I don't think I would let raul in my house.
Looking for my Final Pair!!
Been through the high end maelstrom for over 30 years and although I have enjoyed the ride, I desperately want to find speakers that exude dynamics, tone and presence. I want to be transported to the Village Vanguard where The John Coltrane Quartet are performing any night I desire. I want to feel the timbre of his sax 🎷. When I close my eyes I want to be enveloped by the atmosphere of the space and awash with the impact and emotion being expressed by the musicians. I don’t want to hear what the engineers hear after they mix a recording...I want to be in the studio when the tracks are being laid down! So far, Tannoy Heritage Arden have come to my attention, Klipsch Cornwall IV’s, JBL S4700’s or perhaps Spatial Audio X3’s? Help
368 responses Add your response
Klipsch LA SCALA Heritage ?.... https://www.youtube.com/watch?v=MULb81Fp5eY&t https://www.youtube.com/watch?v=wg8gTC1bKVo https://www.youtube.com/watch?v=MQF669AZVvw |
@dave_b, I find the Fostex super tweeters work great with horns. Also, did you like the sound of the high frequencies on the JBL 4429's? Mike https://www.madisoundspeakerstore.com/index.php?p=product&id=193&parent=89&is_print_vers... |
"" Practical example s of Intermodulation Distortion (IMD) measurements Intermodulation distortion can also be used effectively to evaluate crossover designs. If a transducer is excited with a fixed low frequency test tone, for example near resonance to cause large diaphragm excursions, and another test tone that sweeps up in frequency, the resulting distortion will indicate both amplitude modulation distortion and Doppler frequency modulation distortion.This appears to be a classic example of an Appeal to Authority, which is a logical fallacy. Anytime a logical fallacy is used, the result is false by definition. While the topic he quotes is correct, it is unrelated tRaul's conclusion; the woofer in the Cornwall is of course crossed over. This prevents the Doppler Effect and distortion components this driver would make (which would otherwise show up at higher frequencies); instead the midrange horn is doing that job. Put another way, the woofer is not a 'fullrange loudspeaker' as described in the quote. |
@dave_b : "
I knew that! ". So you are wrong exactly as him because the CW woofer handled frequency from around 35hz to 800hz frequenciesand develops high IMD no matters what that can be fixed using a subwoofers where both CW and subs crossover 80-100hz. You already know the instruments including human voice that are inside that frequency range and its reponse are modulated but the woofer low frequency. These comes from Vandersteen: """ Given these stipulations, a pair of powered subwoofers can provide the following benefits: Page 14 Audio Perfectionist Journal Issue #2 Copyright © 2000 R. L. Hardesty 1. Better performance from your speakers. Full range loudspeakers utilize the same driver to reproduce both the bass range of frequencies and at least part of the midrange. For optimum reproduction of midrange frequencies little cone movement is required, and a relatively small driver is necessary to provide quick response and good dispersion. Low frequencies require lots of air movement, demanding greater cone area and more cone movement. In engineering terms, the back-andforth movement of the cone is called excursion. Cone excursion quadruples with each halving of frequency. Good midrange reproduction requires the use of moderately-sized drivers and good bass reproduction requires lots of cone area, so most full range speakers compromise the quality of both bass and midrange by utilizing woofers that are too small to provide good bass yet too large to deliver the best midrange quality. The cone of the 8-inch or 10-inch woofer typically found in a full range loudspeaker will be required to make peak-to-peak excursions of perhaps an inch to deliver audible levels of output at 40Hz and it will have to do this while producing 300Hz (or higher) midrange signals at the same time. A 6.5-inch woofer will make a better midrange driver but it will have to work even harder to deliver low frequencies and IM distortion in the midrange will rise. Intermodulation distortion occurs when one frequency modulates (alters by its frequency) another. Peak-to-peak cone excursions of an inch or more, which may be required to reproduce a 40Hz signal, will have a substantial effect on a signal at 300Hz. The 300Hz signal will increase slightly in frequency when the cone is moving towards the listener to reproduce the 40Hz portion of the signal, and decrease in frequency when the cone is moving away from the listener. This is only one mechanism of IM distortion, which is sometimes called Doppler distortion. There are other forms of IM distortion. All dynamic drivers exhibit some nonlinearity in outward versus inward cone movement. High cone excursion exacerbates nonlinear driver response and causes harmonic distortion. Harmonic distortion occurs when a harmonic (multiple) or side-band of the desired signal is produced due to nonlinear behavior of the electrical, magnetic or mechanical mechanism of the driver. If you want to reproduce 40Hz and you get some output at 160Hz as well, that�s harmonic distortion. The results of high excursion of the woofer cone are intermodulation distortion of the midrange signal and increased