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Linkwitz LX521.4 - new build and impressions
- Thread starter suttondesign
- Start date
I remember reading about the LX521 probably 20 years back. A very interesting speaker, but I'm not sure I could live with the weird front baffle. It is a very acquired taste. It also looks like the slightest push could have the top part tumbling to the ground, do people weigh them down or attach them to the bass unit in some fashion?
Maybe a better approach would be to see what it was about other tweeters that induced your tinnitus and if there is some kind of correlation between them, then you can extrapolate (hopefully, mostly correctly) outwards, rather than asking others opinions, which may differ from you own....just an idea and probably what I would do in your position.
There is nothing that suggests harshness or significant resonance in their measurements, or their sound in the LX521. I didn't find a significant difference in sound between the top parts of an Orion with a single tweeter and the LX521. What I did find with having a dipole all the way up was that it highlighted a few issues with source clipping on some tracks that had previously gone unnoticed. Whether that is seen as a good thing or bad probably depends. What I really noticed was the better woofers on the LX521.
What are your opinions on the speaker and how would you compare it to others you've owned? Did you hear the famed dipole 'magic'?
Surely that's exactly what I have done. Hence my requirements for any new tweeters.
Sorry, but can you start your own thread to discuss the complete LX521. It just confuses understanding of the tweeters.
somebodyelse
Major Contributor
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- Dec 5, 2018
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I think you've got that backwards - this thread is about the LX521 in general. If you want a thread dedicated to the tweeters then feel free to start one.
Given the LX521 requires DSP you should be able to dial down whatever frequency range causes you problems.
So sorry, my misunderstanding, as this thread was inactive for 8 months until I posted.
I dont like DSP having used it for other projects so it will be avoided in my DIY use of the tweeters. In my experience, every interference in the audio chain degrades the sound, but that a discussion for another day.
You have bought up a very valid point though, that if all users of the tweeters in the LX521 are applying DSP then any observations are not valid to my application.
Hi
Welcome, The thing about this very site is that we try to go beyond opinons, rather we prefer facts. Scientific.
The issue in what you are advancing is the degree of perceptibility of the "degradation and how much degradation, objectively was introduced by the DSP in this case.. We coul push the discussion forward by asking: " as opposed to passive?"
Welcome, stay, learn, enjoy.
...
Peace.
I suppose it depends on what he used to implement the DSP. I think some of the earlier equipment wasn't anywhere near as good (read:transparent) as it is now.
I used TACT gear, but I really was looking to exclusively talk about the tweeters.
I see you want to use them in your own design. Forget the above.
jeffbook
Active Member
20 years ago, Linkwitz had not even conceived of the LX521. His main speaker design at that time was the Orion. The plans for the first version of the LX521 were released in October 2012. The "weird front baffle" was an integral part of the design and necessary to achieve full range dipole performance. It was developed over a series of"cut and try" efforts and is very much a take it or leave it situation, as Siegfried was concerned with function over form, as is explained on the Linkwitz Lab website.
As for concerns about stability, the upper baffle utilizes an 8" x 8" base which, when combined with the fore-aft location of the center of gravity of the entire upper baffle assembly, reduces the tendency for a tip over event to occur.
Right you are, it was the Orion, which was certainly a bit more handsome.
I'm sure a child or energetic dog could make a good go of it.
jhenderson0107
Active Member
Driven by any decent amplifier, the frequency response and directivity of these tweeters will dictate their acoustic qualities. If you prefer a "smooth, relaxed" presentation, then adjust your passive crossover design accordingly. If there is a particular frequency which triggers your tinnitus, implement a shallow notch filter at that frequency. Even if you don't prefer to use DSP permanently, implementing these filter functions digitally would allow rapid prototyping. Armed with your preferred response, you could then implement the passive network with greater assurance it will satisfy your esthetic.
jeffbook
Active Member
if that is anyone's domestic case, a couple of wood screws through the baffle base into the woofer bridge would do the trick after you determine the amount of bafle toe in needed to optimize performance for a given room setup.
The LX521 is a really good speaker as was the Orion before it. The woofers and the bass tuning of LX521 were the real defining differences between them, those woofers can really move. You can hear the difference between full and partial dipole, I was happy with either apart from the tendency of highlighting clipped tracks. Being able to position the woofers in a separate direction to the main panel is useful in being able to get the best in room response. Dipole bass is good I would do that again. Generally what I found was that the increased room interaction sounded like more reverb on everything. On some tracks there was some real magic and I have never been able to recreate that with the line array system I built after. What I couldn't get on with was the way most of the rock music I liked sounded on the LX521. It took me a long time to realize that Linkwitz was only interested in classical orchestral style music, and for that I hazard that they are really great. For me that extends to music that has 'space' in it, anything dense and dissonant really fell apart and was a dissappointment. The line array is a real jack of all trades in comparison, a compromise but one that works for everything.
There are many ways to use DSP well and many more to use it badly. Like anything you can do it properly or poorly. Discounting the entirety of something because of a bad experience is a good way to miss out.
If you truly believe that then I don't know why you are asking for opinions here.
I showed my bias in how I shortened his preference just as you did with your description. Indeed had it been on his list I suspect changes would have been made. We all have our preferred music, I wrote it to point out that there is a rather large gaping hole that I fall into, as might many others. I don't wish to denigrate any style or production as they all took significant time and effort to produce. It is not easy to make a speaker that works with everything and if you don't like everything there is also no need.Much of the multi-tracked studio crap recorded in the past and still today would not be on his interest list.
OP
- Thread Starter
- #220
I doubt anyone should lightly tread into 521.4 territory if characteristics of individual aspects of the speaker cause any doubt. they are not only expensive, but time consuming and fussy. for my part, I freely use dsp to tailor siegfried’s design to my needs, being a dip in my hearing in one ear from 1khz to 3khz. I also high pass the woofers (please don’t pile on about group delay, because I don’t care) because I built sealed subs to avoid overexcursion of the open-baffle woofers.
