I would say on-axis. Then let the directivity etc be be the differences to be judged. FR is such an extremely important aspect of a transducer.
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Things like this, basically various deformations, are most easily done by an additional transformation of a regular shape. This can be done e.g. with the exported grid.
(It's possbile to control each formula parameter independently by an angle-dependent expression - that's how e.g. the KVAR originated ("k variable") - but I guess that it would be diffcult to do it this way.)
https://www.diyaudio.com/community/...-design-the-easy-way-ath4.338806/post-7010925
(It's possbile to control each formula parameter independently by an angle-dependent expression - that's how e.g. the KVAR originated ("k variable") - but I guess that it would be diffcult to do it this way.)
https://www.diyaudio.com/community/...-design-the-easy-way-ath4.338806/post-7010925
Directivity affects the total radiated power that also has an effect on the percieved spectral balance (and e.g. the "openness" as well, I believe). It's not very straightforward to compare this "properly". For example, a constant-directivity waveguide typically must be adjusted for the total radiated power for not to be too bright with most recordings. It just can't have a flat FR. This is also the circle-of-confusion thing.
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My experience with a slope for SP correction is a bit different. I do not use it anymore for the JBL PT-F95HF / Dayton H6512 waveguide.
I has started with a sloping filter in the Hypex amp following the approach described by @hifijim for a range from 2k-20k, first -2 dB, later reduced it to -1 dB, then eventually to -0.5 dB and nowadays, I do not use it anymore at all. Instead, after I started using the CamillaDSP-enabled piCorePlayer as my source, I sometimes selectively apply this filter, that I labeled the ‘toning’ filter, if a recording is on the brighter side.
That said, this is for an asymmetric waveguide, 90 x 50 degree radiation pattern. And this is why the SP is already reduced when compared with an axi-/symmetric device:
https://www.diyaudio.com/community/attachments/sheeples-answer-power-di_r3_1-2lamda-png.953428/
Sloping the direct sound easily creates a dull impression in my ears, and only an ever so subtle correction did not, where I eventually asked myself if it was even required at all. This is why I think an asymmetric waveguide is best for listening in-room if the DI is kept constant on the horizontal plane. The wide horizontal dispersion inevitably creates a more lively, lighter signature, which is a property of this sort of speaker, and if the speaker provides bass down to 40 Hz, it will sound very transparent, open, lively and quick (with room correction).
I has started with a sloping filter in the Hypex amp following the approach described by @hifijim for a range from 2k-20k, first -2 dB, later reduced it to -1 dB, then eventually to -0.5 dB and nowadays, I do not use it anymore at all. Instead, after I started using the CamillaDSP-enabled piCorePlayer as my source, I sometimes selectively apply this filter, that I labeled the ‘toning’ filter, if a recording is on the brighter side.
That said, this is for an asymmetric waveguide, 90 x 50 degree radiation pattern. And this is why the SP is already reduced when compared with an axi-/symmetric device:
https://www.diyaudio.com/community/attachments/sheeples-answer-power-di_r3_1-2lamda-png.953428/
Sloping the direct sound easily creates a dull impression in my ears, and only an ever so subtle correction did not, where I eventually asked myself if it was even required at all. This is why I think an asymmetric waveguide is best for listening in-room if the DI is kept constant on the horizontal plane. The wide horizontal dispersion inevitably creates a more lively, lighter signature, which is a property of this sort of speaker, and if the speaker provides bass down to 40 Hz, it will sound very transparent, open, lively and quick (with room correction).
I talked about constant directivity waveguides, i.e. with a flat DI. Those are actually pretty rare. What you show is a more common, rising-DI device. There's typically no reason to tilt the on-axis FR with those.
- BTW, is the radiation in vertical plane included in your data? It doesn't seem so to me.
- BTW, is the radiation in vertical plane included in your data? It doesn't seem so to me.
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If a loudspeaker is designed with a specific FR for a reason, you just can't change that arbitrarily. Doing so, you can easily make it sound worse, just for a sake of comparison 
That makes no sense.
What's typically done is to "equal" an overall level as an average of some frequency band in midrange (and I'm not sure now if based on on-axis or in-room curves) - to subjectively have approximately the same overall loudness. But certainly not "EQ" the on-axis response down to 0,3 dB.
That makes no sense.What's typically done is to "equal" an overall level as an average of some frequency band in midrange (and I'm not sure now if based on on-axis or in-room curves) - to subjectively have approximately the same overall loudness. But certainly not "EQ" the on-axis response down to 0,3 dB.
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Not only does the chart provide enough insight to see at first glance that verticals are included, also, the post that it came explained the behavior of the waveguide. But you seemingly did not find it relevant to read properly.
Ironically, the PT-95HF is also as constant as it gets on the horizontal axis.