Then why do you (and only you) insist on using the wrong terminology? It does serve a purpose, that is, to aid understanding and avoid confusion, oh sorry, I understand now why you use it 🙄
Don't worry about it. It works. Try it.
Counter emf, back emf.... etc.
What makes you think I use it? I dont use it with Damir's amp and M2 speakers.
It was an experiment to lower bass distortion of a system I once upon a time owned.
It is not speaker specific and easy for anyone to mod a VFA PA. So, I published it for DIY.
You should try it yourself.
-RNM
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My secretary told me he will ask to Syn08 or Evenharmonics.
I like to discover a new thing everyday.
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The attached image is one of your channels stretched up so that the chart is closer to square which is typical of FR posted elsewhere. It looks like you could benefit from some EQ-ing.
Attachments
My pleasure.
A hammer is the tool you involuntary hit yourself in the bollocks with, each time you talk about audio amplifier design.
I have heard the Constellation at the Audio Salon in Santa Monica. It was some years back but I was really impressed!
If you know about DSP EQ, it takes a lot of power to flatten a speaker with large peaks and dips. Thats why I made the point to tell you this was Not EQ'ed and in that case it was very good.
Remember this is 15 feet out into the room. Up close and personal it is smoother. AND, I do not listen 15 feet out seriously... only up close to the speakers so i have nil room influence. I only do serious listening in near-field. Try to remember those important details.
When DSP applied to it will be as flat as those headphone Freq response curves.
The rise is normal when in a corner.
You should see the QUAD ESL...
What is your system comprised of and what data do you have for it.
THx-RNMarsh
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They want to sell chips 🙂.
I am not sure this ES9026PRO is up to Mark's standards though. 😉
“One thing amaze me, AC toroidal transformers are everywhere. Why ? C cores are so much better to isolate capacitive coupling to the AC junk.”
You really only need a primary-secondary screen to resolve this.
I measured 1.3 nF on a 1.2 kVA trafo without an interwinding screen and c 100 pF with it connected - a serious improvement. For custom wound parts, it’s a no brainer.
The series mode BW on a torroid is 10s of KHz (I measured 60 kHz -3 dB) and CM the limit was my generator at 3 MHz. Again, a screen will help in the latter case when used with suitable CM filters and in really stubborn cases, CM clamp on ferrites.
The upshot of this is these perceived noise problems all have well tried and tested solutions that allow designers to really take advantage of torroids: very high volumetric efficiency, very low radiated noise, and if wound on a stabilized, vacuum impregnated core, almost zero mechanical noise.
You really only need a primary-secondary screen to resolve this.
I measured 1.3 nF on a 1.2 kVA trafo without an interwinding screen and c 100 pF with it connected - a serious improvement. For custom wound parts, it’s a no brainer.
The series mode BW on a torroid is 10s of KHz (I measured 60 kHz -3 dB) and CM the limit was my generator at 3 MHz. Again, a screen will help in the latter case when used with suitable CM filters and in really stubborn cases, CM clamp on ferrites.
The upshot of this is these perceived noise problems all have well tried and tested solutions that allow designers to really take advantage of torroids: very high volumetric efficiency, very low radiated noise, and if wound on a stabilized, vacuum impregnated core, almost zero mechanical noise.
Almost all speakers in the home environment are designed so that the response tips up by 3-5 dB in the bass registers. This approach has been known for decades.
Looking at the plot, I’d say it’s pretty good basic performance. Clearly some in-room resonance nodes, but as RM mentions, listening in the near field will fix most of that.
Replaced by an app called ‘Shazam’ - available for either Apple or Google phones.
Anyone here with a reasonably good viny/CDl set up noticed how much LF gunk there is on classical music?
It’s really only apparent when you use a a sub-woofer. It’s definitely on the recording because for example on the lead-in track and in between tracks there is no ultra-low LF junk. I’ve tested it on quite a few records (eg LSO Firebird Suite, NPO West Side Story on CD). On vinyl with the rumble switched in, there’s a slight reduction, so it seems the LF is between say 20 Hz and 50 Hz.
It’s almost as if traffic rumble is getting into the recording space.
There is none of this on modern jazz/ pop recordings eg Bill Frisell, Fourplay etc so it seems to really arise from recordings made in large spaces.
It’s really only apparent when you use a a sub-woofer. It’s definitely on the recording because for example on the lead-in track and in between tracks there is no ultra-low LF junk. I’ve tested it on quite a few records (eg LSO Firebird Suite, NPO West Side Story on CD). On vinyl with the rumble switched in, there’s a slight reduction, so it seems the LF is between say 20 Hz and 50 Hz.
It’s almost as if traffic rumble is getting into the recording space.
There is none of this on modern jazz/ pop recordings eg Bill Frisell, Fourplay etc so it seems to really arise from recordings made in large spaces.
And yet, you posted the measurement from 15 ft away. Once again, I don't understand your way of responding.
Which you won't post the images of.
I thought you are discussing your JBL M2.
In the case with the image that he posted, it's about 15 db hot in the bass region.
I thought it had to be a typo at first. Then a little birdie told me to the effect that the ML of today is... different than what I might have been thinking of.
There're a lot of anecdotal stories of orchestral recordings from the Golden Age being timed to fit between subway trains. I'm very surprised that they could hear it from location monitors, but maybe it was just learned by experience.
Close mic'd jazz and pop don't have near as tough a go of it. Maybe just another reason to make records that way. And tastes change.
All good fortune,
Chris
I dont answere or write only for you... we are on an open forum here. Its info for everyone. So, it tends to be generic in nature. useful to many. Hopefully.
You get a 2.5dB rise for every surface near the speaker. (3db in theory). Its in a corner.. so figure it out. Should come out to about 12dB.
However, The other is not in a corner and in total... because bass in not directional and often mixed in mono... the over-all bass is balanced in the room.
THx-RNMarsh
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