But does it? If you hear Dylan at Woodstock, and then at the Carnigie Hall, then in your living room on vinyl followed by a CD, do they all sound the same? I think not; so which was the perfect one? Well, the live ones of course; both of them, different though they certainly were; because they were real, the others fictions of the audio engineers art.
To me, the genius of Michael Angelo's "David" is that he knew when to stop; similarly Cezanne and the immortal WM Turner. If you feel the urge to finish an Impressionist painting, never take up golf or DIY speaker building.
To me, the genius of Michael Angelo's "David" is that he knew when to stop; similarly Cezanne and the immortal WM Turner. If you feel the urge to finish an Impressionist painting, never take up golf or DIY speaker building.
Not in my experience. Usually they're cleaner much, much further than the typical constipated hifi systems.Mudge said:
Huh? Is this comment based on your actual experience and/or measurements? Horns have much lower distortion (pro drivers, domestic usage) and to get them to break up, you're usually way on the far side of 110dB
Yeah most 'phile drivers start distorting at low levels and continue increasing until thay sound like a cheap car stereo.
you guys still didn't answer about using multiple drivers to get the same SPL
would it automatically reduce distortion because of the lessen effort needed by each drivers ?
also maybe it will introduce new type of distortions ?
i also really enjoy just learning about all this, thinking about sound reproduction and phisics .. also building my first louspeakers was a blast
maybe just as much as listening to music on em afterwards
would it automatically reduce distortion because of the lessen effort needed by each drivers ?
also maybe it will introduce new type of distortions ?
i also really enjoy just learning about all this, thinking about sound reproduction and phisics .. also building my first louspeakers was a blast
maybe just as much as listening to music on em afterwards Yes , they will hear that because our brain processes the sound, so even if the ear is responding to sound in a weighted manner, we still can perceive sound reproduced with a nonlinear frequency response.
While distortion of instruments is part of the charakteristic - spectral signature - of the instruments , any added distortion through the chain will change that signature till in some instances it becomes unrecognizable.
That is one reason why I like speakers with almost nearly linear frequency responses and the lowest achievable distortion. Anything else distracts from the original instrument sound or might - some tube amps - enhance the sound by adding some even order distortion.
My question is: what does this then has to do with high end - or truth in sound reproduction?
It will lead to lesser distortion if I can run a driver so that I can prevent breakup modes of the cone in dynamik drivers; meaning I run it within it's specs. That is why I am cautios towards fullrange drivers.
The negativ influence of passiv crossovers can be avoided by running an aktiv xover system. Read some info here: http://sound.westhost.com/biamp-vs-passive.htm
JinMTVT said:you guys still didn't answer about using multiple drivers to get the same SPL
would it automatically reduce distortion because of the lessen effort needed by each drivers ?
also maybe it will introduce new type of distortions ?
i also really enjoy just learning about all this, thinking about sound reproduction and phisics .. also building my first louspeakers was a blast
Jin, theres a lot out there about line arrays. Arraying drivers DOES automatically (for the same sound level) decrease certain types of distortion- but it introduces new challenges and detrimental effects, such as comb filtering. I also hear that the wave from different drivers in the line can reach your ears at different times, creating an effect of time smearing.
Now that you've heard all of these terms thrown around to discuss distortion in loudspeakers, how to reduce it, and the merit of doing so- I think you've got a wide vista of new things to read about and investigate in the archives, the provided links, and on google.
I think that the underlying point in all this is that DIY Audio isn't just about getting a better bang/buck ratio than buying big name equipment- it's also about design. If you just want good bang/buck, buy a kit, or buy used. If you want to create something new, you're into the world of design. "Distortion" is just one of
many factors in designing a good speaker- and the challenge in design is to find a good balance of all available parameters.
That means that the very "best" diy project would be very cheap, stunningly beautiful, very small (so it will fit in your room), be able to play so loud you can't stand it or so quietly you can barely hear it, and it must do so consistently from frequencies below to frequencies above your perception. It must produce no sound but what is fed to it, and the sweet spot must extend all over your house. It should provide a safe yet adoreable perch for your cat, and it must be portable. Now, did I describe a set of speakers, or a girlfriend?
I don't think we should take this audio thing too seriously- jo briggs seems to suggest that we are doing so once we talk about distortion in speakers- but I do think that distortion is one of the more rewarding things to tackle in a DIY setup.
