Compression Drivers for Music at Home?

[Purité Audio]

Andrew Jones ( once) of TAD told me that TAD's own compresssion drivers were too expensive to use for TAD's loudspeakers.
Keith

 

[watchnerd]

Andrew Jones ( once) of TAD told me that TAD's own compresssion drivers were too expensive to use for TAD's loudspeakers.
Keith

I'd believe it. I think they're $2k-$3k just for the drivers.

I think they're targeted at cinema, but I can't think of any movie theater I've been to that has such fancy custom-made speakers.

 

[Purité Audio]

Ralph of Cessaro buys the majority of their output, he has more stock than the factory.
Keith

 

[hvbias]

I wouldn't agree about only being concerned about power response, neither in sound reinforcement (where stearable line-arrays are common), nor in mastering settings. In fact the JBL EON PA series uses the more recent waveguides and they make a point of showing the dispersion.

As for what I saw, these are studio monitors, so form factors are different.

The control room used ATC SCM 45A Pro on the bridge and soffit-mounted ATC SCM 110 ASL Pro for mid-field / main monitors, both fairly large:

The mixing studio used Dynaudio Air 20 as nearfield monitors:

Putting aside "unusual" companies like JBL that take a design route that mirrors their research, I'm speaking in general that the vast majority of recording and mastering guys I know are primarily looking for flat on axis response and everything else is secondary. You can see this in the Gearslutz high end subforum as well. I include ATC in the properly designed and marketed category so they get a pass.

No pro audio magazine I know of bothers with off axis either, while even the big audiophile magazine, Stereophile, includes them. Outside of ATC, JBL and maybe a couple of other companies I personally wouldn't go near pro audio for non nearfield home hi-fi.

 

[watchnerd]

Putting aside "unusual" companies like JBL that take a design route that mirrors their research, I'm speaking in general that the vast majority of recording and mastering guys I know are primarily looking for flat on axis response and everything else is secondary. You can see this in the Gearslutz high end subforum as well. I include ATC in the properly designed and marketed category so they get a pass.

No pro audio magazine I know of bothers with off axis either, while even the big audiophile magazine, Stereophile, includes them. Outside of ATC, JBL and maybe a couple of other companies I personally wouldn't go near pro audio for non nearfield home hi-fi.

Eve Audio publishes polar response graphs for all of their monitors.

I assume they do it because at least some of their audience cares.