Nuconz, I like the way you think! Add an Eminence APT 50 horn tweeter to the front of the box....
Steve, That's what I had in mind, wall placement, and the ribbons on front... Was thinking about a diffuser like none I've ever seen, one which would utilize different size facets pointing in different directions to "Shape" the soundfield... Not sure it would work, but could always revert to a simple conical or pyramid type later....
Your veneer work looks nice.
The grilles do seem a bit out of place, but exigencies of protection vs. use do make need the driver....
John
Steve, That's what I had in mind, wall placement, and the ribbons on front... Was thinking about a diffuser like none I've ever seen, one which would utilize different size facets pointing in different directions to "Shape" the soundfield... Not sure it would work, but could always revert to a simple conical or pyramid type later....
Your veneer work looks nice.
The grilles do seem a bit out of place, but exigencies of protection vs. use do make need the driver....
John
i have a pair of the jbl baby butt cheek tweeters might sound good there.
but i was considering something with a piece of wood on the vertical axis centered above the woofer for tweeter mounting (perpendicular to woofer)? front-firing tweeter.
heck one of the cheap piezos crossed over about 10k might sound ok?
capacitor crossover would be ok for either?
The OmniMets are bedding into the system very nicely. Bass has opened right out, as the bass/mid drivers have loosened up. The bass end is now good enough to negate the need for a sub (for me, at least)
Indulge me chaps,
I've added a nice pair of brass colour, engraved, vanity nameplates just above the arches.
They deserve a little finishing touch.
Have some round metal grilles on order. The sooner I get the bass/mid driver protected, the happier I'll be.
Indulge me chaps,
I've added a nice pair of brass colour, engraved, vanity nameplates just above the arches.
They deserve a little finishing touch.
Have some round metal grilles on order. The sooner I get the bass/mid driver protected, the happier I'll be.
@ Giantstairs - Well they are frankly excellent. The big Fostex Mets are just as valid a way to listen to your records...but there's something special about these Omni-Mets.
I think a look at the third octave spectrograph I posted when measuring these speakers in-room might be giving a not very subtle clue as to why they sound so good.
Now this is only my opinion, so anyone can point, laugh and shoot me down if they wish. The in-room response, shows me that the configuration of Allison 6 influenced, up-firing bass/mid and forward-firing tweeter is using the room rather than fighting with it, as the late Roy Allison was saying way back in the day.
It took me a good couple of years with the big Mets to get them to work properly in my small room. It wasn't so much the bass that was the problem, (as the whole "big Met" range afer my original FE108EZ Mets, was designed by Scott for wall placement) it was the midrange shout they exhibited, that because it was being squirted straight at my ears, nearly drove me up the wall. I tamed it with a rng of black-tack applied to the dustcap/cone interface, but it took some doing. However the Fostex FF225WK Mets now sound super, and no-one who has heard them with the black-tack mod has had any complaints.
Back to the Omni-mets. These are a different kettle of fish altogether. They sounded almost right, even in raw plywood form and lashed up with clip leads. They have a completely relaxing characteristic. By that I mean that they do not emphasise any part of the frequency range, and are unfatiguing. The soundfield they project, seems to be natural, unforced and widescreen, so that they can be enjoyed from anywhere in the room, rather than having to sit centrally for best sound. The front-firing tweeter provides the brain with location cues, so that the imaging, though not as pinpoint as the big Mets, is more than acceptable and actually the OmniMets are better in the front-to-back plane than are the direct radiating big Mets. This means that big classical recordings work very well on these speakers, giving a sense of being at a live performance. No hi-fi can give the visceral and emotional experience of being at a concert, but these semi-omnis do provide a good second best.
I think the thing with this particular concept and the way it works with the room, is that it seems to allow the music free reign to speak for itself, no matter what the genre, rather than forcing any particular presentation on the the listener.
They are a great addition to the Scott/Planet10 big range. The presentation will be different, due to the semi-omni operation, but I think, they complement rather than directly compete with that range.
I think a look at the third octave spectrograph I posted when measuring these speakers in-room might be giving a not very subtle clue as to why they sound so good.
Now this is only my opinion, so anyone can point, laugh and shoot me down if they wish. The in-room response, shows me that the configuration of Allison 6 influenced, up-firing bass/mid and forward-firing tweeter is using the room rather than fighting with it, as the late Roy Allison was saying way back in the day.
It took me a good couple of years with the big Mets to get them to work properly in my small room. It wasn't so much the bass that was the problem, (as the whole "big Met" range afer my original FE108EZ Mets, was designed by Scott for wall placement) it was the midrange shout they exhibited, that because it was being squirted straight at my ears, nearly drove me up the wall. I tamed it with a rng of black-tack applied to the dustcap/cone interface, but it took some doing. However the Fostex FF225WK Mets now sound super, and no-one who has heard them with the black-tack mod has had any complaints.
Back to the Omni-mets. These are a different kettle of fish altogether. They sounded almost right, even in raw plywood form and lashed up with clip leads. They have a completely relaxing characteristic. By that I mean that they do not emphasise any part of the frequency range, and are unfatiguing. The soundfield they project, seems to be natural, unforced and widescreen, so that they can be enjoyed from anywhere in the room, rather than having to sit centrally for best sound. The front-firing tweeter provides the brain with location cues, so that the imaging, though not as pinpoint as the big Mets, is more than acceptable and actually the OmniMets are better in the front-to-back plane than are the direct radiating big Mets. This means that big classical recordings work very well on these speakers, giving a sense of being at a live performance. No hi-fi can give the visceral and emotional experience of being at a concert, but these semi-omnis do provide a good second best.
I think the thing with this particular concept and the way it works with the room, is that it seems to allow the music free reign to speak for itself, no matter what the genre, rather than forcing any particular presentation on the the listener.
They are a great addition to the Scott/Planet10 big range. The presentation will be different, due to the semi-omni operation, but I think, they complement rather than directly compete with that range.
Thanks for the detailed impressions! I'm glad they have worked out so well.
I'm very interested in the design as I am constantly moving around my studio and rarely am I able to sit down in the sweet spot where most speakers sound best. They are a more difficult build and I wonder, aesthetics aside, how they would perform folded up as a rectangle like the Demetris from some years back but with the drivers firing up as in your design.
I'm very interested in the design as I am constantly moving around my studio and rarely am I able to sit down in the sweet spot where most speakers sound best. They are a more difficult build and I wonder, aesthetics aside, how they would perform folded up as a rectangle like the Demetris from some years back but with the drivers firing up as in your design.