Just my two cents.
Joe
Brett,
used properly pro-drivers would almost never get to audible distortion in the home enivronment, I quite agree. The exception is pro bass drivers, which don't typically have the kind of motor structure to cope with low bass, without much higher distortion. Run high passed they sound perfectly clean up to silly levels, but can sound terrible if asked to a subwoofer's job. I've not yet seen a speaker simulator that can calculate the best case THD vs frequency vs SPL for a given speaker, but it shouldn't be too hard to do.
used properly pro-drivers would almost never get to audible distortion in the home enivronment, I quite agree. The exception is pro bass drivers, which don't typically have the kind of motor structure to cope with low bass, without much higher distortion. Run high passed they sound perfectly clean up to silly levels, but can sound terrible if asked to a subwoofer's job. I've not yet seen a speaker simulator that can calculate the best case THD vs frequency vs SPL for a given speaker, but it shouldn't be too hard to do.
Exactly my POW too. Sound engineering practice (which is rare in audio in general and non-existing in "high end audio") dictates focusing on what really matters and neglecting the things that don't or have a negligible effect. Loudspeaker distortion (and spatial fq response) is THE thing to focus on in audio. Amplifiers play their role too but not nearly as much. And I am not even going to talk about cables...
What makes me sick by just opening an audio magazine is that this way of doing things is effectively reversed - the more "high end" the worse. It is quite interesting to observe that pretty much all the guys claiming to hear huge differencies between individual brands of resistors and what not generally have speakers that I consider POS, use no EQ and all in all have no clue as to whether the fq response of the speakers and the room even are within +/- 10 dB.
The pro audio industry seems to be an exception, maybe because one of the things that ultimately matters is sound quality. Nobody gives a rats a** whether the amp sitting in the rack has a 1'' solid aluminum face plate or solid copper "antivibration" feet as long as it does it's job.
My $0.02
/Magnus
And that is the difference in high end, where appearence and the bragging rights when it comes to the price more often than not is the determining factor - if one can afford it.
In my opinion high end means only one thing - high prices.
Too often speakers with considerable amount of distortion and "bent" frequency responses are more highly evaluated while sounding "nicer" than "boring" speakers with flat response and reduced harmonic distortions. Just browse through copie of stereophile.
When I want to have "nice" sound, I might as well use a cheap boombox and then dial in "nice" with tonecontrols.
When I want to hear accurately reproduced what is on the medium - I want the straight goods, and not "nicing up" a lousy recording.
Bullseye!nice stuff guys ..
so what do you suggest exactly here?
that most of the drivers we are using in DIY are pos ?
that we should be looking into PRO drivers?
what exactly is a PRO driver ?
how does it qualify for PRO ?
and what brand to look for ??
i've researched for distortion specifications on manufacturer's sites..and didn't find quite much
they usually only state : 1.3%thd or stuff like that
wich doesn't mean anything to me
can someone post a list of the most important distortions
introduced by drivers/enclosure?
( the ones that we should be focusing on when designing !! )
still soooooo many reading to go through .. can't find time!
does anyone knows how to diy "time" ??
i'd like to get double or triple hours for each day
or maybe just find a way to get full sleep in 2 hours?
need to research that .. ahha
so what do you suggest exactly here?
that most of the drivers we are using in DIY are pos ?
that we should be looking into PRO drivers?
what exactly is a PRO driver ?
how does it qualify for PRO ?
and what brand to look for ??
i've researched for distortion specifications on manufacturer's sites..and didn't find quite much
they usually only state : 1.3%thd or stuff like that
wich doesn't mean anything to me
can someone post a list of the most important distortions
introduced by drivers/enclosure?
( the ones that we should be focusing on when designing !! )
still soooooo many reading to go through .. can't find time!
does anyone knows how to diy "time" ??
i'd like to get double or triple hours for each day
or maybe just find a way to get full sleep in 2 hours?
need to research that .. ahha
Usually they show distortion as a curve accompanying the frequency response curve.
Do you ask what thd stands for or do you say those values are meaningless? THD stands for total harmonic distortion within a specified frequency range, and is in so far meaningless as it does not tell you where the driver distorts most. For that you need the distortion curve corresponding with the frequency response curve.
When I talked about highend being more ab out making money than serving the audio fan I meant completed speakers which with good drivers designed wrong can still sound lousy.
