Hello Scott,
What would be the basic difference between the earlier iteration of the MAOP and the new MAOP MS .....do they sould very different....
Well, I can't [don't] really offer any subjective comments because what I hear isn't likely to be what somebody else does in a completely different context, and I don't have the vocabulary toolbox anyway. From an engineering standpoint though MAOP 11 / MAOP 11.2 was based on the Pluvia 11, with custom cone, coil and spider. MAOP11MS is based on Alpair 11MS, with custom cone, surround, coil and silver leadout wires. So where the first two [closely related other than coil impedance] had technical characteristics like a more refined Pluvia, the new unit is basically like a more refined Alpair 11MS.
Nice work -hope you enjoy them!
I should really have used the naming scheme for the MAOP 11 / MAOP 11.2 for the new MAOP11MS designs (in MkII form of course!) -unfortunately, for some daft reason, I thought the original unit was going to contiune alongside, so it's not quite as coherent as that!
: Never mind, 'what's in a name?' as they say.
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That's very interesting to read. They really need to include this extra detail on the product pages, rather than just the generic MAOP wording. I think it's beneficial for the consumer to know it's not just been through the MAOP process, but also received other enhancements - makes it feel that extra bit special
I used to think the old MAOP 11 was just a pluvia with MAOP cone, so I used to wonder if it could really be as good as something like the MAOP 10, but that extra detail makes all the difference
Every single update is very interesting. Especially in the top of the line. Not that their best have been bad. On the contrary. But if they can surpass the latest ones, they can really be hugely appreciated even if the price goes up a bit.
It doesn't. Or not exactly. Assuming fairly typical panel thicknesses, it's actually an acoustically large enclosure for a vented box & that driver [assuming the old MAOP 11 & the published sample spec.] Note that no tuning frequency or relative level down [e.g F3, F6, F10 etc.] is given, just the more generalised 'playback frequency' which doesn't have any specific definition.
If we assume a voltage source amplifier & minimal series R from speaker wire loop resistance, and call Vb somewhere between 20 - 22 litres depending on panel thicknesses, volume taken by duct, driver, bracing etc., then if it's tuned to 35Hz it's on an EBS style alignment, roughly a -4dB shelving, beginning its rolloff around 200Hz then levelling off -4dB at 60Hz down to roughly Fb, where it unloads 24dB/octave. If it's on the end of a typical SET amplifier, then this converts to a damped LF rolloff < 100Hz down to Fb before unloading 24dB/octave below that. This would not be a particularly unusual alignment for many Japanese vented box designs, since Japanese enthusiasts often pay more attention to system design & are frequently using their speakers in smaller, sometimes thin-wall apartments, where an excess of LF output would cause problems for neighbours etc., so an EBS style alignment often tends to suit the context in which they're working. You also have to keep in mind different listening priorities.
That's assuming the 35Hz is actually Fb [system tuning] rather than some other unspecified value. For e.g., if we keep the same Vb, and assume the box is tuned to 42Hz [roughly open E string double bass], then with a typical SET amplifier you'll be on a near-flat alignment with an F6 of about 35Hz. That's why these generalised figures are fairly meaningless without specific information & context. Suffice it to say, it's a pretty, nicely made wooden box that's likely to suit Norio's customers well.
If we assume a voltage source amplifier & minimal series R from speaker wire loop resistance, and call Vb somewhere between 20 - 22 litres depending on panel thicknesses, volume taken by duct, driver, bracing etc., then if it's tuned to 35Hz it's on an EBS style alignment, roughly a -4dB shelving, beginning its rolloff around 200Hz then levelling off -4dB at 60Hz down to roughly Fb, where it unloads 24dB/octave. If it's on the end of a typical SET amplifier, then this converts to a damped LF rolloff < 100Hz down to Fb before unloading 24dB/octave below that. This would not be a particularly unusual alignment for many Japanese vented box designs, since Japanese enthusiasts often pay more attention to system design & are frequently using their speakers in smaller, sometimes thin-wall apartments, where an excess of LF output would cause problems for neighbours etc., so an EBS style alignment often tends to suit the context in which they're working. You also have to keep in mind different listening priorities.
That's assuming the 35Hz is actually Fb [system tuning] rather than some other unspecified value. For e.g., if we keep the same Vb, and assume the box is tuned to 42Hz [roughly open E string double bass], then with a typical SET amplifier you'll be on a near-flat alignment with an F6 of about 35Hz. That's why these generalised figures are fairly meaningless without specific information & context. Suffice it to say, it's a pretty, nicely made wooden box that's likely to suit Norio's customers well.