>Let me first say that I have a pair of Sonus Faber Guarneri that I have owned for several years now. I am driving them with a Mcintosh 2102 (100 watts per side). I recently read an interview with Sonus faber founder Franco Serblin in wich he made an interesting statement. He said "The search for perfect bass is futile, because if you want more you miss it and when you have it it disturbs you".
I disagree since building my Linkwitz Orions where the bass sounds natural and covers the whole musical spectrum. Yo Dipole bass is directional (theoretically no output 90 degrees off-aixs, -6dB @ 60 degrees, -3dB @ 45 degrees) and in-room measurements confirmed that they weren't stimulating my height mode. Power response is also more in line with the rest of the spectrum because they retain a directivity index of 4.8dB instead of dropping to unity with equal output in all directions.
Parametric equalization with conventional speakers helps a lot too albeit over a smaller listening area.
I'd expect the Earl Geddess multiple woofer strategy (deployed in the Audio Kinesis Swarm) and throw-catch double bass array (An array of woofers on the front wall spaced to create an essentially planar wave which is caught by a matching array setup on the back wall operating 180 degrees out of phase plus a time delay to accomodate transit time across the room).
The key here is "woofer" not "sub woofer" because you're trying to cover most of the modal region not just the last octave.
I disagree since building my Linkwitz Orions where the bass sounds natural and covers the whole musical spectrum. Yo Dipole bass is directional (theoretically no output 90 degrees off-aixs, -6dB @ 60 degrees, -3dB @ 45 degrees) and in-room measurements confirmed that they weren't stimulating my height mode. Power response is also more in line with the rest of the spectrum because they retain a directivity index of 4.8dB instead of dropping to unity with equal output in all directions.
Parametric equalization with conventional speakers helps a lot too albeit over a smaller listening area.
I'd expect the Earl Geddess multiple woofer strategy (deployed in the Audio Kinesis Swarm) and throw-catch double bass array (An array of woofers on the front wall spaced to create an essentially planar wave which is caught by a matching array setup on the back wall operating 180 degrees out of phase plus a time delay to accomodate transit time across the room).
The key here is "woofer" not "sub woofer" because you're trying to cover most of the modal region not just the last octave.
