"Basically, it can be a complete kit, or I buy the compontes (drivers, XO-components, damping material) from different sources.
I can solder the XO, but I cannot develop a XO. As long I can get a complete documentation how the speaker should be built (which drivers, XO circuit and which XO components, how the damping should be applied) I can handle it".
Thanks for clarifying those questions. The projects I linked all include those details, as should a full 'kit' from a store. Sometimes the commercial kits will include a circuit board to make assembling the crossover easier, which is a great idea.
Geoff
I can solder the XO, but I cannot develop a XO. As long I can get a complete documentation how the speaker should be built (which drivers, XO circuit and which XO components, how the damping should be applied) I can handle it".
Thanks for clarifying those questions. The projects I linked all include those details, as should a full 'kit' from a store. Sometimes the commercial kits will include a circuit board to make assembling the crossover easier, which is a great idea.
Geoff
It's within your power to select one that has the acoustic features that suit your room. I understand there is knowledge behind this ability and it's not intuitive.
You can set your own EQ. This can manage some speaker flaws, some room issues as well as your preferences. It will also be compensating speaker/room issues that aren't 'fixed', which happens to be unfortunate. It's something you shouldn't be without.
This is a rather obvious comment, but buying a 'kit' from a store might well be cheaper than if you had to get components from various sources, if only for the increased shipping costs. I've sometimes had to buy parts from different suppliers and it hurts to pay two or three lots of postage!
Geoff
Geoff
On the other side sourcing components is part of the fun.
Donhighend (Alexander Gresler) was mentioned already, but among the available designs on the net, the ones from Heissmann deserve to be pointed at too. Well-executed and reasonably well-documented, following modern design lines (as opposed to the designs of Troels Gravesen, who imho stays behind on that). And of course this forum contains quite some gold, have a look at the OSMC.
Donhighend (Alexander Gresler) was mentioned already, but among the available designs on the net, the ones from Heissmann deserve to be pointed at too. Well-executed and reasonably well-documented, following modern design lines (as opposed to the designs of Troels Gravesen, who imho stays behind on that). And of course this forum contains quite some gold, have a look at the OSMC.
Mainly referred to this. Reasonably modern insights in DIY-land prescribe attention to the much-needed balance in even sound pressure and sound power (good directivity) on the one hand and attention as well to the loudspeaker-room-interaction too. Both are connected, but I’d like to address them separately. Getting into the basics of the works of Earl Geddes, Floyd Toole and others is A not that hard and B quintessential to realize good sound reproduction in rooms.
Yes, well documented project is necessary if you don't have knowledge to develop your own....
If I were you I would build Kairos or Ghibli from PK Audio and add bass bins later....as a separate units to have flexibility with positioning in the room...
I have direct experiences with Satori MW16 and SS 6600 and that should really be The Combo for high end monitor.....
If I were you I would build Kairos or Ghibli from PK Audio and add bass bins later....as a separate units to have flexibility with positioning in the room...
I have direct experiences with Satori MW16 and SS 6600 and that should really be The Combo for high end monitor.....
@Sasha KC83
Hi, thank you.
I didn’t know the homepage of https://pkaudio.webnode.cz/, yet.
Interesting designs, but I am looking more for a design with 89/90db SPL (pr even more). The PK audio designs are all around 83 to 86 db.
Hi, thank you.
I didn’t know the homepage of https://pkaudio.webnode.cz/, yet.
Interesting designs, but I am looking more for a design with 89/90db SPL (pr even more). The PK audio designs are all around 83 to 86 db.
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For sensitivity 90dB or higher you will need to look at the designs with dual woofers in cabinet.
6-7inch 2way 4ohm nominal designs will have ~87-88 at best, if they are designed to play some bass as well.
6-7inch 2way 4ohm nominal designs will have ~87-88 at best, if they are designed to play some bass as well.
Our Dayton/Morel based MTMs, which sound great, are rated at 90dB (2.83v/1m) and I'd regard that as pretty efficient.
Other TMM or MTM designs I've considered, such as the Classix 2.5, the late Jeff Bagby's Solstice TMM (Morel drivers and over your budget), or the Tritrix MTM (Dayton drivers) are rated at 85-88dB and I haven't seen that many with 90dB or above output.
Of course, I haven't looked very hard and I'm sure they're around.
Geoff
Other TMM or MTM designs I've considered, such as the Classix 2.5, the late Jeff Bagby's Solstice TMM (Morel drivers and over your budget), or the Tritrix MTM (Dayton drivers) are rated at 85-88dB and I haven't seen that many with 90dB or above output.