Good drivers at a decent price are vifas, saes, focal, eton, dynaudio etc.
There are some american drivers that are well made - but being enamoured with the european stuff I do not have an idea.
The problem here is too - not necessarily the most expensive driver sounds best. I used to build with dynaudios (D28, 17W75) but found that to those ears vifas sounded better at 1/4 the price. But - that is my opinion only.
you know - to get into that stuff, why not read : Martin Colloms, High Performance Loudspeakers, by pentech press/london. Almost a must - even if you do not read it all.
More books, like the one mentioned - and articles - are available through the "audioxpress website" http://www.audioxpress.com/.
That is your best option if you are serious ab out LS diy. You can also check out Siegfried Linkwitz website ore Joe d' appolitos, website. Don't know if john dunlavy still has a site, but google to find some articles or mails he wrote. An additional site - especially when explainig the benefits of running aktiv:
http://sound.westhost.com/index2.html
Could be that some of those links were mentioned before, but I guess it doesn't hurt anybody.
More books, like the one mentioned - and articles - are available through the "audioxpress website" http://www.audioxpress.com/.
That is your best option if you are serious ab out LS diy. You can also check out Siegfried Linkwitz website ore Joe d' appolitos, website. Don't know if john dunlavy still has a site, but google to find some articles or mails he wrote. An additional site - especially when explainig the benefits of running aktiv:
http://sound.westhost.com/index2.html
Could be that some of those links were mentioned before, but I guess it doesn't hurt anybody.
Yes and no, for two reasons. First we have to look at what you mean by "we". If "we" are most folks on diyaudio.com then yes it is true that 95% or so use "hifi" drivers like Seas, Vifa etc. But if you for example go to http://www.audioroundtable.com you will se that figure reversed. One example is Wayne Parham from Pi Speakers (http://www.pispeakers.com) who also has a forum for his DIY speaker kits on audioroundtable.com. Hi only uses pro sound drivers (Eminence & JBL) in all his speakers.
The other reason is the POS factor. Are "hifi" drivers like Seas, Vifa, Peerless, Scan-Speak, Focal etc crap? If you want a short answer from me it is going to be yes.
If you hang on for a second I will say yes and no. First let's look at what these drivers lack and then move on to where they excel (in a home listening setting). 1. Dynamic range. These drivers have so low sensitivity (85-90 dB) that there is no way they can recreate live music which is at 100-130 dB. Few people know this but for example an orchestra playing classical music puts out about 10 W of acoustic power. That is just an enormous amount! Classical music easily peaks at above 120 dB. Damage to the hearing is very common among professional musicians who are exposed to these levels daily! For a 85 dB driver to get to 105 dB you need to put in 100W of power. (Room gain will give you a couple of extra dB's depending on room size and structure in the low region but still).
To get to 115 dB you would need 1000W and since most of these drivers can't handle even 100W (they will distort very badly way before that too) you can only dream about these SPL's.
Still they can sound very "loud" because perceived loudness is actually due to heavy distortion rather than high SPL's.
That is why the orchestra may not sound that loud - simply because those 120 dB's are clean (if one can call the spectrum from natural instruments "clean" but anyway, you get the idea). A line array with hifi drivers is an exception as these can have high sensitivity.
2. Distortion. For a given SPL, say 95 dB good pro sound drivers will have a distortion at least an order of magnitude lower than the hifi stuff. This is partly because in order to get there you have to put in very little power (milliwatts for say a 110 dB 2'' compression driver/horn). We will get back to this later.
3. Transient response. (One could view this as distortion, but since it is a linear effect it is not distortion by the usual technical definition). Hifi drivers have weak magnetic structures (weak motors) and heavy cones. That's like driving a heavy underpowered car. Pro sound drivers have very strong motors and light cones. That's like driving an overpowered racecar.
Poor transient response means masking low-level detail, lack of clarity and "presence" and untight midbass.
That's the drawbacks I can think of for now. Now, lets move on to the advantages!
1. Smoother frequency response. Some hifi drivers have very smooth frequency response and this is a big advantage. The very best pro sound drivers also have very smooth response (JBL's) but many have a more ragged response. Horns have a ragged and narrow response by definition. It is also very tricky to design passive crossovers for pro sound drivers. But frequency response can be compensated for by active filters and EQ where as distortion can never be removed.
