I'm actually quite satisfied with my current designs.
I won't be switching interconnects.
I won’t be switching either until I have a better design. But do you know how your interconnects change the input impedance? I do. Which is why I designed my own.
Need a little help
Hi All.
I'm new to attempts to model horns and having a little trouble gettting started.
I have mabat's wonderful Ath running and giving proper output as far as I can tell.
I tried importing the "abec" file into AKABAK with no luck- the script files for AKABAK don't seem to be human readable to see where the two differ or I would try to modify the Ath file to work.
From what I read, it seems that I need one very specific version of ABEC3 (3.6.0?) to run the Ath files. I can't find this version anywhere.
Can anyone help, please?
Hi All.
I'm new to attempts to model horns and having a little trouble gettting started.
I have mabat's wonderful Ath running and giving proper output as far as I can tell.
I tried importing the "abec" file into AKABAK with no luck- the script files for AKABAK don't seem to be human readable to see where the two differ or I would try to modify the Ath file to work.
From what I read, it seems that I need one very specific version of ABEC3 (3.6.0?) to run the Ath files. I can't find this version anywhere.
Can anyone help, please?
If I asked you how do the interconnects change the sound in blind listening tests, you would probably tell me you don't like blind testing. Sorry, I don't like discussions like this.
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OT: sorry to disagree here Camplo, this is a preference thing. You can't tell it is totally exagerated as an absolute statement.
For now you seem to tolerate it nothing tells you in 1, 2, 5 or 10 years it would not be irritating to you.
I was pretty tolernt to it until i had to sat down 12hours a day at a console with no direct day light, controled temperature and humidity and a lacking confidence artist for extended period ( the environemental aspect are to be paralleled to what was infligated to members of R.A.F. once they were in jail in the 70's: aka as torture) .
Now it'skind of Pavlov's reaction to me... One of each of the factors induce a reaction which i can't refrain and kill the joy and happiness to listen to music.
Overall this is the same thing as recording hip hop artist to me: put out a U47 and ask to someone which is used to move around when singing to stay there respecting distance not to overload the capsule and directivity. In 20mn the artist start complaining and you can't have something good recorded( except if you want tension in the recorded message)... however you have technical 'perfection' ( some kind of). Better use a sm57/58 and allow him/her to move freely... compromise, compromise...
ABEC3 - Professional Version
Dear Moderators you may remove this post, mabat has already shared the link above in#6466. Thanks.
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I agree that it is preference...but this being my first horns...the way it was described I was expecting something completely different...A head in a vice cannot move...the sweet spot isn't really that small to where you cannot move one inch and all of a sudden its like a high pass at 1000hz lmao!
These 350hz horns have sweetspot about the size of a basketball at 1 meter..... (looking at 16khz)
Here is an example of me playing games at my computer or mixing and mastering....never leaving the sweet spot...not even trying...in this video you'll see 16 people do it even
Natus Vincere vs Luminosity Gaming - Grand Finals - MLG CSGO Major - YouTube
The sweet spot is definitely wide enough at 7ft away for at least 2 people and no head in vice... (looking at 16khz)
- I know you are right, but I want to use my driver to 400hz...
If we focus on 10khz then the sweet spot gets even bigger yet....I had hoards of people swearing up and down that above 10khz is a crap shoot
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This statement supports my view (and disagrees with Floyde's view of ideal room timbre)....Constant directivity...if not for luxury of a larger sweet spot....is designed to improve the rooms response...
Constant directivity ensures the same timbre of the direct sound as the reflected sounds, if that's meant by the "improvement". This holds as long as the room itself is reasonably neutral (regarding absorption vs frequency), which is the requirement for a high quality reproduction, of course. I don't see any contradiction.
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Toole once made an experiment where three (IIRC) different loudspeakers were evaluated in different rooms. The order of rating was the same regardless of the room, which tells a lot about its influence. Better speaker judged by its anechoic measurements will sound better in any room - that's the message.
Basketball is not that much bigger than a head, both ears should still fit in and the highs wont drop right away when you move but expect a woosh woosh sound when you move the head even a little, the sound changes on a little movement so it is hard to know where the right place is. Better have the chair bolted to the floor to stay locked in the zone after you find the zone. I mean it is easy to slip out a bit from the zone on a long session and then the high end is not truthful anymore, hopefully you cope with it. I think it will cause listening fatigue pretty fast too, brain need to adjust if the head moves even a little. My text is a bit extreme, just trying to save you from some trouble before it is too late
I guess that was a little misleading...basketball equalled the sweet spot (beamwidth before it drops down 2db at 16khz) for just one side...so you have to think stereo..
I learned a lot of these ideas came from people who did not have horns lol hence the - "I think it"
Also, there are better horns than mine (dispersion wise) with the same tuning or the ability to let me cross at 400hz...
I learned a lot of these ideas came from people who did not have horns lol hence the - "I think it"
Also, there are better horns than mine (dispersion wise) with the same tuning or the ability to let me cross at 400hz...
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How it would change sound really depends on speaker performance. In my experience, if the CSD can drop around 12db in the first 0.37ms, then many things you change upstream become audible, and clearly the technical improvement improves listening perception as expected. I have yet to find a blind listening test that shows the CSDs of the speakers connected. I have not seen how your horns perform either. In my tests, they were not able to drop so fast.
But also the original receiving device input impedance curve needs to be known. Some older designs have input impedance curve not flat due to the way input ultrasonic filtering is implemented. This is a good match for normal interconnects. Designs in the past decade have flatter input impedance curves, thus not so good a match with the normal interconnects.
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