Dynamic is great. I will sometimes get scared. Brutal. Low distortion.
Feels like you can hear details more easily. When there is a lot going on in the music, the cone keeps up.
Faster then 10.2Maop. Maybe better for classic music.
Feels like you can hear details more easily. When there is a lot going on in the music, the cone keeps up.
Faster then 10.2Maop. Maybe better for classic music.
Last edited:
When I search on reviews of Alpair11MS I get this:
The bass coming from these speakers is very fast and accurate which means it doesn't sustain and keeps going like a 12-inch woofer in a vintage 3 way. Some people might like it but some may not. This property of Alpair 11MS is very good when you listen to songs with fast plucking bass guitar notes.
The bass coming from these speakers is very fast and accurate which means it doesn't sustain and keeps going like a 12-inch woofer in a vintage 3 way. Some people might like it but some may not. This property of Alpair 11MS is very good when you listen to songs with fast plucking bass guitar notes.
The MAOP employ an "excursion arrestor" that makes noise before the metal cone cracks due to excursion.
Seems the MOAP parameters don't even include Xmax or Xlim, or mention the "excursion arrestor" engagement distance.
After the “alpairs-arent-woofers” and this 2011 discussion, sometime around 2015 the "excursion arrestor" was introduced:
https://www.diyaudio.com/community/threads/mark-audio-chr-70-gen1-self-destruction.199845/
I'd prefer getting better transient response using a tweeter for HF than relying on a cone that is so light that it can't handle bass excursion.
Alternatively, the Mark Audio drivers could use a woofer below, as Mark said: “alpairs-arent-woofers” 😉 .
Art
It has occurred to me that although HF cone breakup/gain IS a form of distortion >
It could serve to increase intelligibility of high frequencies for people with compromised hearing loss -
as would the use of Aphex Aural Exciters that also use 'selective distortion'.
https://www.waves.com/plugins/aphex-vintage-aural-exciter
I hardly listen to classical music. Those of you who listen a lot "perhaps only" to classical music, what value do you place on how it is performed?
Should all instruments sound like they do in real life?
I mostly listen to rock, pop and other genres.
I have never played any instrument. Has no reference to instruments in reel life so to speak. However, have been to classical music concerts a few times. Can't say how it sounds at home in comparison. You can undoubtedly say that it is not the same as live. Stereo is stereo.
Live is live.
Should all instruments sound like they do in real life?
I mostly listen to rock, pop and other genres.
I have never played any instrument. Has no reference to instruments in reel life so to speak. However, have been to classical music concerts a few times. Can't say how it sounds at home in comparison. You can undoubtedly say that it is not the same as live. Stereo is stereo.
Live is live.
It must be important that the instruments can be pointed out, both vertically and in depth. If you want to be able to see the venue where they play in. Or?
Headphones are perhaps the optimal thing for cheaper listening than a pair of speakers where the room has to be adapted for it to "sound" optimally.
Headphones are perhaps the optimal thing for cheaper listening than a pair of speakers where the room has to be adapted for it to "sound" optimally.
You can be sure to hear only what is on the recording if you can make your speakers not add acoustic problems to what you hear, and get your room to behave neutrally. This gives you the imaging you want. The type of music doesn't change these things.
You can add EQ or harmonics if you want.. but if you must add them to sound good, then try to get back to basics.
You can add EQ or harmonics if you want.. but if you must add them to sound good, then try to get back to basics.
I have a TangBand W4-2142 that I bought several years ago for another project. My plan now is to exchange it in one of the Piccolo cabinets for the SB midwoofer and disconnect the tweeter and crossover. Then see how well I like the sound from a full range driver compared to the other Piccolo that I still have.
It won’t be stereo, but I should still be able to tell something from the comparison and then decide what to do next.
It won’t be stereo, but I should still be able to tell something from the comparison and then decide what to do next.
Taking into account what AllenB posted above,
the quality of 'Sound-field generators' today is so good that "Stereo is stereo" & "Live is live" can now be interwoven 😎
My take on that is it doesn't matter that stereo can place instruments artificially and sets it's own stage, since that doesn't prevent us from enjoying what we hear. No disrespect to the extras, but if you can't enjoy stereo au naturel then you're not doing it right 🙂
To understand this we need to appreciate that we could either have the recording venue ambience on the recording or it can be done in an anechoic studio. My preference is to reduce the participation of my own room. This way I either hear them in the original venue, or I hear a rather dry recording.. but in either case the imaging is intact, and the detail is there.
To understand this we need to appreciate that we could either have the recording venue ambience on the recording or it can be done in an anechoic studio. My preference is to reduce the participation of my own room. This way I either hear them in the original venue, or I hear a rather dry recording.. but in either case the imaging is intact, and the detail is there.
A little bit extra re. capturing the 'acoustic environment' in recordings ...
https://www.google.com/search?q=amb...gKGK8BmAMAkgcHMC4xLjguMaAH5VA&sclient=gws-wiz
https://www.google.com/search?q=amb...gKGK8BmAMAkgcHMC4xLjguMaAH5VA&sclient=gws-wiz
You seem to like all sorts of artificial sound generators. The Aphex Aural Exciters and now Ambisonics.