harmonic distortion of the bass signal. And there�s more. The small woofers required to maintain reasonable midrange performance in a full range speaker don�t do a very good job of reproducing the lowest bass frequencies but they do put a lot of energy into the speaker cabinet structure and this is very detrimental to sound quality. As the woofer cone makes these large mechanical movements to pressurize and rarefy air, an equal and opposite force is applied to the woofer basket, or frame, which is attached to the speaker structure. This force excites resonances in the cabinet structure and tries to move the whole speaker back and forth. Cabinet resonances color the sound in the midrange. Cabinet movement distorts high frequencies. A backward and forward motion of just a few thousandths of an inch may represent a major percentage of the total excursion of the tweeter diaphragm as it attempts to reproduce subtle high frequency details. The result of structural movement is IM distortion of the midrange and high frequencies. If you are skeptical about the sonic consequences of woofer energy moving the speaker cabinet, think about speaker spikes. A reduction in cabinet motion is the main reason that spikes beneath the speaker improve sound. Remove the spikes and see (no, hear) what happens. As you can see, a full range loudspeaker is a bundle of compromise. It is asked to perform many conflicting tasks. ..............""" Why insist that the CW has not a IMD problem?, well is up to you. R. |
Again, Raul is using an Appeal to Authority logical fallacy, and again fails to explain why this relates to the woofer of the Cornwall in particular. Both quotes don't really say anything about this particular driver. Its well-known that crossovers help reduce IMD and Doppler Effect distortions in loudspeakers. Both the quotes Raul has used to far to try to make the Klipsch look bad are educational, but Klipsch has a crossover too and for the same reason. Raul, If you want to find a way to criticize this speaker, perhaps look at seeing if there are any measurements that show breakup of that woofer within its passband. Use something that actually relates to the speaker rather than innuendo. |
@dave_b : Good that you like Coltrane there, this is not the issue. I already told you that I don't care about you like because no one can argue against it. Again that's not the issue. Now, you have subs and that fact makes so easy to test about and then you can have an idea of what not only me but the ones that knows are talking about. I gave you a list of manufacturers on the issue ask them but more important than that: test it , you almost have all what you need for. Is up to you. No one can talk on that issue if have not first hand experiences. You are not stupid gentleman as other persons that posted in your thread. Again, just test it. You can't lost nothing and can have excellent rewards to share to audio community. R. |
Dear @dave_b : What I wanted to say is that you own subwoofesr so you can test the CW with a crossover at almost the same frequency than the subs: around 80hz-100hz ( both: sub and CW ) and through this test you can now what I'm talking about. With out doubt you will be very nice surprised and with rewards over the items you are buying as amplifier or supertweeters and if you don't liked it you always can come back to the original status, you can lost nothing and can learn about. After your test you can decide if you still need the other audio items. R. |
what did you can't understand? What I'm posting is exactly what Vandersteen said. The issue is to liberate/let it free the woofer of CW the frequencies in the low bass range. That means that instead that the CW woofer plays/handled frequencies from around 35hz and up it will be free of the low bass frequencies and it will plays/handled frequencies from around 80hz-100hz and up in this way the IMD will goes lower in benefit of quality level of what you are listening today. That's it, easy to do for you because you already has subwoofers that you can use to play the frequencies from around 80hz-100hz ( depending the choosed crossover frequency in the high/low pass filters. ) and below it. If you can't understand it please let me know what you can't understand because it's not rocket science. @rbrannen just posted about the Legacy Focus XD, please re-read his post. This is the Legacy: https://www.avsforum.com/threads/legacy-focus-xd-active-4-way-speakers-review-tremendous-towers.3030... that you can use full active with its internal amp or just active with low bass range. Please take a look the crossover frequency of the woofers and you can read that crossover frequency is 120hz ( active as a subwoofer. ). I hope now you can understand the whole issue to improve the CW sound reproduction adding those subs in the rigth way. R. |
.I have done that experiment with all of the speakers I’ve owned in my current home. I have always preferred full range on mains and sub adjusted accordingly by ear 👂. With REL I have a wonderful blending which delivers deep taught bass.@dave_b The use of a sub is good, but in order to really take advantage of that, you'd have to make sure no bass is getting into the Cornwalls. That's probably best done with an electronic crossover, which can easily muddy the sound, eliminating any perceived advantage (although there are vast differences in crossovers). So while Raul's suggestion holds water, it has that downside and it should be noted that it applies to any speaker that has bass information on the woofer cone. Its nothing that applies specifically to the Cornwall. |
