive as a kind of an offspring of my "room-loudspeker-space" thread
Have You finally completed them?
Possibly you would like these too:
The cans are the speakers, and the barrel at the bottom is the woofer.
thank You so much Rudolf
very interesting and I like it a lot, IMHO omni is the way to go and I am very glad seeing that yet another and at the same time such an innovative and respected (at least in diy internet community) manufacturer has taken it
best!
graaf
hey el`Ol!
I really would like to see those Carlsson-inspired speakers which I perceive as a kind of an offspring of my "room-loudspeker-space" thread
Have You finally completed them?
Hello graaf!
I have been struggling with myself some time whether I should find the bass too slim or not. Alternatives I have considered were bass drivers with higher sensitivity, bi-amping, or going towards a satellite system plus bass horn. I tended towards liking the tonal balance better when I had my head directly between the speakers close to the wall. Today I measured this position and found the bass objectively too thick. So I have desided to finally build it the way it is, because this is objectively more correct. I know it´t a shame to still listen with the prototypes after such a long time, but I swear I´ll have the final enclosures ready in a week.
To my shame a picture of a prototype:
Attachments
Go to htguide.com and type jon speaker article and get the extensive article written by john marsh. It outlines his methodology in designing a speaker and discusses many issues. I think some of the things he discusses there will be helpful to you.
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edit: that was supposed to read "type jon speaker article in the search"
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edit: that was supposed to read "type jon speaker article in the search"
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