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Won't ferrofluid affect the FS? Just looked up the specs and the crossover on these speakers is at 2kHz which is already quite low for a 1" tweeter from the early 00s. A minority of modern tweeters can deal with this sort of challenge but even in modern designs it's unusual. Without ferrofluid...

Generally the larger the subwoofer the less EQ is needed to try and achieve decent LF extension. Also larger drivers tend to be more efficient. While you might need a 1000-1500w amp in a small 8" or 10" sub to achieve sub frequencies, a 15" driver in a larger box might get by with far less...

5dB hump? I’m guessing you’re looking at the measurement posted by Purite Audio above? The port ‘hump’ on the SCM25 is actually more like 1-1.5 dB in reality.

Yes cinema levels are very strictly regulated. However the decisions being made by the director aren't and I find it deeply frustrating, I cannot get over how incredibly loud a lot of modern films can be when I go see them on the big screen. I think I'd rather watch at home to be honest... I...

Eight hours of 83/84 dB is completely unsustainable for mixing. Better decisions are made if you spend most of your time around 76-78 dB. My Grace 905 generally shows average levels of 90-95 dB when I'm really cranking the level to get a certain perspective, but I'll need to take an ear break...

I've seen a multitude of distortion measurements posted in many places on this forum but I can't remember where. You'll have to go and do some digging... I haven't seen any proper multitone distortion measurements of any of the speakers in discussion but it's extremely audible in field use on...

I agree, but exposure time also plays a significant role. Mixing at 84dB all day is ridiculous and will result in accelerated hearing loss. I do however also need my speakers to go loud for those 10-20 minutes a day figuring out certain parts of the mix. If my speaker system can't sustain 90dB...

‘Deaf’ artists…? I guess you’re trying to passively imply that the artists and maybe engineers going with them can’t hear the same things that you’re hearing. This isnt exactly great form and IMO quite rude. During the mixing process I’ll sometimes have to monitor up around 80-85 dB or even...

When artists are in the room, needing to average ~ 90 dB and peaks of ~ 110-115 dB is very common. Sometimes artists want it loud and you’ll have to go up from there. Also modern music tends to be very bass heavy, just an extra bump of 2-3 dB of low end and those 7” woofers with crazy amounts of...

But the speaker already has its own enormous positive gain filter built-in which is causing problems. Headroom, distortion, IMD, very uneven frequency response in most rooms, phase shift, etc. It’d just be better if it wasn’t there in the first place. And the KH310 doesn’t have built in DSP to...

The KH310s are an incredible value for money speaker by the way, I do really like them. The bang-for-your-buck is amazing, but some of the engineering choices make them inferior to the SCM25 for pro use. As you say, the IMD distortion from the woofer which reaches right up into the vocal band...

Those are domestic SCM150s which are supposed to be listened to with the grilles on which have the rolled edges built-in (behind the cloth). Take the grilles off and you end up with sharp edges. The pro versions have no grilles so the rolled-edge is part of the baffle.

I had SCM25s next to my KH310s and aside from some extra sub extension from the KH310, the SCM25s sounded better. Smoother, more revealing of small changes in tone/distortion when loading up plugins (changes in oversampling were extremely audible on the ATCs but not so much on the KH310s)...

Does it really matter what class the amplifier modules are if they’re doing their job correctly? Seems to me both Class D and Class AB have their advantages/disadvantages and will therefore have a future…

I think you need to look a little deeper than just the THD content to get a full picture on what's going on, surely?

PSI as well I think. There are others too I'm sure...

For those of you doubting the post from 'AOR', Jack Oclee-Brown (VP of Technology at KEF) says the same in the Darko Audio podcast. Listen from 27 minutes onwards. Seems like they'd prefer to try and put Class AB in if possible, but there isn't the space (PSU, 700w of power + DSP + drivers...

You absolutely must not mix and match subwoofers. They all have vastly different phase responses. While you'll be putting more energy out into the room, if they're not playing in phase with each other you're going to just cause all sorts of lobing issues and uneven responses across the room...

That doesn't look like SCM25s at all to me. I had them next to KH310s and they were a little softer up high if anything. My understanding in science is poor/incorrect data is worse than no data at all.

I was on 25s but moved to 50s. The difference was in the low-end (more due to the woofer position changing and different driver tunings), floor bounce interaction is much better with the SCM 50s but that's more to do with the room than inherent in the speakers. I kept the mid and HF in the same...