Just sitting here thinking about the mix/mastering process and the typical use of shelf filters to add 10khz and up content to recordings which develop the sense of air and the acoustic space we’re all accustomed to. For HF drivers without a horn lens, these frequencies are very directional and if listening off axis, either are too low in amplitude or are riddled with ragged response and break up modes. But what if we used tweeter on the back?…..say crossed over very high around 7khz or so. We could trust the front wall and obstructions to splay the content back into the space, returning that sense of air and space. I’m sure there’s some designs that use this method but I’m just inquiring for those here in the DIY realm who’ve given it some thought or a try?
As a compromis, I could use something like the RS28 tweeter which will go down to 1khz……maybe a 1st order HP starting at like 8k where most fullrange drivers really start beaming what little HF they can produce.
Beaming is not a concern when you are smashing it against a wall. On top of that, there is no saying you can’t add both a mid and tweet to get the full effect.
Good point, but at the end of the day there's still less of it unless you EQ, but you already mentioned that. The quantity would also be affected by HF lobing and while you can EQ that too, it might take polar measurements to learn how.Beaming is not a concern when you are smashing it against a wall.
Different ways to do the same thing..
I forget who now, but long ago there was an European? 'hornie' on the HE forum that first tried a second horn, then just a driver and last a Fostex? tweeter he kept, though don't recall whether or not his being near/at a wall /corner.
This thread may contain some inspiration:
https://www.diyaudio.com/community/threads/ambience-tweeters-using-small-bmr-drivers.326055/
https://www.diyaudio.com/community/threads/ambience-tweeters-using-small-bmr-drivers.326055/
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