Stereo is a concept I haven't delved on. I recognized that we don't see this effect with light waves, like shining two flash lights for example, until I googled it. Literally, our human experience of vision is a result of stereo. The different path lengths of light into our two separate eyes, concluding into a single image. Anyway, I see now, what @AllenB was talking about because at first, I was under the impression he meant, a single speaker. I have been under the impression that listening to a loudspeaker as a single channel is very telling. It removes the Stereo effect, which I have not studied enough but I kinda think Stereo has an effect similar to SPL in terms of perceived Quality. There is the effect on perception where increased SPL is perceived to "sound better". You could spend a lot of time talking about why, but yeah, I think that Stereo causes the sound do something that our Ears psychologically find pleasurable and less vulnerable. For this reason, Mixes are critiqued in mono, whether literally one speaker or summed to mono. The saying is if it sounds great in mono it will sound great in stereo. This isn't true in reverse and that is why I think Stereo is somehow less Vulnerable, and listening in Stereo should be a separate Discussion.
Listening with One Channel is different in nature than Stereo, but there is an Intimacy with the experience. When the sources of the single channel are working together very well, there will be a factor of realism to the sound, as you said "you should have the feeling you can "grab" that source blindly. It's stable at one position and no hint of speakers left or right.". This same experience but the image, is stable to the position of the loudspeaker, with no hint of a tweeter, mid, bass, driver, just sound from a singular point in the room.
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When you have a look into these studio speakers there are patterns. Most main monitors are not 2-way.
Main monitors in recording studios are built for very high peak SPL - you need a bigger dynamic range during recording.
Monitors for mastering can have less dynamics cause you are working on already mixed material. But they need to be fullrange.
So back to the main question about 2-way speakers - professionals use 3-4 way speakers as main monitors.
Main monitors in recording studios are built for very high peak SPL - you need a bigger dynamic range during recording.
Monitors for mastering can have less dynamics cause you are working on already mixed material. But they need to be fullrange.
So back to the main question about 2-way speakers - professionals use 3-4 way speakers as main monitors.
@IamJF The mains in half the pictures of first group are 2 ways. The first group is popular studios in NY, The second group is Popular Mastering studios in the US. Flagship model 2 ways probably out number 3 ways. The 2 ways in these pics probably cost more than most of the multiway shown. Yet in the studio environment you almost always will have a sub section.
Can a 2way cover everything? Yes, but its not the majority.
Can a 2way cover everything? Yes, but its not the majority.
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Ähm ... you looked at the photos? There are subwoofers -> 3way.
Mixing:
1) subwoofer
2) you can't see the subwoofers 🤓
3) black grill next to speaker? Not sure.
4) They listen just to a bass driver?
5) subwoofer
6) 4-way
7) 3-way
8) 3-way
9) 3-way
Mastering ... similar but less horn speakers.
Mixing:
1) subwoofer
2) you can't see the subwoofers 🤓
3) black grill next to speaker? Not sure.
4) They listen just to a bass driver?
5) subwoofer
6) 4-way
7) 3-way
8) 3-way
9) 3-way
Mastering ... similar but less horn speakers.
So you mean the main question, as in the thread title. A large two way at 1 meter can do it to probably about 30hz. Not everyone needs to stay linear to 120db down to 20hz.
Build those MTM with high performing 15/18 inch woofers and tune it low, at 1 meter, should do the trick. Multiple subs are a desirable thing.
It seems most material is stuck within 15db crest factor, so at 95db average, 110db is peak. Why am I reading 120db or higher peaks at the movies? They probably have it turned up too loud 🤷😂
Build those MTM with high performing 15/18 inch woofers and tune it low, at 1 meter, should do the trick. Multiple subs are a desirable thing.
It seems most material is stuck within 15db crest factor, so at 95db average, 110db is peak. Why am I reading 120db or higher peaks at the movies? They probably have it turned up too loud 🤷😂
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I have once been to the studio in the last picture. Back then they did also have 18" TAD drivers as dedicated subs that were mounted into the walls. But the two-way Strauss monitors that you can see would definitley suffice for most applications. The sound was authoritative and effortless BTW.
Regards
Charles
Regards
Charles
@GM @weltersys @Ro808
is this acceptable in order to widen the horizontal polar and help stop comb filtering? The picture demonstrates about 15" slot. The width of the slot could be even smaller, like 7-8".
is this acceptable in order to widen the horizontal polar and help stop comb filtering? The picture demonstrates about 15" slot. The width of the slot could be even smaller, like 7-8".
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Lobing is the directivity from a large source, comb filtering is the combining of two sources with a delay.
No, the panels have not changed the horizontal center to center distance between the two 15", and the cavity formed by covering over half the cone will cause additional bandpass peaks and dips.
Whether the source is large or small, a "lobe" is a visual representation of an acoustical level that varies with frequency and listening angle.
The directivity of a single source has different looking "lobes" depending on the frequency:
As Tom Danley wrote:
"With the case of two acoustic sources, the addition and cancellation is a function of position in space and so when one makes a polar plot of intensity, one sees a pattern of lobes and nulls, the lobes being where the signals add and nulls being regions of cancellation. This pattern of cancellation and addition is also called an interference pattern. If you play pink noise through this system and move around, you hear a swishy swishy sound, classic comb filtering."
The off axis lobes and nulls seen in a polar plot of two sources are the visual representation of the interference pattern, when viewed on a frequency response chart look like the teeth of comb, hence the name.
Art
I suppose I could see that coming across a little ambiguous. Subjective similarities aside, lobing is a polar pattern and polar patterns are plotted at one frequency showing level against angle.
Comb filtering is pressure taken at a single location against frequency.
These terms have wide application and have been used in antenna theory and general electronics.
Comb filtering is pressure taken at a single location against frequency.
These terms have wide application and have been used in antenna theory and general electronics.
Seems like this model never gets any bad press/critique? It has issues with comb filtering on the horizontal, beaming from the horizontal pair isn't helping the polar to match the horn or maybe it is, Never came across any off axis measurements for this model. The woofers are simple enough to sim in VituixCad but I wonder what the real measurements look like.
Off axis similar to the simulation. While these speakers for sure sound impressive there is probably a reason why there are no off axis measurements 🤓
Another take on changing directivity
Rob 🙂
https://reconingspeakers.com/products-page/jbl-eon-615-woofer-cover-plate-5039904/
Rob 🙂
https://reconingspeakers.com/products-page/jbl-eon-615-woofer-cover-plate-5039904/
Looking at the above chart, Comb Filtering does not appear to be a problem to me, Until about 500hz? I would have to investigate further, the issue of peaks/dips issue. Theres a chance that most of those issue will be on the outside of my desired passband.
Each concept has its own disadvantages/limitations.
Given your drivers and horn, a MTM - in accordance with theoretical optima - is feasible.
If the GT-Sound MTM is considered one of the best speakers (in Asia), then the concept should at least 'work'.