All this super power amplification is worthless. It overheat driver voice coil caused to
increasing drivers impedance and huge dynamic compression. It is even worse - this dynamic compression has memory, because driver voice coil can't be cooled quick enough. It also cause bad frequency response around crossover points, as result of increased drivers impedance. It was the biggest mistake in history of audio industry to go to low sensitive speakers with high power amplifiers. |
What I hate most in audio industry - when producers, sellers and reviewers are selling cheap stuff with expensive price tag and try to brainwash people that this cheap stuff is exclusive and expensive. Audiophile you have to know - Low sensitive speakers are cheaper to build compared to high sensitive speakers. High sensitive drivers have bigger magnets and light cones made from more expensive material compared to heavy cons and weak magnets in low sensitive drivers. Also to build boxes for high sensitive speakers much more expansive. |
Hi @larryi , I'm not against to use, for example, small monitor speakers with sensitivity ~88-90dB/1W in 100-150 sq ft room. But in this combination even 300B SET will be enough. I think the very popular but wrong way to do - using big low sensitivity (< 88dB/1W) big tower speakers in a big room. In this situation need a huge amplification power and a result a strong and ugly compression. |
Hi @bob0398 , Most of speakers (Tannoy, Klipsch,...) have overstate sensitivity specification. Even vintage speakers like my Altec 604E have 102dB/m by spec, but in real live just ~97-98dB. On other hand a lot of tube amplifiers sound slow. It happens not because they have low power, but because a bad design. For example, a lot of 300B SET amplifiers use 6sn7 (or even less powerful) driver tube. The result is bloated bass and slow sound, bad transient . Regards, Alex. |
Hi @agwca , It is not true. Every particular room has the parameter Critical Distance: https://en.wikipedia.org/wiki/Critical_distance "Critical distance is, in acoustics, the distance at which the sound pressure level of the direct sound D and the reverberant sound R are equal when dealing with a directional source. " For typical listened room critical distance can be just 1-2 meter. And Critical distance is different for different frequencies. If the distance from the speakers is longer than Critical Distance the sound pressure remains similar to sound pressure on the Critical Distance. http://journal.telfor.rs/Published/Vol2No2/Vol2No2_A6.pdf Regards, Alex. |
