Here is the screenshot of the XO response of the AMT and the W5-876SE Hypercube bass from my phone.
XO is -24dB/oct at 700 Hz and AMT has been dialed down by -13.5dB relative to woofer. One mild EQ on AMT of -4dB peak with wide Q=0.4 at 3.5kHz.
XO is -24dB/oct at 700 Hz and AMT has been dialed down by -13.5dB relative to woofer. One mild EQ on AMT of -4dB peak with wide Q=0.4 at 3.5kHz.
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xrk971 thanks, really surprised to see that league of a driver, look forward to see more. Impressive specs and sound performance you mention, if you at a time leave listening and read this i ask is it going stay for a little longer 🙂.
AMT sound clips good, though difficult to judge the last precision and high end sound as is revealed in realtity on site.
As the 700Hz XO frequency is a more critical or sensitive area to blend and the AMT unit has no ringing and higher precision than cone speakers then for best blending in XO area i imagine a stiffer cone should have less ringing and then better to integrate with the AMT high end driver. Attach a bid on a 8" driver with high sensitivity i could imagine have less ringing than one that have rubber surround, it will still need a sub somewhere under 100Hz, cost 48$, also available as 4 ohm.
As the 700Hz XO frequency is a more critical or sensitive area to blend and the AMT unit has no ringing and higher precision than cone speakers then for best blending in XO area i imagine a stiffer cone should have less ringing and then better to integrate with the AMT high end driver. Attach a bid on a 8" driver with high sensitivity i could imagine have less ringing than one that have rubber surround, it will still need a sub somewhere under 100Hz, cost 48$, also available as 4 ohm.
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The 8FE200 is a nice driver that I have designed some synergies around. Would probably work very well with AMT. I had more time to listen to the AMT last night and it still sounds great. Played some rock through it - Blues Traveller - very nice articulation on male vocals and guitar. I agree that the cheap 5in Tang Band is not keeping up - dynamics are lacking.
Don't get your hopes up too fast... 🙂
There must be an error on that spec sheet. There is no way an 8in driver can go that high and flat. In fact, they have the spectrum and impedance data from the RS100-4 by mistake. Fs is 35Hz but impedance curve shows 82Hz like RS100-4.
RS100-4 spec sheet here:
http://www.parts-express.com/pedocs/specs/295-378-dayton-audio-rs100-4-spec-sheet-revised.pdf
Preparing a setup for digging into correction by FIR filters i need a box for a pair TC9FD. I like to try the one with the green arrow in attached picture which show some captures from the famous HARRY F. OLSON paper. Choosen one is to be nearer the fig. 6 one which here at thread we can call a Hypercube-PRO 🙂, the fig. 10 and 16 though easiest boxes to build they lack the better flatness. Like to try a inside 20 liter when empty and if too much i put some hard wood inside to decrease volume, gives Qtc 0,756 and system meant for close range low SPL listening. I have some fair thick and stiff cardboard and 19mm MDF and ask you which one to use, fastest build will be the cardboard but will it doo when the box is fair big, i mean can't live with if FIR settings precisely corrects for square wave reproduction and the walls flex and destroy that FIR correction.
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Byrtt,
I would go with a much smaller enclosure than 20 liters and use stuffing to get the Q right. The TC9FD should be fine in something like 5 to 6 liters - just don't expect it to go lower than 150Hz if sealed cabinet.
I would go with a much smaller enclosure than 20 liters and use stuffing to get the Q right. The TC9FD should be fine in something like 5 to 6 liters - just don't expect it to go lower than 150Hz if sealed cabinet.
AMT Polar Measurement
Here is a near field (8 in) polar measurement of the AMT. I am running only a 500Hz HPF to protect it from LF excursions, otherwise no EQ. Very uniform over 45 deg half angle. The driver voltage was arbitrary but enough to produce a good signal on the mic.