Dear @dave_b : This I posted in this thread 03-24. Where you can see and read about that external crossover to set up the crossover frequencies through a Xover: """ In that thread I gave my advise to the OP gentleman as an alternative to those Wilson Alexx V: https://www.kerracoustic.com/k300 with this Xover: https://www.fmacoustics.com/products/electronic-crossovers/fm-330-series/ these could be the subs: https://www.evolutionacoustics.com/loudspeakers/mini-series/minisub/?doing_wp_cron=1615566000.556648... One way or the other almost all of you are " against " my posts about but please let me know which Cornwall IV owner has its set up using subwoofers not as bass range reinforcement but crossing at 80hz-90hz where the main speakers are handled from there and up? """ In my latest post you can read again about low/hi pass filters: " easy to do for you because you already has subwoofers that you can use to play the frequencies from around 80hz-100hz ( depending the choosed crossover frequency in the high/low pass filters. ). " You posted: "" .I have done that experiment with all of the speakers I’ve owned in my current home. I have always preferred full range on mains and sub adjusted accordingly by ear. """ Please let me explain to me what I read in your post and please confirm if what I understand is correct or wrong: so, that means that using a high-pass filter ( external or in any way. ) you made it that your main speakers ( any of the ones or all you owned. ) through its woofers have a crossover frequency at around 80hz-90hz meaning that those main speakers plays frequencies from 80hz-90hz and up and that through a low-pass filter the subs plays from 80hz-90hz all the way down to the very low bass frequency ( lower than 20hz. ). So that the woofer of the main speakers never sees/seen/plays low bass frequencies, rigth? and after your tests you prefer play in full range mode the main speakers using subs as bass reinforcement only, rigth? Both solutions are different and give different quality of soun room/system reproduction. Have I a misunderstood on your last post? Thank’s. R. |
Dear @dave_b : It is weird that over my posts in your thread you never mentioned that when I posted again and again about. In your vitual systemI can't see any external electronic Xover that normally is the best way to integrate subs to the main speakers because that Xover gaves us several advantage. One is that the low-pass filter is totally independent of the high-pass filter, each filter comes with individual crossover grequency range and even those filters can comes with different Xover filter shapes: first order, second order, third order, etc and obviously comes with individual to each filter an attenuator/volume. Now and due that you said you already tested what I said in those latest statements andyou prefer full range main speakers. That means that the independent high-pass filter and low-pass filter comes in the S2 and it's the way you tested? Thank's. and sorry to disturb/ask again. R. |
Aperion super tweeters and cables are burning in...impressively made with superb controls for crossover points and level/db for speaker matching. WBT binding posts as well👌🏻 On first listen, I am hearing just that slightest bit of extra sparkle on top that some of my previous speakers delivered, but with the organic fullness and tone that the Cornwall’s imbue. Potentially an important tweak to enhance certain recordings in a given environment. My Den is slightly subdued in supporting a completely open top end, so the super tweeters can compensate for what may be perceived as missing air in the upper registers. I’ll give them a solid week or two before final judgment is rendered. |
Enjoying reading about your experiences Dave. I have the Cornwall IV and Volti RAZZ as part of my speaker arsenal. Thinking the Razz will probably be better (better construction/parts) but we'll see once I get around to trying both out. Also have a BNIB Decware Tori IV with the $600 upgrade option so we'll have to exchange notes in the future. Just up the road from you a bit near Peddlers Village. Amazes me that at least 3 people are screaming "Tannoy" in this thread and your playing Classic Rock. Tannoy has to be one of the WORST brands I have heard playing Rock. Wonderful with lightweight fluff, Female vocals etc but will make you sleep thru "Dark Side of the Moon". Dont waste your time. |
Things are settling in nicely...starting to gel and become cohesively expressive. Soundstaging is starting to expand and images are fleshing out more. It’s interesting and quite enjoyable to hear better acoustic placement/intelligibility of instruments and voices without them being unnaturally etched or hyper focused! Everything seems to exist in a more proper relationship to each other which makes the listening experience more authentic and less Hi fi’ish, if you catch my drift? Smooth but detailed highs are also involving without loosing vibrancy. Overall I think I chose wisely in stepping off the High End treadmill 👌🏻 |
