I’m developing concept for designing midrange and treble from my listening experience. I own ADS L1590/2 speakers and I use them as my reference in this case.
I found the high frequency emitted from their tweeters mostly be the “cymbals” sound. The first question is I wonder what frequency range does the cymbal play? I’ve searched for the answer on Google but it wouldn’t help when it suggested 300-10kHz. I don’t believe it because it was so wide range and I focused only on the cymbal sound emitted only from tweeters.
In brief, I’m thinking to assign, in three-way speaker design, high frequency for tweeters to play ONLY cymbal sound. I would temporarily ignore the traditional way of designing crossover because I believe using cymbal sound as the criteria for establishing tweeter’s high-pass shouldn’t harm the tweeters for sure. So, what frequency does the cymbal start to play; 3, 4, or 6kHz for examples?
Next, the 2” dome midranges, I plan to use them without Low-Pass filter (no high cut) because I found the perfect clarity when they went their natural roll-off.
In conclusion, my next DIY speaker project would contain a 2” mid-dome that goes high-frequency and smoothly drops by its natural roll-off. Then, a 3/4” or 1” tweeter will take over higher frequency reproduction at which the cymbal starts to play.
Is this concept acceptable? Has anyone ever tried similar thing?
I found the high frequency emitted from their tweeters mostly be the “cymbals” sound. The first question is I wonder what frequency range does the cymbal play? I’ve searched for the answer on Google but it wouldn’t help when it suggested 300-10kHz. I don’t believe it because it was so wide range and I focused only on the cymbal sound emitted only from tweeters.
In brief, I’m thinking to assign, in three-way speaker design, high frequency for tweeters to play ONLY cymbal sound. I would temporarily ignore the traditional way of designing crossover because I believe using cymbal sound as the criteria for establishing tweeter’s high-pass shouldn’t harm the tweeters for sure. So, what frequency does the cymbal start to play; 3, 4, or 6kHz for examples?
Next, the 2” dome midranges, I plan to use them without Low-Pass filter (no high cut) because I found the perfect clarity when they went their natural roll-off.
In conclusion, my next DIY speaker project would contain a 2” mid-dome that goes high-frequency and smoothly drops by its natural roll-off. Then, a 3/4” or 1” tweeter will take over higher frequency reproduction at which the cymbal starts to play.
Is this concept acceptable? Has anyone ever tried similar thing?
That chart also makes me confused. It suggests 200-20kHz range for the cymbals. But what I could hear was from tweeters only, never heard from midranges at all.
The fundamentals can go that low. These frequencies give them their weight and let you hear the sticks hitting them. Listen to some real cymbals and then compare to just tweeters from 3kHz and up.
High hat, ride, and splash cymbals in a typical drum kit vary in size and frequency response.
I just think if I had a DSP, I would use it to answer myself. I will start by setting the high-pass for the tweeter at 20kHz with second-order slope. Then, slowly decrease the high-pass frequency and listen to the tweeter carefully. Stop the process suddenly when the vocal (female) is heard from the tweeter. But I’m not sure if it would be easier said than done. Lol
I believe this procedure won’t consume more than 10 minutes time duration, probably less than 10 minutes if he/she has trained ears.
But, anyone who has a DSP can/will help me?
I believe this procedure won’t consume more than 10 minutes time duration, probably less than 10 minutes if he/she has trained ears.
But, anyone who has a DSP can/will help me?
A cymbal does not ring at one frequency only. It is a complex waveform that might have a strong fundamental yet producing sound resonating at other frequencies around it. Explains why the mimicked "tshhhh" is instantly recognisable as a cymbal crash. The idea of bass, midrange and treble is useful for pointing to a particular region of the audio band, but it has no inherent rules of physics that makes a sound exclusive to a particular band.
Depends on the recording.
Have a listen here:
It's easy to find comparisons of other parts of the drum kit, too, but ride cymbals are generally the biggest and heaviest, so will be a good indication of the widest bandwidth that a cymbal might cover.
NB - the very initial stick impact will have content into the ultrasonic region. I'll leave it to the reader to determine if that's important to try to reproduce.
Chris