Jump to content
The Klipsch Audio Community

Bjorn

Regulars
  • Content Count

    240
  • Joined

  • Last visited

Community Reputation

47 Excellent

About Bjorn

  • Rank
    Forum Veteran

Profile Information

  • Gender
    Not Telling

Recent Profile Visitors

The recent visitors block is disabled and is not being shown to other users.

  1. Stacking AMTs will cause both comb filtering and serious vertical lobing. That's simply physics with large center og center spacing, thus "small gap" doesn't help much here. How much that bothers people probably depends a lot on references and what's being compared to as well as the benefits. Almost all commercial speakers suffer from this to various degrees. It's something best to try out and hear for yourself.
  2. A poly isn't really considered a proper diffuser anymore. It focuses the sound at certain directions at certain frequencies strongly, thus doesn't evenly spread out the sound like a good diffuser will do. It can diffuse spatially well however, if several units with a weird dimension are placed next to each other. But it will not offer any temporal diffusion either way and is IMO an outdated product that's been replaced by something better. Obviously I can't argue with you if you like the effect of it.
  3. Chris A: You forget that a speaker which has a good power response, reflections don't contribute negatively anymore. Just ask Toole and his followers! Kidding and sorry couldn't help myself. But it's quite disturbing and sad to see that what I wrote above is considered by many as science now and isn't even ut for debate! Just read some of the posts in the discussion I had with amirm and Toole at audiosciencereview forum.
  4. Each instrument and each vocal is a point source though. There's no doubt that a speaker that has a driver that covers most of both the treble and midrange sounds considerably more coherent. When you have gotten used to it it's difficult to go back to a speaker with a traditional crossover in the 2-4KHz region.
  5. No. This is very well established. And also extremely easy to hear for oneself by experimenting. Your link talks about clarity in a different matter (large room acoustics) and has zero relation to this. It saddens me that I actually have to defend this. I think this one of the reasons why very knowledgeable people don't bother to discuss as forums any more. Getting through the forest of confusion is difficult.
  6. High fidelity is accuracy. High gain lateral reflections isn't accurate no matter how constant the directivty of the speaker is. Early arriving reflections always has a negative effect on intelligibility, clarity and localization, thus accuracy. How much of the tonality is effected is dependent on the speakers directivity and surface of the room. If one wants the combination of high fidelity and enveloping sound, the way to achieve this by attenuating early reflections and have late lateral diffuse energy. Which implies diffusion in the rear of the room with a good distance. This is something Toole never tried in his experiments by the way. It's also worth mentioning that Tool's research did on preference of lateral reflections wasn't very conclusive. One study was conducted in a anechoic room and it's no surprise that people preferred naked side walls in such dead environment. But either way and preference set a side; high fidelity and early arriving side wall reflections is a contradiction.
  7. What would you choose a horn speaker like K-402 if you desire lateral reflections? A horn like K-402 minimizes side wall reflections with it's high DI. If you want lateral reflections, a horn is isn't the right choice and you might want to condsider a CBT speaker. A traditional CBT speaker has a wide horizontal dispersion, avoids the floor bounce and minimizes ceiling reflections. FIY: I'm working on a CBT design with Don Keele.
  8. Seems to me your best bet is to go with stacked woofers. Sealed enclosure will give you the smallest footprint. Well designed horn subs become big. Toole and objective high fidelity; Does that go together? IMO he advocates mediocre quality in every area. Speakers with serious vertical phase issues and quite high distortion, and poor acoustic environment with lateral high gain specular reflections. Not much high fidelity in that if you ask me.
  9. I don't have experience with tapped horn subs myself but from what I hear from other that do, they don't seem to equal a front loaded horn in quality. Personally I would go with a large front loaded horn or stacked 15" bass reflex subs. The latter equals a horn sub in quality when you have several, but the price is higher due to more drivers, cabinets and amplifier power needed to drive them. An advantage though is they can be crossed over high without any issues.
  10. You can cross over as high as 120 Hz to a single bass unit without having it conflict with the stereo image in my experience. Perhaps slightly higher to, but around 150 Hz one either need two separate units close/behind the fronts or a single unit in the middle between the speakers. It's also somewhat depended on how far it is from the mains. Placing it on the opposite side of the room to the mains would obviously not work well with a cross over at 120 Hz.
  11. The midbass horn I got designed would have to be deeper if it were to go lower. I didn't want to do that because: 1. The depth it requires. 2. I believe crossing over higher is really a better option in terms of quality. Both related to frequency response and distortion, a separate bass solution will perform better. And as a side-not; contrary to what many audiophiles believe, there's no reason to run stereo below these frequencies. If we use the acoustic roll-over of the horn in the filter, around 90 Hz is about the lowest it can be crossed. I personally don't think a dual solution is a very good option for something crossed over in the 450-600 Hz area. The drivers will not sum very well and create phase issues in what I consider to be a critical range. So if you desire to extend lower, I would simply increase the depth of the horn with a single driver. A simple straight horn will not minimize the floor bounce as the horn I have, and probably not have an equal uniform polar either but it will still work well.
  12. The throat of the midbass horn is 110 mm if I remember correctly. Not sure about the top horn, being still in the design process.
  13. The midbass horn has a mouth that's 120 cm wide and 85 cm high. The top horn will be about 1 m wide and 76 cm high, but that may change. The vertical directivity will go lower than K402.
  14. For those who live in Europe and are interested in a wood horn, I may be able to help later this year. However, it will not be cheap and this will be another horn design than K402. The goal is to produce something slightly better, which is possible IMO. If it doesn't become an improvement I don't see any point in offering it. The designer is well known but I will not reveal his name at this moment. I'm also working on a midbass horn in wood and this should be ready within a few months. Here's a picture of a prototype.
  15. Yes. I meant harmonic distortion. You say the in-room level SPL is 100 dB. Is that the correct level at 1 meter and what you have measured with? Could you measure with 105 or 110 dB and post it?
×
×
  • Create New...