I snagged one of the first pair of Focal Sopra No2's in black that hit the shores in the U.S. It took a while for them to settle down, once they did, I'd say they are my "final" pair. I'm amazed that, when I bought them they retailed for $14k a pair and now they are retailing for about $5k/pair more! |
Dear @dave_b : I disturb you again because rigth now I can't understand why tou posted that you always tested all your speakers with subs running in full range and running through a high-pass filter and that you prefer speakers in full range way. Posted twice. atmasphere posted: "" The use of a sub is good, but in order to really take advantage of that, you'd have to make sure no bass is getting into the Cornwalls. That's probably best done with an electronic crossover >""" and with other words and examples I posted more than 4 times the same. Again after so many posts by me you confirm that through your tests on those both options you like full range speakers mode. My last post about said: " That means that the independent high-pass filter and low-pass filter comes in the S2 and it's the way you tested? " Your answer was direct when you answered me: " Correct...." I contacted directly to REL and ask in specific about the S2 high-pass filter and here the answer: "" Rob Hunt (REL Acoustics) Apr 9, 2021, 8:42 AM PDT Hi there againWe feed a REL full range signal but there are no hi pass filters...""" and you have not an external Xover with high-pass filter. So you can't test it ever with any of your speakers what atmasphere and I asked/posted and even that you said: you did it and do it with the CW? A high-pass filter is need it to fix the main speaker frequency that normally it's not exatly the same frequency than the subs Wover and many other issues that tells us why it need for main speakers: a dedicated high-pass Xover. All those information could means that what you posted is totally false or you have a" something " to do it in the S2. Is it in true false what you posted? or what is that " something " that works as high-pass filter? Regards and enjoy the MUSIC NOT DISTORTIONS, R. |
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REL Set-Up Made Simple! RELs are not traditional subwoofers, but true sub-bass systems. A REL is designed to augment the performance of “full range” speaker systems, to provide linear response down to below 12 Hz (Studio III, -6 dB down at 9 Hz). Therefore, for the moment, set aside everything you’ve been taught about subwoofers and how they are integrated into a stereo or theater system. RELs set- up and position differently than other subwoofers. A REL will take advantage of physics and room acoustics to provide deep pressurization as no other sub-woofer can. It’s important that you bring to the set-up process a willingness to do things a little differently in order to obtain these superior results. The end result of your labors will be an utterly seamless integration of true deep bass to a sound system, regardless of the main speaker’s low bass capability. Two Things Before You Begin A. It is helpful to know that you will almost always connect the REL to the input on the rear panel labeled “Hi Level.” This connection is made using the supplied 34’ 10” (10 meters) cable, the bare leads of which connect to the speaker output terminals of the power amplifier. The easy and foolproof connection at the REL is done with a Neutrik Speakon connector. The purpose of connecting to the speaker output terminals is one of the unique secrets of REL’s success. By connecting to the high level input on the REL from the amplifier, you build forward the sonic signature of your main system, including the tonal balance and timing cues of the entire electronics chain. In this way, the REL is fed the exact signal that is fed to the main speakers. B. When possible, the REL should be placed in one of the corners behind the speakers. Remember, we are dealing with true LOW bass pressurization with RELs, not the mid- bass that most competitors settle for. Low bass pressurization below 40Hz is best derived from corner placement, where the most linear and efficient low bass can be produced. Basic set-up should take no more than ten to fifteen minutes to accomplish once connected. Connecting High-level connection, using the enclosed cable with the Neutrik Speakon connector, is always the first choice. By connecting to the amplifier’s speaker outputs the sonic signature of the entire amplification chain is folded into the signal for the sub, thereby keeping timing and timbre cues consistent. In other words, the signal sent to the REL is exactly the same signal sent to the speakers, allowing for seamless integration. This connection can be made without affecting the performance of the amplifier because the sub’s amplifier input impedance is 100,000 ohms. This scheme also avoids adding any detrimental effects by not interposing any additional electronics into the amplification chain. • The standard high level hook up procedure is: attach the red wire to the amplifier’s right positive speaker output terminal; attach the yellow wire to the amplifier’s left positive speaker output terminal; attach the black wire to which ever of the amplifier’s ground output terminals is convenient; plug the Speakon connector into the sub’s high level input. • For differential amplifiers using one sub, simply use the standard connecting scheme with the exception of connecting ground to chassis ground, not to speaker output ground, and then connecting into the high