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richard12511

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Raise the hair on my neck, I'm not kidding you, and as long as you don't move from that three foot sweet spot, they're spooky.

Spooky is a good way to describe it. It's like there is a singer standing right there in front of you. All speakers do that to some degree, but these super narrow dispersion pattern designs make it sound so much more like the real thing.
 

richard12511

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I like your suggestion, actually.

It's a good balance for sure, but there are surely speakers out there that envelop better(MBL?), and other speakers that image sharper(Danley).

Toole actually mentioned that he did something similar(having multiple systems with different strengths/weaknesses) in his old house. I don't think there's necessarily a wrong approach. I can also see where just one well balanced system is optimal.
 

HammerSandwich

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Or, use wide-dispersion speakers, then move freestanding panels near them when you want more focused sound. 4x 4" panels would massively reduce off-axis output above transition, and they'd cost under $1k.
 

Newman

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It's a good balance for sure, but there are surely speakers out there that envelop better(MBL?), and other speakers that image sharper(Danley).

Toole actually mentioned that he did something similar(having multiple systems with different strengths/weaknesses) in his old house. I don't think there's necessarily a wrong approach. I can also see where just one well balanced system is optimal.

I'm all in favour of closing the circle, and these unbalanced approaches make it worse. They are part of the problem, not the solution.
 

pozz

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I'm all in favour of closing the circle, and these unbalanced approaches make it worse. They are part of the problem, not the solution.
What would a balanced solution be? What's the problem?
 

richard12511

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I'm all in favour of closing the circle, and these unbalanced approaches make it worse. They are part of the problem, not the solution.

Interesting. Agree to disagree I suppose.

I tend to think that as long as the tonality is correct, dispersion width can be a matter of personal preference. I also think different dispersion widths work better with different listening distances and room widths.
 

Newman

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dispersion width can be a matter of personal preference

Given the importance of envelopment and ASW to perceptual preference, backed up by evidence, I’m not aware of the evidence to support your claim that dispersion width can be reduced without negative effect on perceptual preference. “Agree to disagree” is hardly a defence.

What's the problem?

Toole’s Circle of Confusion is the problem. Speakers with ‘special’ characteristics make it worse, when used in a ‘wine tasting’ manner at the end of the sound reproduction chain.

cheers
 

fluid

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Given the importance of envelopment and ASW to perceptual preference, backed up by evidence, I’m not aware of the evidence to support your claim that dispersion width can be reduced without negative effect on perceptual preference. “Agree to disagree” is hardly a defence.
Whilst there is lots of research to suggest that listeners like ASW and envelopment it is not a universal preference on all source material. Increasing ASW through reflections runs counter to producing pin point imaging. Classical and acoustic music is a great vehicle for added reflections in contrast much studio produced music is not.

Geddes aims to reduce reflections under 10ms through the use of narrow directivity but then aims to increase reflections beyond that point through speaker positioning and room surfaces to increase the later reverb time. He doesn't want to destroy the imaging specificity with early reflections but still aims for more envelopment and spaciousness through later reflections.

Quote from Floyd Toole
"So, read on and draw your own conclusions. It may be that “one size does not fit all.”
 

pozz

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Given the importance of envelopment and ASW to perceptual preference, backed up by evidence, I’m not aware of the evidence to support your claim that dispersion width can be reduced without negative effect on perceptual preference. “Agree to disagree” is hardly a defence.



Toole’s Circle of Confusion is the problem. Speakers with ‘special’ characteristics make it worse, when used in a ‘wine tasting’ manner at the end of the sound reproduction chain.

cheers
I don't know how you can look at the synergy horns and say they have "special" characteristics in the pejorative sense. They have well controlled directivity and huge dynamic capability. The Hyperion is already SOTA by including the latter and FIR filtering for linear phase. The only unfortunate thing I can think of is that it's way too big and heavy to be Klippeled unless done in the manner of the Magico M9.

