Verfasst: 05.06.2015, 11:59
Below 40Hz the THREE is essentially an omni. At that point it follows the same physics as any speaker when it comes to SPL and cone movement. For the same SPL at 20Hz it needs to move exactly as much air (in litres per second) as any other speaker, including the Phantom. The same material, replayed over the THREE, will flap the cones as much as it does the Phantoms' (divided by the ratio of cone area, I've got more cone area so somewhat lower X).
What the Devialet sales lot apparently haven't worked out is that you barely hear 20Hz in isolation. If you play electronic music with a lot of sinusoidal bass, it won't sound loud and it will make the cones apparently flap aimlessly. If you play orchestral music, the concert bass drum can create an enormous sonic wallop with relatively little subsonic content. Of course you need to reproduce that subsonic content to make it sound realistic but it's not a lot of energy, really. It's Devialets insistence to play a deep electronic bass which made the Phantom appear to be capable of a lot less than it can really do. You've got to demo with real music, not test tones.
>Es gibt jedoch noch eine nutzbare kleinere Pfadlänge vom Mitteltöner (vorn) zu den seitlichen Basstreibern:
(etc)
I think this arrangement is probably the main creative stroke I made with the THREE. The rest is just plain engineering and attention to detail (getting the transfer functions exactly right, designing my own ASRC etc).
>Oh doch; Die Lautsprecher haben
> sechs Hypex D-Core Endstufen
>..
>mMn eine Armutszeugnis .
Well it's typically the sort of thing audiophiles seem to care more about than the intelligence of the overall solution. Considering that the circuit (Ncore, not D-Core) was invented by yours truly and has made a bit of a name of itself in the audio market it'd be daft not to capitalize on it
What the Devialet sales lot apparently haven't worked out is that you barely hear 20Hz in isolation. If you play electronic music with a lot of sinusoidal bass, it won't sound loud and it will make the cones apparently flap aimlessly. If you play orchestral music, the concert bass drum can create an enormous sonic wallop with relatively little subsonic content. Of course you need to reproduce that subsonic content to make it sound realistic but it's not a lot of energy, really. It's Devialets insistence to play a deep electronic bass which made the Phantom appear to be capable of a lot less than it can really do. You've got to demo with real music, not test tones.
>Es gibt jedoch noch eine nutzbare kleinere Pfadlänge vom Mitteltöner (vorn) zu den seitlichen Basstreibern:
(etc)
I think this arrangement is probably the main creative stroke I made with the THREE. The rest is just plain engineering and attention to detail (getting the transfer functions exactly right, designing my own ASRC etc).
>Oh doch; Die Lautsprecher haben
> sechs Hypex D-Core Endstufen
>..
>mMn eine Armutszeugnis .
Well it's typically the sort of thing audiophiles seem to care more about than the intelligence of the overall solution. Considering that the circuit (Ncore, not D-Core) was invented by yours truly and has made a bit of a name of itself in the audio market it'd be daft not to capitalize on it