Of course, I haven't looked very hard and I'm sure they're around.
Geoff
Bosh. Post 4 BG17-8 is 93 db 1 w 1 m. A 1508-KADT+RX22 2 way is 98 db. (SP2) I own both. I think tucking a 2 cm tweeter in the corner of a 20cm x 20 cm reflex box face with a BG17-8 on it would produce a very coherent sound at 1 m away. These huge 3 ways everybody is suggesting would only gel, be coherent, IMHO 2 M or more away. The BG17 all the voice and most instrument sounds come from the same driver. Besides, the BG17+supertweeter is a cheap fast project. I cut the holes with a knife. Drilled the screw holes. Retention, 4 mm screws with washers & elastic stop nuts. My two BG17 are in cardboard boxes. 2 watts does not shake the box walls. I listen to the SP2 from 3.3 mm away, up to 11 m, not suitable or OP's room. Sp2 has real bass 54hz-17khz. BG17 will need a sub 50-120 hz, which due to wavelengths of 120 hz and below, does not need to co-locate with the 120-10000 hz driver.
My TV room with BG17 is not ideal, being a dining room table with a 32" TV on it, 1 m away, with two speaker boxes at my feet under the table. Direct 1 m sound swamps reflections. I can pull the power to the TOSLINK box in front of me if I want to kill sound on the commercials. TV remote mute does not stop TOSLINK.
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Well, @Elfriede wanted to listen to classical music (among other). While I really enjoy high dynamics and direct speakers, I don't think that is the right choice. First, it's not a kit ready available. Second, when I see this then I have belly aches to suggest it for classic.
I listened to Wein Philharmoniker Sommer Nacht concert last month on the BG17's. PBS does not simulcast on FM, it has to come in on the TV. PBS HDTV does have good sound although the engineers ride the gain more than a specialized classical CD like Telearc or Colombia .
As the lack of response above 10000 hz, filter that off. Can the OP even hear that? Most males cannot. If he can then a 10000-20000 supertweeter is $8- $120 Visaton datasheet post #4 does not show the 5 db gap between 500-1000 hz, nor the raggedness above. My homebuild sounds better than any RS garbage, or the garbage they sell on the sidewalk down at Rental Access center
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If it is fine for you, be happy with it. I have 2 pairs of 12" fullrange speakers too. But it doesn't have to fit you or me, it has to be great for @Elfriede.
What does that have to do with the gender?!
That's right. The BG17 is now how long in the Visaton program? 30y? 35? Over time there were changes and the datasheet is smoothed. The measurement shows old vs new version.
Probably or even likely. I didn't say that. I just think it's not right for @Elfriede.
A pro 12” -1” CD with appropriate horn can measure and sound surprisingly good, can be tailored for on-wall positions and will bring +90dB/2,83V/1m. It also opens up possibilities to play with directivity to keep the first reflections in a small room down.
The downside is that you need a big enclosure for f-3dB at 40Hz, 70-80 liters. But since the room is small and an on wall/ corner position will bring requirements on LF reproduction down.
The downside is that you need a big enclosure for f-3dB at 40Hz, 70-80 liters. But since the room is small and an on wall/ corner position will bring requirements on LF reproduction down.
Post 52 shows a speaker which would probably sound shrill and grating if you didn't do some serious crossover work.
FWIW, I had the drivers (Vifa BC25TG and Peerless SDS160) and did a test build of a German DIY project with a similar, if not as severe, rising treble response and it sounded too harsh in the treble.
I then simmed it, adjusted the parts quite a bit and ended up with a respectable and much smoother sounding speaker. Not as good as it could be as I don't have measuring equipment, but OK for me.
Geoff
FWIW, I had the drivers (Vifa BC25TG and Peerless SDS160) and did a test build of a German DIY project with a similar, if not as severe, rising treble response and it sounded too harsh in the treble.
I then simmed it, adjusted the parts quite a bit and ended up with a respectable and much smoother sounding speaker. Not as good as it could be as I don't have measuring equipment, but OK for me.
Geoff
I'm not a fan of the BG17, the BG20 is the better of them but has to be modified and it needs a relatively big enclosure and it needs a tweeter.
I like the Fostex FE83, FE103, both not perfect but very nice for a small FR speaker or as a mid driver. I am a fan of the Visaton FRS 5 X, really amazing for the price.