Hi, Ralph, thanks, yes, I would imagine my single woofer version to be an easier load, even for my big SS amp. It will be interesting to hear what Amfibus finds when he tries driving his suboktav version with a SS amp. I must admit the indicated woofer alignment seems a little strange, but I would be hesitant to alter the driver arrangement prior to trying a possible easier fix such as an amp with a much higher damping factor.
The Anatomy of the Acapella Violon - shocking find
For quite a while now I have been having trouble with the bass on my Acapella High Violon Suboktav 2001. With the help of a friend, we have dismantled this speaker and studied the internal construction and measured the crossover points. I am hoping that my findings will be helpful to all of you Acapella owners.
The bass problem is this: bass can not keep up with the speed of the midrange and top end. On some recordings, the bottom end becomes disconnected - you can hear music from the midrange and the top, followed by the bass response a microsecond later. Furthermore, the bass is poorly controlled and flabby. From my other Audiogon threads, you can see that I have been wondering whether the damping factor of my Cary CAD-211AE amps is sufficient to control the wild bottom end, and whether a solid state amp will cure this problem.
The current iteration of the Violon is Mk. IV. I am not sure what a "Violon 2001" is, I am guessing either Mk. I or Mk. II. Acapella's own website does not reveal any secrets, all it says is that the High version of the Violon has an additional driver inside.
Anyway, this is what we found.
PLASMA TWEETER: 4th order high pass crossover (24dB/oct) at 5000Hz. Measures very flat all the way to the limit of measuring equipment. Incidentally, Acapella marks the recommended tweeter level with a pencil mark on the tweeter volume pot. At the minimum recommended range, the tweeter comes in 12dB ABOVE the reference SPL. I had to wind the tweeter almost all the way down to get a flat response.
MIDRANGE HORN: First order high pass crossover (6dB/oct) at 450Hz, with a very gentle taper between 3dB/oct - 6dB/oct from 5000Hz and up. Goes all the way up to 10,000Hz. The shallowness of the low pass section of the band pass crossover makes me suspect that it is relying driver rolloff.
This is a surprisingly wide band of frequencies (4 1/2 octaves) to ask a horn to handle. As you know, horns are tuned to work over a fairly narrow frequency range and the response drops off at either extreme of this range. Wavelengths which are too long for the horn do not couple with the horn. Wavelengths which are too short will bounce around chaotically. That is only the theory however, because the horn measures very flat between 450Hz - 5kHz.
The integration between the tweeter and midrange horn is very good.
BASS UNIT. As advertised, there are two 10" drivers in the unit, and both appear to be SEAS drivers. The external driver is run through a passive crossover from the binding posts, with a low-pass first order crossover at 450Hz.
And now, the surprise. The internal driver is run directly from the binding post with no crossover in between. In other words, it is run full range, relying on driver rolloff only.
I can think of no advantages for a setup like this, only disadvantages.
Firstly, the drivers are wired in parallel. This will drop the impedance, making it difficult to drive them with valve amps (Acapella supposedly voice the speaker with the Einstein OTL).
Secondly, a configuration like this will result in destructive interference between the two drivers, ESPECIALLY if the crossover introduces phase problems in one of the woofers. Given the other woofer is crossover-less, any difference in phase will definitely cause interference.
Thirdly, running a woofer full range will cause cone breakup at the top, which will muddy the lower midrange (exactly what I have been hearing).
Possible solutions:
- wire both drivers to the crossover, maybe in serial configuration to increase the input impedance (Zin),
- disconnect and remove the internal driver, i.e. convert the speaker from the "High Suboktav" version to normal Violon,
- remove the passive crossover entirely and use a preamp-level crossover (active crossover).
Now, I am no speaker designer. I am just an enthusiast struggling to understand these things. But this just makes no sense to me. I am hoping that someone with more experience will be able to explain why Acapella made these design choices, and what you think of the possible solutions.
The bass problem is this: bass can not keep up with the speed of the midrange and top end. On some recordings, the bottom end becomes disconnected - you can hear music from the midrange and the top, followed by the bass response a microsecond later. Furthermore, the bass is poorly controlled and flabby. From my other Audiogon threads, you can see that I have been wondering whether the damping factor of my Cary CAD-211AE amps is sufficient to control the wild bottom end, and whether a solid state amp will cure this problem.
The current iteration of the Violon is Mk. IV. I am not sure what a "Violon 2001" is, I am guessing either Mk. I or Mk. II. Acapella's own website does not reveal any secrets, all it says is that the High version of the Violon has an additional driver inside.
Anyway, this is what we found.
PLASMA TWEETER: 4th order high pass crossover (24dB/oct) at 5000Hz. Measures very flat all the way to the limit of measuring equipment. Incidentally, Acapella marks the recommended tweeter level with a pencil mark on the tweeter volume pot. At the minimum recommended range, the tweeter comes in 12dB ABOVE the reference SPL. I had to wind the tweeter almost all the way down to get a flat response.
MIDRANGE HORN: First order high pass crossover (6dB/oct) at 450Hz, with a very gentle taper between 3dB/oct - 6dB/oct from 5000Hz and up. Goes all the way up to 10,000Hz. The shallowness of the low pass section of the band pass crossover makes me suspect that it is relying driver rolloff.
This is a surprisingly wide band of frequencies (4 1/2 octaves) to ask a horn to handle. As you know, horns are tuned to work over a fairly narrow frequency range and the response drops off at either extreme of this range. Wavelengths which are too long for the horn do not couple with the horn. Wavelengths which are too short will bounce around chaotically. That is only the theory however, because the horn measures very flat between 450Hz - 5kHz.
The integration between the tweeter and midrange horn is very good.
BASS UNIT. As advertised, there are two 10" drivers in the unit, and both appear to be SEAS drivers. The external driver is run through a passive crossover from the binding posts, with a low-pass first order crossover at 450Hz.
And now, the surprise. The internal driver is run directly from the binding post with no crossover in between. In other words, it is run full range, relying on driver rolloff only.
I can think of no advantages for a setup like this, only disadvantages.
Firstly, the drivers are wired in parallel. This will drop the impedance, making it difficult to drive them with valve amps (Acapella supposedly voice the speaker with the Einstein OTL).
Secondly, a configuration like this will result in destructive interference between the two drivers, ESPECIALLY if the crossover introduces phase problems in one of the woofers. Given the other woofer is crossover-less, any difference in phase will definitely cause interference.
Thirdly, running a woofer full range will cause cone breakup at the top, which will muddy the lower midrange (exactly what I have been hearing).
Possible solutions:
- wire both drivers to the crossover, maybe in serial configuration to increase the input impedance (Zin),
- disconnect and remove the internal driver, i.e. convert the speaker from the "High Suboktav" version to normal Violon,
- remove the passive crossover entirely and use a preamp-level crossover (active crossover).
Now, I am no speaker designer. I am just an enthusiast struggling to understand these things. But this just makes no sense to me. I am hoping that someone with more experience will be able to explain why Acapella made these design choices, and what you think of the possible solutions.