It would be great if we could get the same information we're used to getting here, with:
  • High resolution (1/20 octave) frequency response measurements. Preferably presented in spinorama as well as polar plots.
  • Distortion vs. frequency measurements at various levels. THD for nonlinear distortion, compression for linear, as usual.
  • Pair matching (I'm assuming the difference will be slim because it's active) and hiss level (I'm hoping zero).
And in terms of reproduction as you've emphasized, we have no real goal apart from what we know of in perceptual research, which remains open ended, especially where stereo is concerned.
 

puppet

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It could be stated that a lot of apparent source width is and can be conveyed in the recording itself. Designs, as are Geddes and Danley, tend to remove the rooms influences but bring with them more control over how the room is used ... as pointed out by fluid. Such designs, I feel, are a good fit for folks that don't treat their listening rooms to a high degree. Attention to placement can bring the envelopment back to the experience in a more precise fashion given the increased control of the dispersion.
 

richard12511

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ASW is definitely a preference thing imo. Toole and Amir like wider ASW, as well as wider soundstage with more envelopment. I definitely like narrower ASW(confirmed with blind testing of my own), and I know I'm not alone. For me, it's a balance, though. as while I do enjoy smaller ASW, I also enjoy more envelopment and soundstage width. It's a compromise for me in some sense going either way.

For me it also depends on the number of channels. As the number of channels decreases, I definitely start preferring wider dispersion more. I would want a different dispersion width for a mono setup than I would want for an 11.1 setup. I'd love to do some testing with the Beolab90. I suspect I'd probably prefer the wide or omni mode for mono listening, probably narrow mode for stereo, and definitely the narrow multi-channel.

Finally, I think it depends on the room. My Revels sound awful in my very narrow but long office. The ASW is as wide as the room itself, which ruins the sound for me. On the other hand, the Revels sound fantastic in my 2 channel room, which is wider than it is long.
 
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Newman

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@pozz I answered your question, but in response you focused on the other part of my post. Also, your suggestion that I said “special” in a pejorative way hints that you didn’t grasp why I said it: it’s more about the circle of confusion than the individual performance of the final link.

@richard12511 no, Toole is not about his personal preference, it is about the findings of research into the topic, which he summarizes for us. And, paraphrasing Toole again, wider dispersion is actually more relevant to 2 channels, because the side walls provide the ASW that 2 channel lacks, but that multichannel can provide in other ways.

Cheers
 

richard12511

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no, Toole is not about his personal preference, it is about the findings of research into the topic, which he summarizes for us.

I realize that his personal preference also happens to align with what was most preferred in research, but those preferences were not absolute(.86 correlation), and that was even lumping it all into one(ie not isolating the dispersion width variable). Toole/Olive research actually confirms that personal preference exists, as not everyone preferred the same thing ;).

I wasn't talking about that, though. I was talking about Toole's personal preference. He has mentioned many times that his personal preference is for a wider ASW. He has also said that once tonality is correct, dispersion width is likely a matter of personal preference. Toole's view actually agrees with what we're saying.

I know for sure(through blind listening tests) that my personal preference is for narrower ASW, but wider soundstage and more envelopment. Unfortunately, those are mostly at odds with each other.
 
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pozz

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circle of confusion
You're assuming this term says everything you want it to say. I'm not sure what you're implying, but if you mean that the way to break the circle is to have similar types of speakers for the production/mastering/control and playback portions, I disagree.
 

Newman

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I realize that his personal preference also happens to align with what was most preferred in research, but those preferences were not absolute(.86 correlation),
p<0.0001 — if we are talking about the same .86 correlation, but that was on an unrelated topic? (Predicting preference from speaker measurements)
and that was even lumping it all into one(ie not isolating the dispersion width variable). Toole/Olive research actually confirms that personal preference exists, as not everyone preferred the same thing ;).

I wasn't talking about that, though. I was talking about Toole's personal preference. He has mentioned many times that his personal preference is for a wider ASW. He has also said that once tonality is correct, dispersion width is likely a matter of personal preference. Toole's view actually agrees with what we're saying.