level input (Hi Input or Unbal Hi Input on Stentor III and Studio III). • For differential amplifiers using two subs for each channel: connect red to positive; yellow to negative; and black to chassis ground; plug the Speakon into the balanced high level input (Bal Hi Input). Low-level connection, RCA inputs (or XLR on some models), is always an option, should high- level connection not be possible, or in a theater system where both high-level and low-level connection should be used. When connecting to the low level inputs, connect a single RCA cable to the 0dB RCA jack. Additional gain can be achieved by connecting to the +12dB input. If you are connecting two channels of stereo output from a pre-amplifier, simply use a high-quality y-adaptor to sum the two signals together. Positioning The optimal position for a REL is in one of the corners behind the main speakers. This position provides 9 dB of mechanical amplification and allows for the most linear true low bass wave launch, owing to the ability to tune the sub to the axial node of the room, or longest throw distance. The Process To begin the set-up process, choose a piece of music that has a repetitive bass line that is very low in frequency. We recommend cut 4 from the soundtrack to Sneakers (Columbia CK 53146). This has a repetitive bass drum throughout that gives you plenty of time to move the woofer around, but more importantly, the recording venue was quite large for this recording, and therefore it has a very deep and large-scale bass signature. This type of cut is perfect for the set-up process, and should be played at the highest reasonable level expected for system play back. Working with a partner, one in the listening position and one at the woofer manipulating the controls, is the most effective and efficient ways to set up the woofer. If working alone, the initial steps in the set-up can very effectively be carried out from the location of the woofer. Trying to ignore all other music in the cut, listen for the bass drum and its effect on the listening room. 1. Phase Orientation: Once in the corner we need to adjust for phase. This may be the single most critical step, and because it really is quite simple, it is often over thought, especially by the most experienced audiophiles. Keep in mind; the right phase is whichever position is the loudest or fullest. While playing music with true low bass, adjust the crossover to a point where the sub and the speaker are sure to share frequencies (B, 3 for big speakers; C, 4 for smaller speakers). At this point turn the gain so that both sub and speaker are roughly equal and then switch, using the “mode selector” switch, from “0” (position 1) to “180” (position 3) phase positions. Again, whichever position is loudest or fullest is the correct position, and, as often as not, may be 180-degree phase. That is, this position is working in harmony with your main speakers, reinforcing bass, and not canceling it. 2. Room Orientation: Next, if space allows, try two different orientations of the woofer relative to the wall. First, while playing the set-up cut, place the REL with the connection panel parallel with the rear wall. (See Figure 1) Second, place the REL with the connection panel parallel with the sidewall. As with phase, the orientation which yields the most output is the best position for that room. This process simply orients the driver, and port, to most efficiently vent into the room. In some instances there may be little difference, at which point aesthetic concerns may override performance concerns. For Q series, if possible, point the driver directly out of the corner, equidistant from the sidewalls. 3. Placement: The next step is to determine precisely how far out from the corner the sub should be placed to achieve the most efficient output, as well as the lowest frequency extension. With the sub fully into the corner, continuing to play the music, slowly pull the sub from the corner on the diagonal, equidistant from both side and rear wall (See fig. 2). At a certain point (sometimes a matter of only a few inches, in rare cases a foot or more) the sub will audibly go lower, play louder, and, if it truly locks on to the room and is fully pressurizing it, the air around the sub will seem to be energized. Stop right there! This is the correct position for the sub. 4. Crossover and Gain Settings: To determine the crossover point, bring the gain down, put the crossover to A-1, bring the gain back up to the point where you have achieved a subtle balance (In some situations where there may not be sufficient output due to room and subwoofer interactions B-1 should be the position to use in setting initial gain). Working only with the coarse control (A-D), bring the crossover point up until it is obviously too high, at this point bring it down to the next lowest setting. Now, working with the fine control (1-6), bring up the crossover point until it sounds too high, at which point bring it back down to the next lowest setting. For all intents and purposes, this is the correct crossover point. Once this stage has been reached, subtle changes to gain and crossover can be accomplished to provide the last bit of complete and seamless integration. With that, set-up is complete. Note: As the Q-series crossover adjustment uses a single variable control, use the closest correlating position to any of the crossover