4 сезон. Итоговый выпуск. Двухполоска на Seas H1215_CA18RNX и Monacor DT-300
Hello people. interested in designing acoustic systems according to your tastes, tasks and needs... Today I will bring the end of the fourth season, in which I will remind you that I showed you all the stages of planning, development and even production of a speaker based on the 6.5" Seas H1215 woofer and such a large Monacor DT-300. I spent quite a lot of time looking for the optimal setup of this system. Optimal for me, - for Let me remind you that I wanted to assemble, develop and assemble small bookshelf speakers for myself to work with a subwoofer... This changes the task beyond recognition. Not everyone likes this, but I am a bassophile, I did this for myself, as an example this season showed you the construction of this system. What did I want to achieve with this? I love the bass and I really appreciate
the midbass. The energy characteristics that this bass is capable of playing are articulated, precise, and well readable, so that you can distinguish the notes played by the bass guitar, or even the sound of the bass guitar from the double bass, but at the same time there is also a bass cushion, the basis on which it all rests, which is made by a subwoofer specially designed for this. At the same time, I do not make any demands on this subwoofer, because all creative and musical tasks are entrusted, strictly speaking, to the bookshelf speakers. We will actually talk about them today. I spent a lot of
time selecting combinations, collected several types of filters, which I will now actually show you... I already showed a couple of options in the previous issue. One of them became the main one and, looking ahead, I’ll say that it remained the main one, but at the same time I assembled another scheme with radically different section parameters and I’ll show you now. Here is the diagram that I settled on. it gives quite good parameters for stitching, as for me. This is the stitching. Unfortunately, it turned out to be about 4 kHz in fact, because of this shelf. Actually the section
should have been somewhere around 3 kHz. But no matter. One way or another, these are the parameters we ended up with. Yes, as for the impedance, it has such an ugly shape, but there are no sags or dips in the entire frequency range. We will omit the impulse response; we are not talking about them now. So, in addition to this, I also put together this diagram. Well, here I radically changed the high-pass filter and slightly changed the low-pass filter. This is more like Chebyshev in general, which, however, did not lead to impedance failures,
which could have happened in principle... And the section turned out like this. It is difficult to say so indiscriminately, looking superficially at the difference between these curves. I tried to level out this hump here. To be honest, I didn't like him. I thought about laying it down somehow and so I made a flatter
cut for the low-frequency speaker and, most importantly, this one. Note that I got rid of this shelf by almost 5 dB somewhere, but at the same time did not achieve any interesting result creatively. Therefore, this circuit was forgotten and this circuit became the main one in this project of mine... The result was an frequency response measured in the average field, taking into account the influence of the room and so on, which I do not specifically show here - there are a lot of reflections, of course, from nearby objects... We are talking about stitching. This stitching, this phase, that is, these humps from the tweeter, which are generally stated even in its passport. However, plus or minus, it all fits within 3-4 dB...
Another thing here is that these humped plains that we see on the frequency response are completely unique... They are characteristic only of this assembly. Let's say you get a slightly different picture, and we are not able to measure it at home. You can just assume that they will be different and all this
will actually form those sound features, the authenticity that this or that bookshelf will have. Therefore, comparing it with other bookshelf players on a creative level - that is, this is how hard rock will go on it, or how it will have some kind of acoustic instrument... some kind of guitar, harp, piano will sound - all this will be involved there. Implicitly, we should
understand this by analyzing how this speaker sounds, not because it uses a Seas speaker or a Monacor speaker, or any other speaker, but also because it is a unique design... This is where the actual value of electroacoustics lies - in the fact that it combines an absolutely technical, clearly formed, definite aspect and a creative aspect, which can be radically different from the technical one, going against it. Let's say you can get an absolutely flat frequency response. For example, which happens with ribbon tweeters in the high-frequency range - above 2-3 kHz - it just looks like a stick... But! There are people
who don't like this sound... For example, I like it. Right now I’m using a dome tweeter just for myself, to enrich my knowledge of how this thing works... It doesn’t work, you can listen to these too, especially if you get used to it, you actually become close to it... Like those unfortunate people
who bought S90 speakers in Soviet times and 30-40 years later, they compare everything they hear with these freaks. Because this is their native sound, they grew up on it. Lord be merciful, I never had these speakers. Originally because I didn't have that much money when I was very young. Then, when money appeared, one smart person gave me a Regent-30, on which I listened to all this and thus formed my hearing more or less normally... Well, really, I developed it more in a music school and a children's symphony orchestra, but that's another conversation. Yes. What are you talking about? So,
any slight hump that exists, or a dip in the frequency response of your speaker system, even if it coincides with a similar resonance of the room. That is, a dip or a hump, respectively, will make the sound of these speakers completely ugly. Therefore, let me remind you once again that you should, of course, devote time and attention to the placement of speakers in the room relative to different walls. Mainly regarding angles. But basically this forms a bass picture, but such things as a passing echo, something else... I have a video with a serious specialist in room acoustics, I recommend watching it if someone is more interested in this, although this is also not an alphabet, not an ABC book by which you can do anything. But this
at least gives and defines some postulates of this topic, which I personally did not know before communicating with this wonderful person. Once again a few words about the frequency response. It is customary to measure frequency response in one-third octave bands. That is, if I have anti-aliasing turned on here... where is that mouse... anti-aliasing. Yes, in third octave bands... these are the third octave bands that are meant. If I had made such a more detailed picture, then it would have been impossible to appeal to this and form a parameter... It is impossible to write in one line from 60 Hz there to 20 kHz plus or minus 3 dB, because it is customary in one-third octave bands. Well, this is just me for information. Many of you, of course, know this, but sometimes if you omit
this point, you can see some monstrous parameter. And then it turns out that people simply formed it contrary to accepted standards. This cannot be done because otherwise these parameters will be incomparable with each other...
