I am especially sensitive to harsh overtones and harmonics of things like violin in the highest notes. Many drivers have trouble getting this band (3KHz to 6KHz) just right; full range and mid range drivers both. By choosing a lower X/O low pass; parallel resistors can then bring the upper frequencies up to match personal listening tastes. I have gotten pretty good at matching the delicate balance of too much vs too little here. You need to be able to get the high piano notes in full but also, at the same time, keeping the violin harshness at bay. This is a very delicate balancing act for "MY" listening tastes. Some people may not even notice these subtle changes but I am especially irritated and easily agitated by these things. This is what causes my "listener fatigue" the most (when not done properly). Fletcher Munson and the famous BBC dip are worth learning more about for sure.
I can't honestly answer that but I'm sure there must still be at least "some" commercial designs out there that do something similar to the BBC dip.
Yes. It wasn't a question directed at you or anyone, its a video link to youtube were he explains a bit about it that's all 🙂
Re the 'Gundry dip', His son has said that he would not have agreed to such a dip in his work.
It was apparently done to ameliorate the fatigue resulting from hours of near field studio monitoring, and give a 'set back' image.
It was apparently done to ameliorate the fatigue resulting from hours of near field studio monitoring, and give a 'set back' image.
Interesting article if anyone else was interested, touches upon some things mentioned here.
EQ: Warm a Voice and Improve Clarity
EQ: Warm a Voice and Improve Clarity | Larry Jordan
EQ: Warm a Voice and Improve Clarity
EQ: Warm a Voice and Improve Clarity | Larry Jordan
And here
"Warm"
If you have any experience with people who love analog gear, you’ve probably heard the word "warm" thrown around a lot. A lot of this has to do with the limited frequency range and dynamic response of analog gear, as well the way the distortions and colorations that analog gear adds to sounds. This doesn’t mean, however, that only analog sources can be considered warm. In a digital setting, you can often add warmth by boosting some low-end frequencies (usually between 200 and 500 Hz), or cutting of some of the super-high frequencies. Some engineers even use a low-pass filter on digital sounds to give them more "analog warmth," or use digital modeling plugins that are designed to emulate analog warmth. Many would argue, however, that this just isn’t the same as the "real warmth" you get from analog gear.
How to Make a Track Sound 'Warm' and 5 Other Confusing Audio Terms, Explained
"Warm"
If you have any experience with people who love analog gear, you’ve probably heard the word "warm" thrown around a lot. A lot of this has to do with the limited frequency range and dynamic response of analog gear, as well the way the distortions and colorations that analog gear adds to sounds. This doesn’t mean, however, that only analog sources can be considered warm. In a digital setting, you can often add warmth by boosting some low-end frequencies (usually between 200 and 500 Hz), or cutting of some of the super-high frequencies. Some engineers even use a low-pass filter on digital sounds to give them more "analog warmth," or use digital modeling plugins that are designed to emulate analog warmth. Many would argue, however, that this just isn’t the same as the "real warmth" you get from analog gear.
How to Make a Track Sound 'Warm' and 5 Other Confusing Audio Terms, Explained
And you hear all those violin overtones and harmonics on all violin recordings?
That sounds unlikely to me.
Recordings in my experience vary greatly in these matters.
Btw: I want my speakers to sound neutral, have no resonances or other kind of audible artefacts.
No, actually not every recording has this issue. It is MOSTLY an un-controlled driver break-up issue that causes these false and very harsh and ugly sounding higher frequencies. It is NOT what a real violin sounds like; even though I am well into my mid 60's; I can still pick out what sounds real and what sounds false. I was known for my playing technique and very good tone quality with the woodwinds I played back in the day. If I tell you I can hear a difference; you can take that to the bank. What do you think conductors and band directors do? It is not just about trying to keep everyone in time on the same measure; they critique each and every note coming from each and every instant and will let you know if they don't like what they hear. I am the EXACT same way with my music and speakers and really am super picky about accuracy.
Impossible as the Epos speakers do not have a xover..... Only a single cap for the tweeter. ... The key was the unusual but brilliant woofer design , the Epos is still the best sounding midrange I've ever heard .... The most life-like vocals and incredible depth to the sound yet supremely clear
It's funny as they do as you say have no crossovers. I've talked to many diy speaker enthusiasts who all swear the crossover is the most important part of any speaker. If that was the case I (and many others) wouldn't rate them as one of the best speakers ever designed.
I always admired warmness in the sound, imo its a thing that depends on both, speakers, cables, amplifier and power supply.
Its a combination of things, basically the 2 transistors that are driving speaker.
Maybe, its the currents in the power supply ? Because PSU is the source of all musical AC recreation "signal".
Hmm, some filters on AC 230V side ? Cuz, its the same currents that are flowing in the PSU, so if u soften(slowdown or whatever) those AC currents in specific "region", maybe then we get "softer" recreation of particular regions in the musical signal ?
I have tried many things, inductors are cool, too much is bad ofc...
There is no standards out there so its hard to tell.
Its a combination of things, basically the 2 transistors that are driving speaker.
Maybe, its the currents in the power supply ? Because PSU is the source of all musical AC recreation "signal".
Hmm, some filters on AC 230V side ? Cuz, its the same currents that are flowing in the PSU, so if u soften(slowdown or whatever) those AC currents in specific "region", maybe then we get "softer" recreation of particular regions in the musical signal ?
I have tried many things, inductors are cool, too much is bad ofc...
There is no standards out there so its hard to tell.
Higher presence of 2nd order distortion in the bass and a stronger presence of upper bass frequency being a a matter of taste, some add closer to 100hz some boost higher up by 200hz.
You can find a bunch of variations of charts like this online
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Measurements would show if there is problems, like resonances or some balance problem in power response. Anyone owning a good sounding and a bad sounding speaker should measure them and try to find out whats the difference, would be educational. Full home spinorama of course since I suspect the problem is often in the power response especially on the older speaker models when it was fashionable to use only on-axis measurements for design basis. It would also be cool if problems wasn't in the power response but something else. Very educational nevertheless. Not sure if distortion was meaningful difference, unless played very loud or very bad / broken drivers?
I suspect, even if the power response wasn't perfect better drivers would win hands down. Especially on passive speakers where not all peaks in the response are smoothed in the crossover circuit. Smoother driver would sound a lot better than one with db or two peaks on the highs and the peaks could be a lot more than few db.
I suspect, even if the power response wasn't perfect better drivers would win hands down. Especially on passive speakers where not all peaks in the response are smoothed in the crossover circuit. Smoother driver would sound a lot better than one with db or two peaks on the highs and the peaks could be a lot more than few db.
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Warmth can be EQ-ed in in a room curve. Look at the cheat sheets given here, that's about right.
I've done so after hearing the Altec setup of my next door neighbor. It is a fine line to get that warmth, without making it muddy.
Worth the try though, it can be quite seductive.
I've done so after hearing the Altec setup of my next door neighbor. It is a fine line to get that warmth, without making it muddy.
Worth the try though, it can be quite seductive.
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Trying to remember few speakers I had. A fullrange speakers (single fullrange driver) sounded warm in room in comparison to a small nearfield studiomonitor which was very shrill listened far field. Difference being in the power response if both are having reasonably flat listening axis response. The fullranger as a laser beam has falling power towards high frequencies and the small studio monitor being almost omni up to the sibilance. Fullrange speaker sounds warm unless exactly on the listening spot because of the beaming (falling power response) and the small monitor has too much power into the room and sounds shrill unless listening near field. Near field the off-axis extra treble isn't so bad since the direct sound dominates.
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