I for one prefer D&D 8c's voicing and find the other speakers you mention sound too thin in-room - like the Dynaudios I measured here:
https://audiophilestyle.com/ca/reviews/dynaudio-focus-600-xd-loudspeaker-review/ Here is my 8c review with some in-room measurements:
https://audiophilestyle.com/ca/reviews/dutch-dutch-8c-loudspeaker-review-r739/ I certainly prefer this response...
Same thoughts and measurements for the KEF LS50:
https://audiophilestyle.com/ca/revi...ker-comparison-with-binaural-recordings-r768/
I wonder if the traditional "single on-axis flat response in the anechoic chamber" approach is flawed:
https://audiophilestyle.com/ca/reviews/dutch-dutch-8c-loudspeaker-review-r739/#soapbox
Hi Mitchco,
I think your conflating more aspects than I was.
"On axis flat" as the
only goal is of course wrong. Local diffraction and reflection (eg tweeter reflecting off a large woofer surround) effects vary with point of observation, and equalizing for them at one location means error everywhere else. Tonal balance will be damaged. By measuring off axis and looking at multiple observation points, one can discriminate driver irregularities*, resonances or 4pi to 2pi artifacts common over most of the listening window and then equalize for them over an average window (which includes some consideration for first reflection radiation directions). The system design must then make sure off axis is smooth and gently smoothly sloping down, to sound neutral.
I'm pointing out something different. According to Soundstage's measurements, the 8C's and many "accurate" speakers have this 3 to 4 dB rise in lower mid and upper bass at all observation points. I can only conclude 1 of 2 things is happening:
- the designers are providing some loudness control for 80% of listening and tolerate inaccurate punch at high levels, or
- the circle of confusion dictates that if most production speakers had this error, build it into the playback speakers for an "on average" more accurate experience. I read your links and it seems that this is your perception because you find this boost natural.
I don't come from a recording environment, but from a product design one, so don't know what the recording side hears on average. After making designs with and without this boost (in a passive design, its easily dictated by the main low pass inductor size), I've always found not having this boost is more natural. I attend ~ 20 -30 classical concerts a year and try and use that as my guide. However, I also realize that what I've listened to over my lifetime probably dictates what is is "right" to me more strongly than my live listening experiences (which have acoustics varying wildly over venue and seat).
However, we would never tolerate this boost in an amplifier. Interesting inconsistencies in standards.
I'm assuming the NRC chamber isn't knackered. I know they had calibration issues at one time but they calibrated those out many moons ago.
* many "hard" (metal cone for example) driver breakup resonances actually change spectral shape and center frequency significantly over different observation points.