Do you ever get that weird feeling, like your thread may be in the process of getting derailed?
Anyway, I'm not playing window shaking bass or anything, but even some classical music can get the drivers vibrating quite hard sometimes. I was listening to some Tchaikovsky and was again wondering if any of the highs/mids are being distorted due to the lows.
I'm looking into FAST now though.
Anyway, I'm not playing window shaking bass or anything, but even some classical music can get the drivers vibrating quite hard sometimes. I was listening to some Tchaikovsky and was again wondering if any of the highs/mids are being distorted due to the lows.
I'm looking into FAST now though.
Absolutely! Frequency and amplitude modulation distortion [FMD, AMD] is very real, especially in 'FR' driver reproduction: https://www.klippel.de/fileadmin/kl...es/AN_10_Loudspeaker_FM_and_AM_Distortion.pdf
GM
GM
Bare i mind lowest A on the piano, fundamental is 27Hz. Ok, not played very often but consider what happens when the sustain pedal is used. One example why, for accurate reproduction, you need the low frequencies. I think you are making the right choice, you have nothing to loose.
I have a similar layout, with a Bastanis 12" running full range. The sub has a lowpass filter, the Bastanis runs without a crossover.
I would only consider a high pass crossover, if it was in the digital domain, before amplification.
Otherwise it compromises the benefits mentioned by Scott Joplin, above.
Sent from my Nexus 6 using Tapatalk
I would only consider a high pass crossover, if it was in the digital domain, before amplification.
Otherwise it compromises the benefits mentioned by Scott Joplin, above.
Sent from my Nexus 6 using Tapatalk
To add something constructive to the thread 
:
Yesterday I added the Alsa equalizer module to my Raspberry Pi IQAudIO player, and tried to see if there is any potential for raising the bass in my Dallas II. In order to try and keep the digital distortion minimal, I attenuated the mid and high bands, mirroring the response curves I got with measuring with REW.
This reduced the volume, which was compensated by increasing the volume with my amp.
I can say that the Dallas II has a lot of potential for stronger and very tight bass at quite loud volumes (estimated up to 10-12W, which is more than enough for a 98dB speaker). Go much louder than that might cause the FE206En to audibly distort). So there are some reserves that can be exploited and adjusted to taste.
Personally I do not like listening to bass heavy music, and I like to keep the soundpath as pure as possible. So after playing a bit (30 minutes) with it I turned off the equalizer and returned everything to normal. Maybe someone with more time can experiment longer with it and report back..
:Yesterday I added the Alsa equalizer module to my Raspberry Pi IQAudIO player, and tried to see if there is any potential for raising the bass in my Dallas II. In order to try and keep the digital distortion minimal, I attenuated the mid and high bands, mirroring the response curves I got with measuring with REW.
This reduced the volume, which was compensated by increasing the volume with my amp.
I can say that the Dallas II has a lot of potential for stronger and very tight bass at quite loud volumes (estimated up to 10-12W, which is more than enough for a 98dB speaker). Go much louder than that might cause the FE206En to audibly distort). So there are some reserves that can be exploited and adjusted to taste.
Personally I do not like listening to bass heavy music, and I like to keep the soundpath as pure as possible. So after playing a bit (30 minutes) with it I turned off the equalizer and returned everything to normal. Maybe someone with more time can experiment longer with it and report back..
That's what a crossover does. This minimizes "what GM said", [FMD, AMD]To add something constructive to the thread
Yesterday I added the Alsa equalizer module to my Raspberry Pi IQAudIO player, and tried to see if there is any potential for raising the bass in my Dallas II. In order to try and keep the digital distortion minimal, I attenuated the mid and high bands, mirroring the response curves I got with measuring with REW.
Search also for "pistonic behavior" of a loudspeaker, in order to comprehend why three different sources ( wf/mid/tw ) can work together when put in their passband working region
Actually a crossover tries to completely erase the not needed bands. I just slightly reduced (attenuated) the mids and highs a few dB. The system is still fullrange, but with a bit of focus on bass. Anyway. for the Dallas II, measurements show that above 200Hz, the horn has close to no influence. Replacing the horn (or much of it) with a sub and we waste the design, know-how and built hours put into these big boxes them for a doubtful benefit.
I was just trying to offer an alternative to that, by moderate equalizing.. Anyway Dallas II does offer some very good bass, and they even can be tuned (a bit) lower. I wonder how many here have heard them?
I was just trying to offer an alternative to that, by moderate equalizing.. Anyway Dallas II does offer some very good bass, and they even can be tuned (a bit) lower. I wonder how many here have heard them?
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I'd like to put aside for a moment concepts of what is "right" or "pure" or anything like that, and look at something a bit practical.
I'm not fundamentally opposed to frequency equalisation. I'm a vinyl guy, which means that I use a phono stage- A little box that attenuates my treble and boosts my bass. If I already use attenuation on my treble, am I really opposed to attenuating my bass too? Hell, I could just boost it less on the phono stage and end at the same result.
For the sake of simplicity , I'd probably put a splitter on my turntable rca cords. One side to the stereo amp, and the other to the subwoofer.
The important question though is- at what frequency would it make sense to start bringing the subwoofer in and attenuating the speakers?
I'm not fundamentally opposed to frequency equalisation. I'm a vinyl guy, which means that I use a phono stage- A little box that attenuates my treble and boosts my bass. If I already use attenuation on my treble, am I really opposed to attenuating my bass too? Hell, I could just boost it less on the phono stage and end at the same result.
For the sake of simplicity , I'd probably put a splitter on my turntable rca cords. One side to the stereo amp, and the other to the subwoofer.
The important question though is- at what frequency would it make sense to start bringing the subwoofer in and attenuating the speakers?
Hmm, whether the BLH runs 'full-range' or not, then you'll need to find its in-room -6 dB and use either a 2nd or [preferably] 4th order XO on the sub or 2nd/4th order BP alignment, which is naturally an acoustic 2nd order.
That, or somewhat/mostly defeat the point of a BLH and XO it up where there's a half octave [2nd order] or a quarter octave [4th order] of ~flat response for good XO summation.
GM
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