Thanks everyone!
I have a Phase Linear 700 Series II for the bass. It has a 1000/1 damping factor or capture ratio or something like that. I heard this makes it a good bass amp.
I have a stereo 3-way Pioneer SF-850 active x-over (1970's) and an Alesis M-EQ230 1/3 octave EQ (1990's) and a DOD SR RTA 1/3 octave real time analyzer (1990's). Old stuff for an old man (1953) LOL.
I always make a cut below 40Hz with the EQ. I thought a passive Hi-pass at the box would be cheap insurance...turns out I won't be holding a policy there!
Thanks for teaching me, I'm here to learn.
Al.
I have a Phase Linear 700 Series II for the bass. It has a 1000/1 damping factor or capture ratio or something like that. I heard this makes it a good bass amp.
I have a stereo 3-way Pioneer SF-850 active x-over (1970's) and an Alesis M-EQ230 1/3 octave EQ (1990's) and a DOD SR RTA 1/3 octave real time analyzer (1990's). Old stuff for an old man (1953) LOL.
I always make a cut below 40Hz with the EQ. I thought a passive Hi-pass at the box would be cheap insurance...turns out I won't be holding a policy there!
Thanks for teaching me, I'm here to learn.
Al.
Al,
Yes, DSP stands for digital sound processor, which can allow you to implement most any crossover filter and slope at any frequency desired, apply delay to correct for the latency from filters or physical offset, and provide individual EQ for each band.
Most current DSP have resolution far better than that of a compact disk, though they do introduce one more AD/DA conversion.
An additional AD/DA (which can be avoided in some DSP platforms) is a small price to pay for the sonic benefits available from proper implementation of all the potentials that can be realized.
Like any really powerful tool, the potential for messing things up beyond recognition is also there, I have corrected some terrible screw ups (18"subs 20-200 Hz, full range top cabinets from 600-8000 Hz
) from users that don't quite get it.Art
PS. I at one time owned a stereo 3-way Pioneer SF-850 active x-over, an Alesis M-EQ230 1/3 octave EQ (1990's) and (still own)a DOD SR RTA 1/3 octave real time analyzer.
You can do much better with DSP, guaranteed!
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That makes absolutely no sense with regards to protecting the woofer from over excursion.
DSP sounds like Magic!
Hi Art. Thanks for taking the time to explain things to me in "layman's" terms! I know a little, not like the lofty knowledge available on this site.
Actually we had some outboard gear in the PA system that could be considered DSP (vocal harmonizers, drum machines, etc). Just never heard it referenced that way.
Thanks, Al.
Hi Art. Thanks for taking the time to explain things to me in "layman's" terms! I know a little, not like the lofty knowledge available on this site.
Actually we had some outboard gear in the PA system that could be considered DSP (vocal harmonizers, drum machines, etc). Just never heard it referenced that way.
Thanks, Al.
Al,
Having grown up in the days when a Harmonizer cost several thousand dollars, and six decent bandwidth digital delays would set you back over $10,000, and six PEQ (multi-band parametric EQ) and a pair of high quality 1/3 octave EQ another $5000, and a pair of mono 3 way BSS crossovers $1800, 8 channels of limiters/compressors $1600, the "entry level" DBX Driverack PA (which includes all of the above) for around $500 does seem like "magic".
To the generation that grew up with hand calculators with more processing power than the computers used to help guide missions to the moon and back, it does not seem magical.
FIR (finite infinite response) processing can render a multi-way loudspeaker's frequency and phase response flat, that still has elements of "magic" to me, since the processing algorithms are beyond my present comprehension.
That said, you don't have to know exactly how something works to learn how to use it to advantage.
Art
Having grown up in the days when a Harmonizer cost several thousand dollars, and six decent bandwidth digital delays would set you back over $10,000, and six PEQ (multi-band parametric EQ) and a pair of high quality 1/3 octave EQ another $5000, and a pair of mono 3 way BSS crossovers $1800, 8 channels of limiters/compressors $1600, the "entry level" DBX Driverack PA (which includes all of the above) for around $500 does seem like "magic".
To the generation that grew up with hand calculators with more processing power than the computers used to help guide missions to the moon and back, it does not seem magical.
FIR (finite infinite response) processing can render a multi-way loudspeaker's frequency and phase response flat, that still has elements of "magic" to me, since the processing algorithms are beyond my present comprehension.
That said, you don't have to know exactly how something works to learn how to use it to advantage.
Art
Was that the correct link? It seems to be a speaker design with an emphasis on a 1 dB difference via a crossover parts selection. That's less than the piece to piece difference in most drivers.
You mentioned an amp.
Magical was knowing the man & family behind the first solar digital watch made in 1970. Went to school with the genius's son. 100% made in his attic lab from scratch at their home just off 41 west in Troy Ohio.
Riehl Time Corporation's SYNCHRONAR 2100 - The Ultimate Watch
Overexcursion happens because the woofer is no longer operating in its mass controlled region, but rather in its compliance controlled region. This means, in other words, that the only thing controlling the woofer's movement is its own suspension. It no longer has the stiffness of the box to help control the moving mass. The damping factor of the amplifier has nothing at all to do with this bit of acoustics.
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