Polar:
Harmonic Distortion at 0 deg:
Impulse Response at 0 deg:
Here is a near field (8 in) polar measurement of the AMT. I am running only a 500Hz HPF to protect it from LF excursions, otherwise no EQ. Very uniform over 45 deg half angle. The driver voltage was arbitrary but enough to produce a good signal on the mic.
Polar:
Harmonic Distortion at 0 deg:
Impulse Response at 0 deg:
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AMT & B&C 6MDN44 Mid & Sub
The 5in Tang Bands just were not cutting it as they distort when driven to make bass below 100Hz in the Hypercube. I wanted to see what the Heil AMT would sound like with a good 96.5dB sensitive mid driver and a 98dB sensitive bass horn sub. Put these all together for a 3-way and it is nice. The B&C 6MDN44 is handling 170Hz up to 750Hz and the bass horn sub is handling below 170Hz down to about 30Hz. The 6MDN44 is mounted in a small sealed test box - not a Hypercube as I could not get it to fit in the existing one.
Here is the XO measurement for the 6MDN44 and AMT:
This is the harmonic distortion - nice to see what a pro mid driver can do, this thing is flat enough to be a mixing monitor:
Measured minimum phase:
Impulse response:
Finally some sound clips (Dire Straits' de rigeur drum crescendo, and Anne Bisson), which I think you will agree sound very clean (low HD) and crisp transients. The mids are very crisp now, I like how it sounds. With the new high sensitivity mids and subs, I was able to bring the gain on the AMT's from -13dB to -3dB, and they are loud!
The 5in Tang Bands just were not cutting it as they distort when driven to make bass below 100Hz in the Hypercube. I wanted to see what the Heil AMT would sound like with a good 96.5dB sensitive mid driver and a 98dB sensitive bass horn sub. Put these all together for a 3-way and it is nice. The B&C 6MDN44 is handling 170Hz up to 750Hz and the bass horn sub is handling below 170Hz down to about 30Hz. The 6MDN44 is mounted in a small sealed test box - not a Hypercube as I could not get it to fit in the existing one.
Here is the XO measurement for the 6MDN44 and AMT:
This is the harmonic distortion - nice to see what a pro mid driver can do, this thing is flat enough to be a mixing monitor:
Measured minimum phase:
Impulse response:
Finally some sound clips (Dire Straits' de rigeur drum crescendo, and Anne Bisson), which I think you will agree sound very clean (low HD) and crisp transients. The mids are very crisp now, I like how it sounds. With the new high sensitivity mids and subs, I was able to bring the gain on the AMT's from -13dB to -3dB, and they are loud!
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That plot is looking identical as the one they publish for RS225-8. If you planning on RS225-4 in a Hypercube box to support low end for your RS100-4 Hypercube box in a FAST system or two-way sounds like could be a success for both system sound and design.
With a 9 in square edge baffle required to fit the bezel, the volume will be 0.78 cubic ft. a tad bigger than the ideal 0.61 cubic ft. recommended for a sealed alignment. But 67 Hz f3 in sealed alignment is good before Linkwitz transform. It would have been good to get more than 6mm of xmax though.
This Peerless 830667 paper cone 8in driver has 8mm+ xmax and reaches a little deeper at 57Hz and has 0.72 cu ft recommended sealed box volume which is closer match.
Peerless 830667 8" Paper Cone SLS Subwoofer
Actually, I mentioned the RS225 with an 800hz xover frequency in mind (AMT), although I'm sure it would be a nice match for the RS100. It seems like the Peerless should be crossed over lower (being more of a subwoofer). Personally, I'm not interested in a 2-way design at the moment...
gmad, sorry i didn't figure out it was meant for xrk971 setup. And very much understanding if you have satisfied SPL and distortion profile no meaning for adding a more complicated setup.
xrk971, 🙂 could be so wrong but listening the Dire Strait track sounds like bass is too delayed at microphone position coming in after top end and this way having it's own signature domain that stands out from rest.
xrk971, 🙂 could be so wrong but listening the Dire Strait track sounds like bass is too delayed at microphone position coming in after top end and this way having it's own signature domain that stands out from rest.
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