Comments on this Jones-Scanion large format studio monitor...? I can see that there is a 6.5" Purifi midrange driver... Can anyone identify the "bullet" style tweeter? What would be the design goals of this type of arrangement? I haven't seen any studio monitors with this type of HF driver in the last 20 years...
Twenty is the number! 20 X 1000 is the price...
The other day someone pointed to the Oberton catalogue, and there is one bullet tweeter.
The other day someone pointed to the Oberton catalogue, and there is one bullet tweeter.
It looks like the Ciare but I could be wrong. Other manufacturers offering bullet tweeters that come to mind are Beyma and Faital.
Regards
Charles
Regards
Charles
You are right. It has the same mounting holes as the Faital. It can be crossed astonishingly low according to the datasheet. But I wonder why they didn't turn it by 45 degrees such that it could be mounted closer to the Purifi. I generally wonder how competent the design is when all aspects are taken into consideration.
Regards
Charles
Regards
Charles
I like it, it’s a good format for a single studio monitor covering both nearfield and mains purposes. I have seen a few similar designs by others. I think both Adam and Eve as well as Dynaudio, BMC and other share the same layout but most use dome tweeter and mids. I assume the goal with using pro drivers is a higher SPL/sensitivity or a higher dynamic range after DSP. It probably play load as f@ck but perhaps not the details of the competitors. I’ve considered building something like this but with a coax mid/high.
Faital Pro recommends a minimum crossover point of 2.6 KHz (12 dB slope), whereas these guys seem to be crossing over @ 2.25 KHz (possibly with a 24 dB slope)... Makes sense?
40 x 40 dispersion seems much too tight for the nearfield... no? For example, these HR5s from Ocean Way boast about their 100 degree dispersion... They are particularly well known for a very wide listening window...
40 x 40 dispersion seems much too tight for the nearfield... no? For example, these HR5s from Ocean Way boast about their 100 degree dispersion... They are particularly well known for a very wide listening window...
The woofers are probably better than you think. They seem to be real 10" midwoofers and not just low-going midranges like the average 10 PA driver. But it is still a strange design to me with that low efficiency Purify driver combined with high-efficiency woofers and tweeter. I would also like to see a sonogram of that critter with that midrange/tweeter combo.
Regards
Charles
Regards
Charles
Those 10” looks like the real deal to me. It makes sense to use negative gain on bass and treble rather than positive gain on the midrange considering noisefloor for the individual amps and the human sensitivity to distortion being in the midrange area. High sensitive mids are a rare thing. High sensitive good sounding mids for nearfield use is probably even more rare. I think the design make sense. The mid is the critical. Everything else seems to be over dimensioned which to to me is logical in a studio were the possibility to play way to loud may happen and the client may not know distortion unless it’s obvious from the midrange being the weakest link.
I love bullets for PA but they scratch me the wrong way in Studio Monitor use.
Way too directional and needlessly efficient, which requires padding.
I´d happily trade efficiency for smoothness and dispersion.
Not in a PA cabinet, but this is not one.
This bullet type is way better:
Way too directional and needlessly efficient, which requires padding.
I´d happily trade efficiency for smoothness and dispersion.
Not in a PA cabinet, but this is not one.
This bullet type is way better:
I agree, it's interesting but strange.
Is there any potential benefit using a bullet tweeter with Purifi (other than differentiating from competitors)?
https://www.soundonsound.com/reviews/jones-scanlon-baby-reds
explains the use of the purifi. The reviewer seems to like them despite some issues that I would not expect in speakers of this price.
explains the use of the purifi. The reviewer seems to like them despite some issues that I would not expect in speakers of this price.
The 3-way monitor specifications mention crossover points of 160Hz, 1950Hz and 2250 Hz, which would indicate an "underlap" between the mid-high point, which likely is steeper than 24dB, the DSP using 192K SHARC processing.
With a sensitivity of 107dB 1 watt, one meter, the Faital Pro FD 371 tweeter probably could do over 127dB without exceeding it's power rating or excursion limits crossed steeply at 2.25kHz, probably well over what the 6.5" Purifi midrange driver could achieve.
The Faital Pro FD 371 tweeter has over 40 degree dispersion at 20kHz, unusually wide for a "bullet" tweeter. It's smoothly widening pattern doubles to around 90 degree at 5kHz, expanding to near 180 degrees at 2.25kHz. While I'd agree that a 40 degree VHF pattern is tight for "near field", the Big Reds "cater for the very loud and fat far field monitors commonly used in the wall or on stands in large format studio mixing rooms", but eliminate the horn midrange typically used in many previous generations of large format studio monitors.