I don’t actually care about his or anyone’s personal preference, which is generally about sighted listening, at-home testing, and a single data point with a massive error factor.

But I do care about this from Toole:

“In summary, it is clear that the establishment of a subjective preference for the sound from a loudspeaker incorporates aspects of both sound quality and spatial quality, and there are situations when one may debate which is more important. The results discussed here all point in the same direction: that wide-dispersion loudspeakers, used in rooms that allow for early lateral reflections, are preferred by listeners especially, but not exclusively, for recreational listening. There appear to be no notable sacrifices in the “imaging” qualities of stereo reproduction.”

Not much wiggle room there. Wide dispersion is preferred, and imaging is not sacrificed. That’s the opposite of what some of the recent commentary in this thread has been pushing.

I know for sure(through blind listening tests) that my personal preference is for narrower ASW, but wider soundstage and more envelopment. Unfortunately, those are mostly at odds with each other.

Individual anecdotal personal preferences don’t interest me, honestly. Although “narrower ASW but wider soundstage” is probably not what you meant to write, since widening the soundstage, in stereo, is simply moving the speakers further apart, and if you want it wider than that, then adding ASW is the way to get it.

Cheers
 

richard12511

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p<0.0001 — if we are talking about the same .86 correlation, but that was on an unrelated topic? (Predicting preference from speaker measurements)

I don't think so, because listener preference is actually what I'm talking about. My point is that not all people prefer the same dispersion width. Therefore, it makes sense for there to be different dispersion width designs on the consumer market. Just because most people prefer pepperoni pizza, that doesn't mean that restaurants are "wrong" for offering cheese. There exists a number of people who prefer cheese, and it makes sense to offer solutions to those people.

BTW, I do agree with your "circle of confusion" reference to a great degree, and I do agree that dispersion width plays a role there. Do you think that all mixing and mastering speakers should have the same dispersion width? For example, far field main monitors (like 1236A) tend to target a narrower dispersion than near field monitors(like 8030c), though on axis is the same. Do you see that as a mistake?

“In summary, it is clear that the establishment of a subjective preference for the sound from a loudspeaker incorporates aspects of both sound quality and spatial quality, and there are situations when one may debate which is more important. The results discussed here all point in the same direction: that wide-dispersion loudspeakers, used in rooms that allow for early lateral reflections, are preferred by listeners especially, but not exclusively, for recreational listening. There appear to be no notable sacrifices in the “imaging” qualities of stereo reproduction.”

Not much wiggle room there. Wide dispersion is preferred, and imaging is not sacrificed. That’s the opposite of what some of the recent commentary in this thread has been pushing.

Are you claiming that Toole has never said that dispersion width may be a matter of listener preference to some degree? That's the sense I get from your "Not much wiggle room there" comment. If not, maybe you can clarify what you mean. I've read Toole's book, as well as many of his forum posts. My characterization of his opinion on dispersion width preference is more akin to a strong majority preference, not a universal preference. It's also not clear to me where that preference for wider dispersion stops. Revel doesn't make omni designs.

As far as imaging not being sacrificed, I agree that's true if you prefer a wider apparent source width(as Toole, Amir, and many others do). For those of us who prefer a narrower image, imaging is definitely sacrificed by increasing the dispersion width(and decreasing the ratio of direct to reflected sound). More sidewall reflections means a wider center image. My Revel speakers throw a wider center image than my Genelec speakers. Whether or not one sees that as a positive or negative will come down to listener preference, even if a majority prefers it one way over the other.

So far, everyone I've tested(blind) has slightly preferred the more narrow dispersion Genelec in my 20'x9' room (speakers on short wall). Though these people are completely unfamiliar with audiophile terms, it's clear that spatial effects play a big role in their overall preference. It helps that on axis is equalized(both are really good).