2. Wider dispersion. While this is a drawback in PA systems it is an advantage in a home setting since it creates a more reverbant sound field. Open-baffle is an extreme example.
3. Bass response. Weak motors and heavy cones means low fs and good bass response. Pro drivers need huge boxes and large membranes and/or horn loading to accomplish the same.
4. Smaller size. This is THE advantage of hifi drivers and related to (3). Bookshelf speakers generally seem to gain higher recognition by girlfriends and such. (Large speakers make great plant standings though
) But for the serious music lover (who might have a few square meters occupied by tube amps and such instead/anyway this shouldn't pose too much of a problem.This also makes them much more suitable for close-field monitors in studio control rooms and such.
Now, just what is a "pro" driver? From my definiton of "professional" stuff (it might not be the true definition of the word but anyway) it is just something that is intended for people who make a living out of using the thing in their profession. Naturally the range of different products fitting into this category is huge. For audio it ranges from large and loud rock concert PA speakers, theater systems, studio monitors, mobile DJ or karaoke setups, large meeting-rooms to your local pizza shop putting out radio music on a few tiny speakers...
So a small Genelec or Mackie close-field studio monitor (which uses hifi drivers) is a pro speaker too or at least used in a pro setting. Generally one big difference is that pro sound stuff is engineered for price/performance not price/looks, price/bells&whistles or price/snake oil content.
But for me and most people a "pro sound" driver means the more powerful stuff used in concert speakers, theatre installations and such. Power handling, sensitivity and reliability are clearly key parameters here. But what about distortion and sound quality? Well, the typical cheap DJ type speaker with a crap 12'' woofer and a cluster of KSN-1005 piezos being abused by an underpowered and clipping amp clearly does not represent high sound quality and is what has given "PA type sound" a bad name.
On the other hand, a good theatre system can have awesome SQ and a natural reproduction of voices and instruments. The large rock-concert system might sound anything from very good to crap. But remember that these speakers are called upon to deliver 130-140 dB of continious program material and few things sound good at those very high SPL's.
So now, which "pro" drivers are good for home use and which are bad. Let's start with the bad. P. Audio, lower-grade Eminence stuff, Zoomax and such brands generally have cheap drivers that are designed simply to make the most noise for the least money. If you value dynamic range over everything else they will deliver that - the choice is up to you. Horn-loading or a good design can make these babies sound good too. (And those brands have different drivers aimed at different price points).
But if you want "the good stuff" I advise you to turn your head elsewhere. There is one gold standard here and that is JBL Professional drivers (NOT the commercial or small studio monitors from JBL, they use Vifas and such and not JBL Pro components). There is simply one word for these drivers and that is awesome. Take a look at http://www.jblpro.com and look for such classics as the 2226 15'' bass/midbass and 2445&2380 2'' comp driver+horn. The distortion is the lowest in the business and fq response is very smooth. They are pricy though but you pay for an excellent engineered product with a quality of construction that will last a lifetime.
There are others too. TAD (by Pioneer) also is very popular for the highest quality large studio type speakers and regarded among some people to even outperform JBL. They are even more expensive too. Then you have Beyma (http://www.beyma.com), B&C (http://www.bcspeakers.com), Fane (http://www.faneacoustics.com and a few others that have some models that are very well suited for home use too, at a lower price. The Beyma CP380M is considered among some people to be one of the best 1'' compression drivers around. The quite similar B&C DE25 came out on top of all the hifi tweeters in a German hifi magazine test, to the much surprise of a conservative 'phile world. You can take a look at the thread I started about using 6-8'' midrange cone drivers in a midrange horn for home use as another example.
But the best way would be if you could audition a large systems using all premium pro drivers yourself and make up your own mind. That can be a breathtaking experience, for all types of music. In the meantime you can study the distortion graphs provided by JBL & Beyma. And note at what power (and thus SPL) these distortion tests were done! (Like the JBL 2012 10'' cone midrange).
Now, people can add or subtract a few dB to what I have been saying according to their personal view but this is all from me for now!
Cheers!
/Magnus
Hi Magnus!
While I do agree with you on most points I must question the following;
"2. Distortion. For a given SPL, say 95 dB good pro sound drivers will have a distortion at least an order of magnitude lower than the hifi stuff. This is partly because in order to get there you have to put in very little power (milliwatts for say a 110 dB 2'' compression driver/horn). We will get back to this later."
