OP question "Will they have the different in sound?"
In my experience, yes.
The why is a complex and as yet not fully understood (and rarely discussed) subject which is beyond the scope of a DIY thread, but here are a few discussion points that might be of interest?
(1) From a snapping twig to a 100 piece orchestra in full swing all airborne sound is 100% "APE" ie Air Pressure Event. A simple increase in air pressure (compression) or decrease in air pressure (rarefaction).
(2) The only two variables are the duration of the APE and intensity (level) of the APE.
(3) APE's are defined in and by TIME not frequency, APE's have a clear and measurable duration, they have a start and a stop time ie when the increase in air pressure starts, and how long it takes for the air pressure to decrease and stabilise back to ambient. (The step response and CSD plots indicate how accurate a loudspeaker driver or complete loudspeaker design is in the time domain)
(4) The frequency of a sound is the direct result of the number of APE's per second.
Obviously there is much more to APE's and the time domain in sound than these 4 "starter for 10" points, but its a fascinating subject which is only just beginning to get some wider acceptance.
IMO, the bottom line to the OP question is this:
The driver/loading/crossover/Eq combination which results in the most accurate Time Domain reproduction of the original source (music/voice etc) APE will sound better.
Any delayed resonance caused by drivers bouncing around on their mechanical suspensions after the initial electrical impulse will distort the sound in a fundamental way. This time domain distortion is single worst type of distortion in the audio chain and 99.99% of it comes from the fundamental failing of all our loudspeaker drivers to react to, and then STOP reacting to(!) an electrical impulse.
The solution?
We need a mechanical loudspeaker driver which can react at the speed of electrical components... Now thats a tall order!!
In my experience, yes.
The why is a complex and as yet not fully understood (and rarely discussed) subject which is beyond the scope of a DIY thread, but here are a few discussion points that might be of interest?
(1) From a snapping twig to a 100 piece orchestra in full swing all airborne sound is 100% "APE" ie Air Pressure Event. A simple increase in air pressure (compression) or decrease in air pressure (rarefaction).
(2) The only two variables are the duration of the APE and intensity (level) of the APE.
(3) APE's are defined in and by TIME not frequency, APE's have a clear and measurable duration, they have a start and a stop time ie when the increase in air pressure starts, and how long it takes for the air pressure to decrease and stabilise back to ambient. (The step response and CSD plots indicate how accurate a loudspeaker driver or complete loudspeaker design is in the time domain)
(4) The frequency of a sound is the direct result of the number of APE's per second.
Obviously there is much more to APE's and the time domain in sound than these 4 "starter for 10" points, but its a fascinating subject which is only just beginning to get some wider acceptance.
IMO, the bottom line to the OP question is this:
The driver/loading/crossover/Eq combination which results in the most accurate Time Domain reproduction of the original source (music/voice etc) APE will sound better.
Any delayed resonance caused by drivers bouncing around on their mechanical suspensions after the initial electrical impulse will distort the sound in a fundamental way. This time domain distortion is single worst type of distortion in the audio chain and 99.99% of it comes from the fundamental failing of all our loudspeaker drivers to react to, and then STOP reacting to(!) an electrical impulse.
The solution?
We need a mechanical loudspeaker driver which can react at the speed of electrical components... Now thats a tall order!!
Given how often Troels Gravensen's name comes up on this forum, I'm surprised this project hasn't been mentioned yet. It's a two-way with switchable crossover configurations allowing first, second or fourth-order operation.
The special feature about this speaker is that you can choose between three crossover topologies, 1st order, 2nd order (LR2) and 4th order (LR4) and provides you with a unique opportunity to pick you favourite crossover, maybe one for one kind of music, maybe another for some other musical genre. The Hypex has three pre-sets and all you have to do is press a button to shift between the three presets. If you're in for further convenience you can buy the Hypex remote and sit in your sofa and pick your flavour.
Intriguingly, Troels doesn't comment on the sound differences.
Alex
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A much cheaper way to try the same thing is PC with Equalizer APO and a multichannel sound card, or even a surround receiver with HDMI as sound card/amp. RePhase could be useful too. Both programs are free.
So the crossover can be used to blend the effect between the drivers. Clearly something that would be useful in certain situations.
This can be a problem but it isn't always.
This doesn't happen just by changing to a different order, unless I misunderstand?
Just to help clarify...
If xovers are fully complementary, as xover order increases there will be no difference between the phase or group delay between the signal sent to the two different drivers. That's the definition of fully complementary.
But as xover order increases, there will be a difference in overall phase rotation and group delay when looking at the combined response curve sent to the two drivers, looking at lowest frequency vs highest.
If xovers are fully complementary, as xover order increases there will be no difference between the phase or group delay between the signal sent to the two different drivers. That's the definition of fully complementary.
But as xover order increases, there will be a difference in overall phase rotation and group delay when looking at the combined response curve sent to the two drivers, looking at lowest frequency vs highest.
