glens

Congratulations!

Oh, you're like the older Kentuckian who, while at the airport in Indy, saw listed a flight to Chicago that departed at 11:55 AM and landed at 10:45 AM the same day. He was asking about the flight at the ticket counter. They tried to sell him a ticket but he declared he "just wanted to watch that plane take off."

I wasn't directly referring to "volume" output, rather the "pitch" as played. I surmise that the current tuning is A(something, maybe "4") is still 440 Hz (but it may be upwards of 450 nowadays). I've got some recordings (with either actual "period instruments" or faithful reproductions) where that "A" is much closer to 400 Hz, as was the custom before steel strings and greater (violin family) neck angles were introduced to attain greater volume (I have it on fairly good authority that even most "Stradivarius" instruments still in use have been thusly modified!). Then there's the (keyboard) tunings which didn't follow a strictly "mathematical" scheme until very much more recently. "Perfect pitch" really doesn't mean anything in the big picture. It's humorous to hear Mozart's works played on modern instruments in a modern fashion. Well, actually, it's not funny; it's quite sad. Not to say he wouldn't write music appropriately for them if that's what he'd had available, but he didn't, so he didn't. A lot of the finer details in his music get lost on a regular basis nowadays. Fiddle players (and others) usually now play with such a heavy, constant vibrato as a matter of course (Mozart was a virtuoso violin player, and letters between him and his dad mention players already flirting with that then, described in the letters as if they'd had a "palsy"), that many of the finer "turns" in his music get totally lost when played that way. I humor myself with the notion that when played, the musicians likely give each other a funny wink as if "why did he write it that way when you can't even hear it!"

'You get what you pay for.'

I can't think of the guy's name, something like "Amir" maybe, who tests DACs, etc, and now speakers, and declares them good, bad, or otherwise as a result.

Isn't there a forum which declares measurement is all that matters?

I've long wanted to see someone with perfect pitch listen to a "period performance" played at "period pitch". It must be agonizing for them...

Like as in pack it into a bowl and light it while inhaling? ;^)

Kind of my off-handed point...

Https://discogs.com/

Well, I'm using a NAD C328 driving a pair of Forte 3s for 2.0 AV and just audio. Gives me all the AV "immersion" I require.

Simple answer to the dilemma is to buy all 5!

You possibly could isolate the DC power feed(s) to the sound card and supply it from a dedicated power supply. I'd wager that would cure both ills.

20 times the LOG of ( 6.1 / 6.6 ) equals -0.68 dB. (+0.68 for 6.6 / 6.1). You can express most anything in "dB". Whether it's correct to do so or not is another matter. And whether it's correct to use DC resistance versus actual impedance is also another matter. You've compared DC resistance of the voice coils. How about the specific magnet strengths, and the concentricity of the parts forming the voice coil gaps and the coils within them?

Well the problem is going to be either in the amplifier inside the woofer, or in one of the speakers, or the wire between them. If you unplug all the wires and reconnect them swapped to the other red/black outputs, and the same speaker stays quiet, it's that speaker or its wire. If the problem moves to the other speaker, it's inside the woofer that needs fixed. You got to narrow it down.