I hear this claim often, but what kind of distortion does pro drivers have at 90-95dB? which maybe is the most interesting thing in home audio. The lowest distortion driver I know of in the 100-1k range is Seas W22 and the lowest distortion tweeter in the higher octaves is the Accuton D20/30. Sure, these drivers will give up earlier than a good pro drivers, but how about 90dB... are there drivers out there with good cones and decent dispersion that can match the drivers I mention? Also are there pro drivers that can match TC and tumult type drivers in the low range?
"3. Transient response. (One could view this as distortion, but since it is a linear effect it is not distortion by the usual technical definition). Hifi drivers have weak magnetic structures (weak motors) and heavy cones. That's like driving a heavy underpowered car.Pro sound drivers have very strong motors and light cones. That's like driving an overpowered racecar."
BL and moving mass has nothing to do with transient respons. Transient reponse is about BW and Q of the final resonant system and decay. A weak motor means lower SPL. A heavy cone can stop at a dime if the suspension and/or box or EQ are tailored right. I know that your idea feels intuitive, but it´s really not that simple.. or rather it is simple, but not like that
"Poor transient response means masking low-level detail, lack of clarity and "presence" and untight midbass."
Maybe, maybe not, but not due to the reason you mention. Low level detail and clarity are more about noise floor and and masking distortion. Stiff cones and low distortion motors is the answer to that.
/Peter
While I do agree with you on most points I must question the following;
"2. Distortion. For a given SPL, say 95 dB good pro sound drivers will have a distortion at least an order of magnitude lower than the hifi stuff. This is partly because in order to get there you have to put in very little power (milliwatts for say a 110 dB 2'' compression driver/horn). We will get back to this later."
I hear this claim often, but what kind of distortion does pro drivers have at 90-95dB? which maybe is the most interesting thing in home audio. The lowest distortion driver I know of in the 100-1k range is Seas W22 and the lowest distortion tweeter in the higher octaves is the Accuton D20/30. Sure, these drivers will give up earlier than a good pro drivers, but how about 90dB... are there drivers out there with good cones and decent dispersion that can match the drivers I mention? Also are there pro drivers that can match TC and tumult type drivers in the low range?
"3. Transient response. (One could view this as distortion, but since it is a linear effect it is not distortion by the usual technical definition). Hifi drivers have weak magnetic structures (weak motors) and heavy cones. That's like driving a heavy underpowered car.Pro sound drivers have very strong motors and light cones. That's like driving an overpowered racecar."
BL and moving mass has nothing to do with transient respons. Transient reponse is about BW and Q of the final resonant system and decay. A weak motor means lower SPL. A heavy cone can stop at a dime if the suspension and/or box or EQ are tailored right. I know that your idea feels intuitive, but it´s really not that simple.. or rather it is simple, but not like that
"Poor transient response means masking low-level detail, lack of clarity and "presence" and untight midbass."
Maybe, maybe not, but not due to the reason you mention. Low level detail and clarity are more about noise floor and and masking distortion. Stiff cones and low distortion motors is the answer to that.
/Peter
Thanks for the kudos Brett! I am just about to order the Beyma CP385/Nd's from the UK. Will report back to you of my impressions of them later.
In the meantime I can tell a little story of the importance of visual impressions when evaluating an audio product. Last week we spent a day in the audio lab at my university with the task of trying to reproduce a human voice so well that one should not be able to tell whether the voice came from the person or was being reproduced by a speaker. We used old Genelecs and some 70's vintage Swedish studio monitors (Audio Pro) together with EQ, DAT-recorder and stuff and Bruel&Kjaer omni measurement mics and a bunch of other cardiod & supercardioid ones (I'm not really into mics). After a day of noise testing, mic arrangements and EQ:ing the result was quite impressive.
If you kept your eyes closed it could be very difficult to tell whether you were listening to a speaker or "the real thing". The moment you opened your eyes things changed dramatically. The voice from the speaker sounded like - a speaker! No matter how much you tried to be "transparent" and disregard that visual clue one just couldn't!
I then had a listen with some of my favourite material (Pink Floyd's "The Wall", Stevie Ray Vaughan "The Sky is Crying", Diana Krall etc) on the vintage Swedish active monitors and was very impressed with the sound. Not the super-clean detailed sound from good horns and clearly no dynamics but overall very nice sound with quite good imaging. One nice feature on these speakers is the ability to adjust the bass according to whether you play in full space, half space etc with a knob at the rear.
