Re: Listening Get Together
Sorry, in all the vitriol I just neglected answer this.
The problem you are describing with phase and arrival times are one of the things that led them down this path. On their web page for free is the bandpass box that started the whole thing. It has great punch, but also has all the attendant problems inherent in that design. TBH, it was pretty much a happy circumstance that led to the design. "Let's do this and see what happens". They are not degreeed engineers. But both have backgrounds that are complementary to this, in practical applications, work and hobby.
I have resisted saying this, because I know what will happen. Phase plots look like a tornado. According to the phase plots, these cabs should sound awful. Incredibly awful. They don't. The "punch" from even the tops is enormous. Punch and impact are defining qualities of the sound. Even the little MinE25 will thump your chest. The GC46 could be run completely without subs in small/mid club settings, non dj work. Something in happening in the phase that completely fools the microphone. We believe it's because the information is packeted, and the differing arrivals are out of phase. You can't hear it, but the microphone can. Audio trickery? Maybe, but does it matter if it achieves the goals of improved dispersion, punch, and quality of sound?
8)~
~ Kind of both marketing and a physics claim. I can't describe the waveguide without their approval. It should not work, according to conventional loudspeaker design. It violates several precepts, especially in horn design. When I first saw into a box even after hearing them I still called bullshit.
The hf section loaded directly into the waveguide has been relegated to specialized applications. I'm using that design for surrounds in the local theater. It's a more diffuse sound, and we decided for PA use a direct firing hf section was needed. Once again, it shouldn't work, at all, and it does, very well.
Steve and Tom have quirky senses of humor. They're also uber geeks. Thus the descriptions. But really, event horizon is fairly accurate. There is a point in the nearfield where you can hear the cabs switch to farfield losses. It's one of the things I'm determined to figure out with the outside testing. Where that occurs, and possibly why. It does not seem to be frequency dependent at least by ear. I know you continue to hear everything all the way back. Happens all at once, across the spectrum.
The diffraction issue has come up in conversations among us many times. And it is possible that it will stir waves. The don't interact with room modes like a normal speaker. Mostly because they don't seem to interact very much. Or at least in a different way. Anectdotal. I know how you all love anectdotal. I run them in my shop normally with just the radio, NPR news. Because if I play music I get captured and end up listening to it rather than working. The front half is walled off with a standard 36" door into the wood shop. Speakers facing forward, away from the door. No change in sound back in the wood shop, reduced volume, but qualitatively no change. Which TBH concerned me for a live setting, feedback issues. After using them live for the first time, it's not an issue. Just follow regular placement rules to minimize the chance and you're golden.
I know it seems like we don't know what we're doing. Countless hours on the phone and via emails working through the effects, trying to quantify what is going on in terms of accepted theory.