I actually don't disagree with this Toole quote at all. In fact, it's something I've brought up many times in the common wider vs narrower dispersion debates. Further, I even alluded to it in my previous post:

I realize that his personal preference also happens to align with what was most preferred in research

Though it's not reflected in the Olive preference score, Toole has said many times that most people seem to enjoy the spatial effects that wider dispersion speakers bring. The key word there is "most". I happen to enjoy some of those spatial qualities(wider soundstage, envelopment), but dislike others(wider and taller image).

While it's true that Toole has been clear that majority preference is for wider dispersion, - to my knowledge - Toole has never claimed that 100% of people prefer it.

My point here is that once on axis, smoothness, and (lack of)resonances are equalized, there exists a smaller minority of people who actually prefer a narrower dispersion(more off axis tilt) for stereo listening. Toole seems to agree with that to some extent. Do you disagree?


Individual anecdotal personal preferences don’t interest me, honestly.

Realize my point here is that there exists non-zero number of people who do in fact prefer a smaller image. An individual example should be sufficient. As long as there are consumers that want it, you can't blame manufacturers from making it.

Although “narrower ASW but wider soundstage” is probably not what you meant to write, since widening the soundstage, in stereo, is simply moving the speakers further apart, and if you want it wider than that, then adding ASW is the way to get it.

Cheers

I said what I meant, though I may be misusing terms(apparent source width vs image width). To be more clear, I want my center image to be as small(horizontally and vertically) as possible, but I want my soundstage to be as big(horizontally and vertically) as possible. Narrow dispersion speakers(like Danley) nail the former, but fail the latter. Wider dispersion speakers (like Revel) fail the former, but nail the latter. To date the best compromise I have found is to have something in between(Genelec 8351b), move them far apart, and upmix my music to Auro3D(or listen to multichannel music). That - to my ears - gives a good balance of image and soundstage.
 

gnarly

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"I had not thought of that at all. With this "acoustic filter", the frequency range of a driver can be exploited much better."
The acoustic "low pass" filter is typically somewhat above the electrical low pass crossover frequency. If one thinks of a vented box (also a Helmholtz resonator), that is a low pass filter BUT one is using it at and above the low pass or resonant frequency and it is the Q of that resonance that governs a damped or peaked or optimal roll off shape at the low corner.

In the use in a Synergy horn, it is the output through the port that is the broad band output driving the horn and like a bass port operating well below resonance, the sound passes straight through. The electrical crossover has also low passed the drive signal to the driver so the acoustic low pass filter attenuates the harmonic distortion the driver added.

It's probably not the same cabinet as in that .png picture but i found a couple other old SH-50 ARTA file and put them in a drop box folder in the link below.
This is 1M away, in my living room with the speaker about 3 feet off the ground.
See what it looks like so far as that resonance etc. I saved the impulse response and put it in REW to see the waterfall. What one can see is the effect of the directivity and decreasing directivity below about 500Hz.
Best,
Tom
https://www.dropbox.com/sh/sbmotuz91g8avfr/AACi_7VvbIlgo4BUtELA11HOa?dl=0


Hi all, new member here who has long been following Mr Danley's killer designs and helpful, generous posts.

Hi Tom, i hope it's not inappropriate to have snipped the SH-50 waterfall from your dropbox and post it here...if so, please say and i will try to have it removed. I just thought this would make for easier discussion.
Danley SH-50 waterfall.JPG

To me, the decay looks so dang clean especially beyond about 800Hz.
And i'm wondering if any of that decay cleanliness might be attributed to a reduction in airspace between the 5" mid cones and the horn with something like a volume reducing phase plug ..... and strengthening the acoustic lowpass. ??
And if that is being done for the mids, is it for the 12"s as well?
 

changer

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You chose a 500 ms time window in REW (the lower of the two, not the gating, which should equal the exclusion of reflections in measurements, indoors around 4 to 5 ms mybe) that suits room equalization. But you seemingly want to talk about upper midrange performance, where the room modes are of no concern. For this, you want to use CSD-mode, a window of 5 ms at most and a 30 dB span from peak signal. You may set rise time to 0.15 ms. This should produce a proper plot in the first place.
 
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