Propelled forward by these impressions I went to a shop that sells DIY kits for an audition of their stuff equipped with hifi drivers. Since I don't want to p*ss people off here I am not going to mention specific brands and models but I can say that they included a few top regarded designs with the premium drivers from the most highly regarded brands. I left the shop after a while thinking "oh well, that's it". I feel bad for the shop owner 'cause he looked genuinely sad.
Poorly implemented bad pro drivers can sound awful. Well implemented - well try it for yourself.
Regards
/M
In the meantime I can tell a little story of the importance of visual impressions when evaluating an audio product. Last week we spent a day in the audio lab at my university with the task of trying to reproduce a human voice so well that one should not be able to tell whether the voice came from the person or was being reproduced by a speaker. We used old Genelecs and some 70's vintage Swedish studio monitors (Audio Pro) together with EQ, DAT-recorder and stuff and Bruel&Kjaer omni measurement mics and a bunch of other cardiod & supercardioid ones (I'm not really into mics). After a day of noise testing, mic arrangements and EQ:ing the result was quite impressive.
If you kept your eyes closed it could be very difficult to tell whether you were listening to a speaker or "the real thing". The moment you opened your eyes things changed dramatically. The voice from the speaker sounded like - a speaker! No matter how much you tried to be "transparent" and disregard that visual clue one just couldn't!
I then had a listen with some of my favourite material (Pink Floyd's "The Wall", Stevie Ray Vaughan "The Sky is Crying", Diana Krall etc) on the vintage Swedish active monitors and was very impressed with the sound. Not the super-clean detailed sound from good horns and clearly no dynamics but overall very nice sound with quite good imaging. One nice feature on these speakers is the ability to adjust the bass according to whether you play in full space, half space etc with a knob at the rear.
Propelled forward by these impressions I went to a shop that sells DIY kits for an audition of their stuff equipped with hifi drivers. Since I don't want to p*ss people off here I am not going to mention specific brands and models but I can say that they included a few top regarded designs with the premium drivers from the most highly regarded brands. I left the shop after a while thinking "oh well, that's it". I feel bad for the shop owner 'cause he looked genuinely sad.
Poorly implemented bad pro drivers can sound awful. Well implemented - well try it for yourself.
Regards
/M
Peter,
This is very interesting Peter, and while I have not looked into those drivers it could most likely be true. Note that I don't say that pro drivers are the "only" solution to a good speaker nor do I claim them to be appropriate for every situation. Low-level listening is certainly one such occasion and from what I know nothing can even come close to electrostatic speakers with regard to distortion at low levels, as another example.
Peter, you are entirely right here. That statement of mine should be simply ripped out of the text. Guess I was trying something that I obviously is very bad at - to describe a technical phenomena in simple terms. When I said "low-level detail" I really meant "detail" being spoiled by an underdamped highish Q system.
Thanks for correcting me here! What I think we both ultimately want is a rational and sound approach to audio and speaker design. I wish we could omit the terms "hifi" or "pro sound" drivers and just use the term driver. Then it might be engineered for high SPL or low distortion or controlled directivity or whatever.
As things are right now marketing, looks and deception seem to completely overwhelm sound quality issues. And that goes for both "high end" and "pro audio" but maybe at somewhat different ratios.
/Magnus
This is very interesting Peter, and while I have not looked into those drivers it could most likely be true. Note that I don't say that pro drivers are the "only" solution to a good speaker nor do I claim them to be appropriate for every situation. Low-level listening is certainly one such occasion and from what I know nothing can even come close to electrostatic speakers with regard to distortion at low levels, as another example.
Peter, you are entirely right here. That statement of mine should be simply ripped out of the text. Guess I was trying something that I obviously is very bad at - to describe a technical phenomena in simple terms.
When I said "low-level detail" I really meant "detail" being spoiled by an underdamped highish Q system.Thanks for correcting me here! What I think we both ultimately want is a rational and sound approach to audio and speaker design. I wish we could omit the terms "hifi" or "pro sound" drivers and just use the term driver. Then it might be engineered for high SPL or low distortion or controlled directivity or whatever.
As things are right now marketing, looks and deception seem to completely overwhelm sound quality issues. And that goes for both "high end" and "pro audio" but maybe at somewhat different ratios.
/Magnus
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