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  • Recent Posts

    • Roy has apparently designed an in-throat acoustic lens to spread out the polars above 6-8 kHz and he's stated that it works in that regard only up to ~13-14 kHz.  The Axi2050's 3-part phase plug (which is extensive) is apparently untouched.   I think it's easier in a home environment just to point the loudspeakers at the listening position a little more because at those frequencies, they're not really bouncing off the room's boundaries and arriving at the listener's ears to increase the perception of "image broadening" that Toole refers to.  At those frequencies, you're only getting the direct arrivals, and you're not hearing very much from in-room reflections, anyway.  Pointing the loudspeakers at your listening position is much more effective in that regard.    Now, if you're designing a loudspeaker for commercial cinema duty, that post-phase plug in-throat lens might make a lot more sense, since the audience needs uniform illumination across that frequency band at every seat in the auditorium.  They can't all be at a "sweet spot".  But in a home environment, the listeners (more than one) can easily accommodate being within 15-20 degrees on-axis by positioning the loudspeakers accordingly at the geometric center of the listener positions.   So in other words, that money may be spent better elsewhere--like with a bass bin that has a bit more driver area to reduce modulation distortion due to the higher excursions of the fully horn-loaded single 12" woofer (even with a rear wave rectifier--the internal bass reflex ports), or adding a nose to the bass bin to spread out those lower midrange polars more effectively.   YMMV.   I think that I said that, above.  The Axi2050 cost is lower (in general) than other well-designed 2" throat beryllium diaphragm drivers, and the f3 of the horn/driver is an octave lower than all other 2" compression drivers on a K-402 horn.    If the affinity for "W" section dual mouth folded horn bass bins is still overriding, then using the Axi2050 addresses the one true Achilles heel of the Jubilee (present and future version): its lower midrange crossover interference band jump from the centerline of the K-402 to the centerline of the bass bin, which comes at a point that's in the middle of the vocal range (400-600 Hz) in the present model.  I simply move the K-402 horn closer to the centerline of the bass bin to reduce this issue, and while this is a significant improvement in that area, doesn't actually solve that issue. Crossing over an octave lower is another way to lessen this issue.  Elimination of that issue is available by using a full-range MEH approach.   Chris
    • I’m going back to spinning progressive rock  And this compilation album is a beauty of a favourite band      Artist - King Crimson ‎ Title - The Young Persons' Guide To King Crimson    Album ID - https://www.discogs.com/King-Crimson-The-Young-Persons-Guide-To-King-Crimson/release/702357    
    • My comment on MEH was that I think the MEH portion of the loudspeaker is almost an afterthought, and one that can easily be replaced by a single 2" compression driver (with two diaphragms, perhaps), and reduce the cost and complexity quite substantially, and probably increase the performance in terms of avoiding higher order modes.  FIR filters can be employed to get the flat phase response that they are showing above.    It's the off-axis polar response that I was referring to. Longer than 1/2 wavelength corresponding to the horn mouth size (about 15-16 inches horizontally and vertically), the horn loses directivity control, so placing the woofer ports in the MEH portion of the horn means that the 8" woofers run out the end of the horn below 400 Hz and illuminate everything in the nearfield.  They also require a lot of power (with resulting higher modulation distortion).  This is my observation.  I'm not a fan of this sort of thing.   The reason why Danley has done this is not for its acoustic performance, but rather because he's selling (like so many others) to those that listen with their eyes rather than their ears...   He's designed a loudspeaker that doesn't "walk the talk", so to speak.  It only pays lip service to the MEHs that he's been trumpeting for over 20 years.    But he has broached the subject of FIR-filtering-achieved flat phase response and its effect on the listener.  Apparently, no one is paying attention on the web, but in-person listeners can hear the effect of the flat phase.  I think that the only other loudspeakers that have flat phase are certain DSP-corrected (i.e., use of FIR filtering to achieve flat phase and SPL response...truly neutral transfer function) studio monitors--the little ones that are often placed on top of sticks, and are in the extreme near field of the mixing and mastering listening positions.  This is what Danley has found, and it doesn't required MEH to achieve it, but it is significantly aided by full-range MEH designs, as I've found empirically with my MEHs.    Chris
    • On the Dutch Wikipedia they write that in 1977, Marc Moulin was a member of Aksak Maboul for a short period of time.   https://nl.wikipedia.org/wiki/Marc_Moulin
    • Bravo @MeloManiac   👍   Confirmation, by searching on the internet, the first version of the first disc of AKSAK Maboul / Marc HOLANDER "Onze Danses pour la Migraine" was released on the label of Marc Moulin : Label Kamikaze 🤩   https://fr.wikipedia.org/wiki/Marc_Hollander
    • Marc Moulin and Marc Holander knew each other, because I know that TELEX (Marc Moulin group) released some records on Crammed at the end of the 90s. I imagine he knew each other and we must have met before, maybe in the 70s / 80s. Marc Moulin is a great musician who has influenced so many younger musicians.   For St Germain I don't know, not as the artist was born in 1969, I imagine that his very talented Belgian "fathers" must have influenced the music of the young Frenchman from St Germain en Laye.
    • So if I'm understanding your intentions correctly, it sounds like you would have two separate sound sources and amps driving your rear speakers, one from your home theatre system and one from your computer system. And while I understand that you won't use them simultaneously, I think the real problem is that you are essentially connecting the outputs of each amp to each other. So you're effectively adding a voltage across terminals and circuits that are designed to output a voltage but not the other way around.   Keep in mind that you still need to keep the two sets of binding posts on your speakers bridged so that your tweeter and woofers are simultaneously powered... which is why you'll also effectively be connecting the amps in the two systems together.
    • I don't know if there is a link, but this music makes me think of Marc Moulin and St Germain          
    • Does anyone remember those long-ago days when you could tell who the stoners were by the size of their speakers?  If our younger selves could see us today, lol!
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