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Multi-Way Conventional loudspeakers with crossovers

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Old 10th December 2012, 11:19 PM   #11
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tried to find an FR plot of the B200s, but no luck.

re: 'tuned to about 36Hz?' - I make it ~ 34Hz, but close enough
re: 'They do sound rather weedy ' - perhaps higher tuning would help, but it's guesswork without parameters
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Impedance varies with frequency, use impedance plots of your drivers and make crossover calculations using the actual impedance of the driver at the crossover frequency
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Old 11th December 2012, 08:50 AM   #12
Kei is offline Kei  Wales
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The SP1063 is a higher power handling version of the SP1014. (Got used in the chorelli)

They only sound weedy when used in a large room and compared with the ditton 25's that are normally used there. In the bedroom where these are used, they sound fine down to the mid 40's.
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Last edited by Kei; 11th December 2012 at 08:57 AM.
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Old 12th December 2012, 02:45 PM   #13
Kei is offline Kei  Wales
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Bought the ECM8000 and PS400 phantom psu. Anyone recommend suitable software to use with it.
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Old 12th December 2012, 03:29 PM   #14
LJNorth is offline LJNorth  United Kingdom
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Kei

Holm impulse is the one often recommended around here, a quick search should find it, are you using an external soundcard/preamp?, making measurements is fun and addictive and puts you head and shoulders above most, its a learning curve and depending on your background it might be quite steep but persevere

Laurence
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Old 12th December 2012, 04:16 PM   #15
Kei is offline Kei  Wales
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Hoping to run the Mic via an XLR to 1/4" jack balancing transformer into my xonar essence st soundcard. I do have an older sound blaster x-fi with the breakout box with a mic input if that's needed.

That Holm software looks like just the ticket.
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Old 12th December 2012, 06:31 PM   #16
LJNorth is offline LJNorth  United Kingdom
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Kei,

as long as the transformer isoates the sound card from the phantom power supply you should be fine, the preamp might be AC coupled anyway but its best to check theres no 48 V DC on the preamp side. The Behringer mic is a good starter, on this side of the pond they are uncalibrated (parts exprs and another company do calibrated versions), but the measurements should be fine upto 10K or so, and past that things gets less critical anyway. Depending on your measurement space you should get down to 750Hz or so before reflections start messing up the acoustic response, your garden then becomes a good place when its warm enough. For impedance measurement I have used speaker workshop + measurement jig, but any jig/software that allows you to measure the frequency dependent voltage across, and current through, a drive unit would do, hope this helps.

Laurence
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Old 12th December 2012, 06:55 PM   #17
Kei is offline Kei  Wales
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Thankyou Laurence, very useful info. Will measuring their response in my room be useful, or is better to measure them in an open space. (Or both where possible)
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Old 12th December 2012, 07:25 PM   #18
LJNorth is offline LJNorth  United Kingdom
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If you want anechoic response then as big a room (including floor to cieling height) as poss as this allows you to get down to lower frequencies with time-domain gating of FFT signals. Anechoic response is really what you want for mid-bass and upward. For design its usualy acceptable to use an enechoic response from around 500 Hz up (or as low as you can get really) and then splice in a nearfield response of the woofer. Some will also look at a long time ungated in-room response to judge things like baffle step correction. Then its about looking at off axis response and non-linear distortion.

Laurence
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Old 12th December 2012, 08:09 PM   #19
Kei is offline Kei  Wales
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If i measure the response in the room from my listening position, would i need to run it with both speakers playing or as single entities? (It'd be nice to see what the response is like with the room influence) I'll save outdoor measurements for the new year when it's warmed up a bit.

Out of interest, how good would the mic be for recordings?
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Old 12th December 2012, 08:31 PM   #20
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Start with gated measurements of one driver of one speaker, on-axis, from 1m. You won't know if it's working reasonably well if you start with more messy things.

That type of microphone sounds better than you might think for recording, but can't handle high levels well, so instruments that must be played very loud are out, and you have to record most things from fairly far away. That, combined with being an omni, means you get a whole lot of the room in your recording, for better and worse. In other words, you can figure out ways to use it for home recording fun, but in the studio it would be pretty useless.
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