I am of the entirely opposite opinion that none of these should be used to tamper with the original sound. The closer it can be kept to original the better.
I am of the entirely opposite opinion that none of these should be used to tamper with the original sound. The closer it can be kept to original the better.
Very early recordings were mono.
You dont often hear it now. Stereo is well accepted.
Few old timers claimed stereo was a fake gimmick in the early days.
So few more microphones added to the claimed Ambisonics might be
the new twist. Even Disney's " FantaSound" added few more speakers
to the theatre experience with extra tracks. 7.1 now pretty well accepted
I forget the plugin been over 20 years now.
Which used FFT filters / delay lines for every frequency to recreate
complicated very accurate reproductions of a room /concert hall reverb / reflections.
Has a library of famous concert halls. Since a impulse response for every frequency
is captured at the actual locations. And the FFT processing reproduces them.
Far as the original post.
It is simple enough to try 6.5 inch to 8 inch wideband/fullrange driver.
Likely just use a notch filter as done by many to compensate for baffle step
and the rising response that many wideband drivers have.
Otherwise plenty of 2 way designs.
I like my system to exceed my hearing range.
Since detail and enjoyment is still found with good drivers
within our hearing range.
I have found that modern metal domes are rather clean and pleasing.
As with jazz or classical, I would assume the domes exceed the original recordings.
But I still heard " new" things when I played around with metal domes.
listening to recordings I have heard hundreds of times.
Very old recordings as well
You dont often hear it now. Stereo is well accepted.
Few old timers claimed stereo was a fake gimmick in the early days.
So few more microphones added to the claimed Ambisonics might be
the new twist. Even Disney's " FantaSound" added few more speakers
to the theatre experience with extra tracks. 7.1 now pretty well accepted
I forget the plugin been over 20 years now.
Which used FFT filters / delay lines for every frequency to recreate
complicated very accurate reproductions of a room /concert hall reverb / reflections.
Has a library of famous concert halls. Since a impulse response for every frequency
is captured at the actual locations. And the FFT processing reproduces them.
Far as the original post.
It is simple enough to try 6.5 inch to 8 inch wideband/fullrange driver.
Likely just use a notch filter as done by many to compensate for baffle step
and the rising response that many wideband drivers have.
Otherwise plenty of 2 way designs.
I like my system to exceed my hearing range.
Since detail and enjoyment is still found with good drivers
within our hearing range.
I have found that modern metal domes are rather clean and pleasing.
As with jazz or classical, I would assume the domes exceed the original recordings.
But I still heard " new" things when I played around with metal domes.
listening to recordings I have heard hundreds of times.
Very old recordings as well
I understand those who want as much as possible of the original sound.
The recording may take place in one room or in a larger hall.
2 microphones, left and right are placed in front of the musicians. It should be optimal.
If it is recorded in a studio with separate instruments that are then mixed as desired, it may not be optimal. The result may sound good in and of itself, but may not describe reality.
Open for discussion of course. Let the thoughts flow.
The recording may take place in one room or in a larger hall.
2 microphones, left and right are placed in front of the musicians. It should be optimal.
If it is recorded in a studio with separate instruments that are then mixed as desired, it may not be optimal. The result may sound good in and of itself, but may not describe reality.
Open for discussion of course. Let the thoughts flow.
When I close my eyes during a concert at Orchestra Hall, sitting about 90' from the conductor, I can hear but I cannot locate in the stage space individual instruments due to the hall reverberance. Why should my stereo system try to?
"When I close my eyes during a concert at Orchestra Hall, sitting about 90' from the conductor, I can hear but I cannot locate in the stage space individual instruments due to the hall reverberance. Why should my stereo system try to?"
Yes, one might wonder.
In a concert hall, the image can change. I can imagine that it will be different in each concert hall. Where in the hall you sit can contribute to a different sound image. Eco can affect.
At home, you sit in a special place that can hopefully place the instruments fairly accurately. That way, home is a better place.
The dynamics may not be at the same level as in the hall.
It certainly differs a lot from recording to recording. There are very good ones and really bad ones.
Yes, one might wonder.
In a concert hall, the image can change. I can imagine that it will be different in each concert hall. Where in the hall you sit can contribute to a different sound image. Eco can affect.
At home, you sit in a special place that can hopefully place the instruments fairly accurately. That way, home is a better place.
The dynamics may not be at the same level as in the hall.
It certainly differs a lot from recording to recording. There are very good ones and really bad ones.
In Post #5 AllenB was suggesting just the opposite. Namely, to use full range drivers with cone diameters no larger than 3.5", which equates to about 5 to 6" overall size. This would avoid any breakup below 4 KHz and keep things very clean.
As mentioned in the original post I already have an excellent 2-way. The idea was to see whether getting rid of the crossover and any problems it introduces would be preferable.
This is the full range section of the forum, and it seems from these posts that many people prefer full range to multi-way speakers.