So lets assume using the Kef Q100 speaker as is.
The link (see my first post) shows HF response changes for +/- 3mm cone movement.
I believe getting the HF response changes below +/- 2dB or so will be preferable.
To do that one can use a subwoofer so that Kef Q100 has much lesser excursion needs.
Now the crossover freq between Q100 and the sub can be based on the how much one would like to restrict the cone movement of Q100 driver so that it , in turn, has minimal impact on HF response.
Which is where my question comes is, which is : is restricting cone movement of a coax to 1mm or less good enough.
Based on driver size (Q100 or Q300 etc) and SPL needs, one can arrive at right crossover freq to sub ( for eg here is xmax tool Piston Excursion calculator)
I hope my point is clear...
The link (see my first post) shows HF response changes for +/- 3mm cone movement.
I believe getting the HF response changes below +/- 2dB or so will be preferable.
To do that one can use a subwoofer so that Kef Q100 has much lesser excursion needs.
Now the crossover freq between Q100 and the sub can be based on the how much one would like to restrict the cone movement of Q100 driver so that it , in turn, has minimal impact on HF response.
Which is where my question comes is, which is : is restricting cone movement of a coax to 1mm or less good enough.
Based on driver size (Q100 or Q300 etc) and SPL needs, one can arrive at right crossover freq to sub ( for eg here is xmax tool Piston Excursion calculator)
I hope my point is clear...
"To the ear, no different to intermod occuring in the amplifier. "
True, but the loudspeaker has an amount that is several orders of magnitude higher.
I used to work in a hi-fi store, and selected program material that would sound horrible on some brands of loudspeaker, and fine on other brands.
True, but the loudspeaker has an amount that is several orders of magnitude higher.
I used to work in a hi-fi store, and selected program material that would sound horrible on some brands of loudspeaker, and fine on other brands.
No argument with either point.
However, you said:-
My point in stating that FND is just another intermod distortion, is that that is not how it works. Intermod, whether amplifier distortion, or speaker distortion, is an issue with high levels, as it results from multiplicative processes. Any speaker, or amp, that has apparent intermod at low levels is going to sound absolutely disgusting at high levels.
You also said:-
Hardly. People, especially if they are not knowlegeable in electronics and audio, use all sorts of terms to describe defects in sound. But I've never heard intermod described as "gargling" before.
But some people use "gargling" to describe excessive hum (as in failing power supply capacitors). Speakers cannot have hum problems. Gargling is a pretty good description of it, when it occurs in amplifiers.
Some people notice vocalists distorted when speakers go faulty, with the voice coil hitting the pole pieces. I wouldn't describe it as gargling, but some might. I would call it muddy or harsh.
My point was that what you describe seems to be not speaker distortion inherent in design, it sounds like a driver or posible amplifier fault.
"Gargling" is AM, its what you get when you play "Hyperballad" by Bjork at realistic levels through either a single driver or a two way system, the poor old voice coil is outside the gap most of the time doing the bass line while at the same time trying to do her voice frequencies, she ends up warbling /gargling..
Like you describe it, it happens only when you drive a loudspeaker outside its linear range.
Not a distortion specific to coax units.
Not a distortion specific to coax units.
Afa,
Just what do you consider realistic levels?
I had never heard of Bjork, so I downloaded and played the Official Hyperballad Music Video on my home office system - its' only 20 watts per channel.
Never the less, it played perfectly at a level high enough for the neighbours to hear though our common wall - a level which would require a full shout to be heard above it. Her voice is perfectly clear throughout.
The bass intensity in Hyperballad is not particularly strong by contempory standards - I can think of tunes much harder on equipment. There is an overdriven bass guitar of some sort that groans away almost continuously fro much of the song - but its level is pretty low and it's all harmonics - no fundamental to speak of.
Flamin' terrible song - each to his own I guess.
Just what do you consider realistic levels?
I had never heard of Bjork, so I downloaded and played the Official Hyperballad Music Video on my home office system - its' only 20 watts per channel.
Never the less, it played perfectly at a level high enough for the neighbours to hear though our common wall - a level which would require a full shout to be heard above it. Her voice is perfectly clear throughout.
The bass intensity in Hyperballad is not particularly strong by contempory standards - I can think of tunes much harder on equipment. There is an overdriven bass guitar of some sort that groans away almost continuously fro much of the song - but its level is pretty low and it's all harmonics - no fundamental to speak of.
Flamin' terrible song - each to his own I guess.
Last edited:
- Status
- Not open for further replies.