settings noted above for ST series models. Ultimately, as with the click stops of the ST range, simply bring gain and then crossover up until excess output is achieved, then back down a soft-click or two. Hint: There is a tendency among audiophiles to set the crossover point too high and the gain too low when first learning how to integrate a REL with the system, the fear being one of overwhelming the main speakers with bass. But in doing so, the resulting set-up will be lacking in bass depth and dynamics. The proper crossover point and gain setting will increase overall dynamics, allow for extended bass frequencies, and improve soundstage properties. Note, gain must be adjusted in conjunction with crossover changes. In general, when selecting a lower crossover point, more gain may need to be applied. Theater and Film Applications: For Dolby Digital AC-3 or other 5.1 theater systems, once the standard set-up for two-channel outlined above is complete, the LFE output from the processor or receiver should be connected to the low-level input and appropriate gain adjustments made. It may be necessary to take the crossover out of the low-level input using the “mode” switch if extra upper bass output is called for. Keep phase consistent with what was selected during high-level set-up by simply choosing the corresponding setting (1 = 2, 3 = 4). For this configuration, you must set the processor to the “large” or “full range” setting for the left and right speakers in order for the REL to receive the bass signal via the high-level cable. In this configuration, the REL provides support for both the left and right speakers for two-channel listening, and support for the LFE when movies are playing. Most processors will allow you to defeat the subwoofer output when listening in the two-channel mode. The effect of this set-up is one of greatly increased dynamics in the mid-bass range; no bass bloat; and a greater degree of space and timing from the Foley effects. For an even greater sense of space and impact, a second woofer connected in parallel to the center channel will prove to be a dramatic improvement as well. And if that is not enough fun, a rear sub, both to support the rear channel speakers as well as to evenly distribute LFE through the room, truly completes the full-range sonic picture for state-of-the-art film reproduction. A comprehensive set-up paper for home theater will be coming very soon. Other Tips: Generally speaking, do not use the supplied spikes. RELs work on the principle of the driver in a high-pressure zone relative to the floor. Spiking the REL will decouple the woofer from the floor, which will lean out the bass response. If the floor is an older, very “springy” floor, spikes can be useful in reducing the influence of the REL on the floor. But better yet, a heavy stone slab placed under the REL will work better. Even if you intend to use the spikes, do NOT insert them until completion of the set-up process. After which, subtle adjustments to crossover and gain may be necessary. |
Dear @dave_b : Believe me that I really appreciated you pasted here the REL manual, thank’s for that. Now, you said that prefer that the main speakers been play full range and according to that and the REL info then you are crossing at around ( more or les ) 34hz. Only you know the precise frequency you choosed through the REL crossover. Again I’m not be argumentative against what you like it. What I’m trying to do is why you like the more with your speakers playing full range when the 99.99% of the audiophiles with a pair of self powered subs ( including the ones that owns REL. ) always likes the more the room/system quality levels when the main speakers does not plays full range but use a high-pass filter to makes the IMD goes way lower from the spaker woofers. Obviously that I can be totally wrong but this is mytake/explanation about: first the S2 units you use ( I’m thinking that you own two S2s. ) are not true subwoofers due that its low bass spec says: -6db at 24hz. So using the CW the frequency range that sees/plays the subs is really a short one. Nothing wrong with that, it’s your choice. Now, what happens if the crossover instead to be at say 40hz goes up to 100hz? I’m sure that I don’t like it because the signal in the subs is powered by the NEXTGEN 2 DIGITAL amplifiers. The other issue in both ways: full range or crossed higher is that the overall signal that " sees " the speaker amplifiers is generated by the REL that could be a first rate/excellent one or could be not so good, depends on the REL internal quality design. For me certainly that an electronics company as the Canadian Bryston makes products with excellent design ( because are specialist on that kind of electronics by a lot of years. ) and excecution design as the electronic crossover that I link in one of my posts in the thread. Any way my advise still is the same: we must to make that the developed IMD levels in the woofer of our speakers goes a lot lower and through REL we can’t do it, we can’t have success. I respect your way of thinking and your very fast mind status changes. I said that because I told you the high limitation of the CW at its reproduction of high frequencies and you told me that you don’t care or that I was wrong because music instruments does not goes beyond 20khz and now you have supertweeters to solve that problem. R. |
