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Perlisten speakers

abdo123

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I suppose if you don't mind it bottoming out playing Dire Straits. Of course, 100dB at 3.5m seems entirely reasonable to me. Now if I do the math right, that's about 111.6dB at 1m. Not too shabby. Wonder what the Directiva 1 can do?
From Erin's review.
in absolute amounts of bass, roughly the same without a crossover (however the passive radiator would bottom out first and it will be audible).

With a crossover at 80Hz the Directiva is limited only thermally, it will not run out of excursion, but again probably this speaker too.
 

hmt

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This company is probably the closest a middle-class person can hope for in terms of 'end-game'. been on my radar for a while.

Yes, it would be nice to see a review of them.
 

ctrl

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The jaw drops.
These are really is on the highest technical level.

Interestingly, this does NOT show the same abrupt change (narrowing) in horizontal dispersion that the S7T does. There is a slight blooming at 3 kHz, but nothing too major. These measurements look great to me. I'm not sure what explains the discrepancy.

Since the entire series of speakers has the same baffle width and driver lineup, only a modified crossover is really an option. The crossover frequencies are unfortunately only given in the specification of the S7t (500Hz, 1.1kHz, 4.4kHz).
1635077400118.png 1635077425182.png
Sources: Audioholics, EAC


The crossover concept as a whole has special aspects.
At the crossover frequency around 1kHz, probably no typical allpass filter, like a Linkwitz-Reiley filter, is used, but a "constant power filter" like a third order Butterworth filter (which were very common in the past) or something similar.

The frequency response curves of the vertical measurements are an indication of this.
In very simplified terms: The negative angular frequency responses form a hump, while the positive angular frequency responses form a dip (or vice versa). Together, this results in a constant sound power response.
This can be seen very nicely in the floor and ceiling bounce - just compare this with a typical LR filter.
1635072696038.png
If you want to have a closer look at the difference between different filters in the vertical plane, you can do so here - "Crossover filter - Effects on the vertical radiation".
 

abdo123

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The jaw drops.
These are really is on the highest technical level.



Since the entire series of speakers has the same baffle width and driver lineup, only a modified crossover is really an option. The crossover frequencies are unfortunately only given in the specification of the S7t (500Hz, 1.1kHz, 4.4kHz).
View attachment 161099 View attachment 161100
Sources: Audioholics, EAC


The crossover concept as a whole has special aspects.
At the crossover frequency around 1kHz, probably no typical allpass filter, like a Linkwitz-Reiley filter, is used, but a "constant power filter" like a third order Butterworth filter (which were very common in the past) or something similar.

The frequency response curves of the vertical measurements are an indication of this.
In very simplified terms: The negative angular frequency responses form a hump, while the positive angular frequency responses form a dip (or vice versa). Together, this results in a constant sound power response.
This can be seen very nicely in the floor and ceiling bounce - just compare this with a typical LR filter.
View attachment 161088
If you want to have a closer look at the difference between different filters in the vertical plane, you can do so here - "Crossover filter - Effects on the vertical radiation".

I'm guessing this sort of vertical directivity finese is only possible in a 3-way where the mid-range and the tweeter are in MTM configuration?
 

blueone

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I use 3-way speakers that generates FR down to 30Hz in my music room at levels loud enough for me. There are very few musical pieces or tracks that go below 30Hz that I listen to. Even EDM wouldn’t need lower as they are produced for clubs where the FR rarely goes below 40Hz.

However, I also have a separate home theatre and I use satellites speakers and multiple subwoofers there. In films the effect track requires lower than 30Hz response.

Understood, but have you done any testing of how smooth the response is between 30-100Hz?
 

ctrl

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I'm guessing this sort of vertical directivity finese is only possible in a 3-way where the mid-range and the tweeter are in MTM configuration?

Not necessarily. Erin's near-field measurements suggest that the "magic" used is to run all three drivers in parallel or in series, or not to use the two mid-tweeters at all.

So there is no further crossover frequency above 1kHz, therefore there is no vertical cancellation by filter slopes.
1635082259081.png
There may still be inter-driver cancellations at high frequencies and large vertical angles.
You would have to take a look at the vertical angular frequency responses up to +-90°, where the cancellations should show up as "jagged" frequency responses.


The distortion is low in absolute terms, but for possibly three drivers playing simultaneously, the harmonic distortion is, for me, surprisingly high in the frequency range above 1kHz (but of course completely harmless).
1635083750003.png
 

sarumbear

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Understood, but have you done any testing of how smooth the response is between 30-100Hz?
I measured my room with both MLSSA and CLIO, which I had since my speaker design days. They helped me to place a couple of bass traps to control the few standing waves.
 

hmt

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@ctrl
Actuall XTZ has a similar technique employed in their cinema series. They have a 2x3 array of tweeters where only one of them is playing all the way up to 20KHz and the other 5 are rolled of at 20KHz.
 

sarumbear

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@ctrl
Actuall XTZ has a similar technique employed in their cinema series. They have a 2x3 array of tweeters where only one of them is playing all the way up to 20KHz and the other 5 are rolled of at 20KHz.
Which is similar to a MTM design, also called d’Appolito. It increases the piston range of the drivers while keeping the source pointy.
 

Chrispy

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FWIW Audioholics is adding another Perlisten review, this time for the S4B bookshelf model....but altho they started the thread already, the review won't be posted until later today.....
 

Spocko

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hardisj

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I just updated my review. I added a couple photos. I added a little bit more in the wrapup section. I also updated the nearfield measurements (since I took the speaker apart, I disconnected the mids and then tweeter to get a proper singular measurement of the two) and I also measured the impedance of each driver in the waveguide array.
 

richard12511

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I held this same view for a long time. I learned it is possible to use one more subwoofers to simply smooth out the bass response in the room. Perhaps deepen it, but not in a way that significantly changes the spectral balance of the music. It takes some effort, some means of measuring in-room response (which I suspect you have already), and parametric equalization capabilities, but the results can be quite satisfying. Unless you have a huge room, even two 12" sealed subwoofers properly placed and equalized can make a substantial improvement, unless you are lucky enough to get smooth bass response at your listening seat with just L/R speakers.
Agreed. For music, the biggest benefit I see to external subs is not the extra sub 30Hz extension, but how much it smoothes and tightens the response in the 40-100 region.

That said, there is actual content down there in some modern music. It’s not super rare anymore, and turning on a high pass 30Hz filter via Roon shows that those ULF really can enhance the experience.
 

thewas

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This measurement

Components%20Nearfield%20Measurements%20%28_40mm%20from%20baffle%29.png


reminds me a bit of the 1980s B&O Uni-Phase Loudspeakers which used the mid driver just as "phase-link":

 

HooStat

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I am curious as to how their center channel will measure (and what it costs). I would have preferred a horizontal version of their monitor but it doesn't look like one is available. Then one could easily match LCR and it would probably be less expensive.
 
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