Thanks for the spec sheets. A blast from the past. I didn't use Dynaudio's variovent. I used my own resistive venting scheme, which was part T-line and part resistive vent. Nor did I like the results of Dynaudio's recommended use of 6dB/Oct crossover slopes. My slopes were 24dB/Oct electro-acoustic at about 2,200Hz, IIRC. For the time, and my knowledge, I thought the drivers were some of the best available for home use, and the price was acceptable; $40 for each woofer; $40 for each tweeter; in 1980's dollars. I spent a few dollars at Madisound. I still have a few practice inductors from that project in my parts bin. 🙂
My views have changed over the years too. I now like higher sensitivity drivers. I like compression drivers and horns, which is also a new challenge. I try to remember that some of my new views come from expanded learning, and some are just opinions.
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300 Hz seems plausible, even with an undersized horn, judging by the products from a Swiss guy, mentioned earlier in this thread.
He recently launched two 2-way systems. The first features a 15" + 4" comp. driver and his latest creation is a scaled-up version based on the same recipe: 18" + 5" dia.
According to the specifications, the crossover freq. of both systems is 300 Hz.
The 15" is probably equipped with the RCF ND950 2.0, because he almost exclusively used RCF drivers before.
For the 18" version, the Axi2050 is the only option.
Here you can watch a short video of the 18" in action.
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One may wonder what kind of horn is used.
I guess it's similar to the ancient WE TA7322:
Which is similar to the AX2 horn from Keith Holland and Philip Newell:
Which is similar to Giuseppe Zingali's Omniray horn:
I guess it's similar to the ancient WE TA7322:
Which is similar to the AX2 horn from Keith Holland and Philip Newell:
Which is similar to Giuseppe Zingali's Omniray horn:
Videoclips of expensive high-end systems are almost always made in reverberant rooms. And I have the feeling that the more expensive and exotic they are more they lack in low bass.
Regards
Charles
Regards
Charles
Judging by the cones, dustcaps and surrounds, the 15" looks like a B&C and the 18" like a Celestion.
Indeed, definitely a recipe for headaches in the long run.
PP tube amps combined with 4" VC's + a big compression driver behind a tiny horn, crossed way too low; you don't even have to listen to the clips to predict the outcome.
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https://tobian-soundsystems.com/en/hornspeakers/15fh-fullrange-hornspeakersWhy is this being called a back loaded horn? Typo?
Thanks ro808.
Well, i don’t know if anything is straining, but on my phone, the system sounds like crap. Reverberated High pitched crap actually.
Well, i don’t know if anything is straining, but on my phone, the system sounds like crap. Reverberated High pitched crap actually.
There is a phenomenon, a tendency, for the sake of convenience I will refer to this with the term 'Asian preference', where the focus is on reproduction of vocals > remember the comment of the Japanese guy regarding the RH-3.
When you look at Asian audio culture, the focus on mid and high frequencies is ubiquitous.
2-way systems are often equipped with a tweeter and super tweeter.
I am a member of some Asian communities for vintage audio gear (WE, Altec etc.). The same phenomenon is also dominant here.
The musical preference - mostly old jazz, opera, chamber music - seems to play an important role.
When you look at Asian audio culture, the focus on mid and high frequencies is ubiquitous.
2-way systems are often equipped with a tweeter and super tweeter.
I am a member of some Asian communities for vintage audio gear (WE, Altec etc.). The same phenomenon is also dominant here.
The musical preference - mostly old jazz, opera, chamber music - seems to play an important role.
Musical preference always plays a role.
And yes, bass plays almost no role in classical Asian music. Virtually none of the classic instruments are capable of low notes.
And yes, bass plays almost no role in classical Asian music. Virtually none of the classic instruments are capable of low notes.
In such systems, BSC is often ignored, resulting in a lack of bass when placed in large rooms.
Add to this the (frictional) losses inherent to the electro-magnetic structures and suspensions of nearly all modern pro woofers and it becomes obvious why very few large format 2 way systems are tube-friendly, despite the (specified > not necessarily realistic) high sensitivity.
A few years ago, I mentioned the incapacity of the AN Ongaku to breath life into the cones of the JBL DD67000.
This also applies to the Unison Research Max 1 and 2 ao.