In general, a lot can be said about the frequency response, as a way of visualizing the operation of some kind of acoustic system . But first, you must interpret it correctly, which is very important. So I hinted to you about third-octave bands, there are some other things... But first of all, of course, this is the measurement condition and measurement parameters... How many repetitions, during approximation, and so on, and so on. Metrologists know all this. For example, I’m not a metrologist, although I worked at the Klippel company, but we were engaged in the analysis of sound in general, and not so much metrology, as such in its pure form, but there it was still more rigid, as it were... And the Klippel analyzer.. I can take this column there in order to measure it and it turns out that this frequency response will have some other ripple, let’s say... It’s unlikely
that this will be useful to you. That is, this is just a sample. You and I are training, training our skills, our understanding to shape the sound. Why does it come from one way or another... Therefore, you should not look too closely at these curves... Of course, you need to keep them in mind, but without fanaticism... As Nietzsche wrote, that if you look for a long time into the abyss, the abyss will look into you....
And in these curves you will see something that is not really there. That is, I wouldn’t want this to take any perverted forms... And there are other people who say: “I don’t look at these graphs at all because I listen with my ears and not with oscilloscopes.” I congratulate them, but I have already done this many times
He said about this that this is a visualization of reality. That is, you take an auditory... you make an assessment based on the auditory perception of how this system works. But firstly, you are not the “golden ears” of Makhosransk, and secondly, these speakers may not stand well, the music may be presented poorly, amplification, cabling, etc. - all that everything may
differ from some standards and this means that not this time, so next time she will take it and unpleasantly surprise you with the fact that your assessment will be untenable... And this must be taken into account when simply discussing - instrumental, which I show, and creative, about which we were just talking about these ones with oscilloscopes... There is also such a condemnation of this project of mine - that the digital age now is the chipboard, there is separate amplification. Now it is used everywhere. And by the way, it began to be used, if you know, in studio monitors. That is, where people hear best... It’s better than
these experts with hairy ears, perhaps even better than musicians, since they can embrace this sound as a whole, try to polish it, somehow transform it, bring it to some denominator. So, in studio monitors - this is where, for example, for mastering, monitors can cost, well, some astronomical money. Equally, the rooms in which mastering is carried out and this is where separate amplification really helps... By the way, at first it was not digital, but analog. It may have become digital only 10 years ago en masse... But now multimedia speakers are doing it, these ones, which I often review, for example Edifier, - there is digital amplification, digital separation everywhere - the audio processor separates the streams, sends the signal of each band to its individual amplifier, which is directly galvanically connected to the speaker, which makes their combination optimal, simply ideal because there is a filter here - this crossover and it seriously worsens the same dumping factor about which I already made some videos and other parameters and coordination of the work of these two systems. And then this cannot be called a very high-quality division into stripes, but
a digital circuit would divide it up dramatically simply... well, in short, as the engineer , developer, designer wants, it will divide the stripes. It's definitely very convenient. But I'm an old man and I really wanted to create a system according to the classical scheme. That is, the amplifier is separate, the speakers are separate, the cables are separate, the filters are in the speakers inside. They can be connected to different amplifiers and the quality of their sound can be assessed from different amplifiers. As I said, what if
Kolya Sukhov gives me his revolutionary ABBA-class terminal and I won’t be able to connect it to some kind of system with digital division into stripes... There is one... as the photographer Robert Polidori said, that digital is created in order to immediately forget, and the analogue is created in order to always remember But the truth is that he said this about photography because he is a photographer. But I will be happy to transfer this to sound. Okay, now we’ll listen to how the drums sound on these speakers first, then I’ll connect... even with
a subwoofer I’ll give you this - well, as a result of all that I just said - how it works... And then I’ll charge my old set of tracks, on which you will hear how it sounds on this system. And then someday it will be possible to compare this concept with some other one.... First pink noise... now drums , now drums and now I turn on the subwoofer and now there’s music... with a subwoofer... and now without a subwoofer... Well, there you go. How do you like it? Well, quite convincingly, especially with the subwoofer again. This, of course, does not
apply to those people who fundamentally do not accept subs. This video is not for them... however, they can consider this system as an independent stand-alone speaker system that works without a subwoofer. Perhaps this is enough for them. By the way, in most cases it is enough. Especially for so-called comfortable listening. Cabinet listening in small rooms, where the parameters of all this do not allow for significant sound pressure levels in order to seriously evaluate the sound quality. In short, they can already work like that. This is how it turned out
season four. Write, my friends, there will be other seasons. I just like this topic... So I say goodbye. Auf Wiedersehen my dears...
2025-04-24 05:31
