![]() So how to successfully scale this down to a single driver has been the most intensely researched speaker design to date with the late Babb Lorelei prototype coming closest IME. Since our acute speech hearing range is only a little over 2 octaves and most acute hearing BW is limited to ~2 octaves, this leaves plenty of design leeway on either side of the ~250-4 kHz BW since over the rest of the 10 octaves we all hear the same, yet not so much and down low the room dominates.įrom this it becomes obvious that ideally we need the < 1" driver loaded by a very large horn the pioneers came up with to cover most of the 10 octaves, relying on a large multiple woofer open baffle to cover the lows and a super tweeter horn for the extreme highs. ![]() ![]() Yeah, while the standard reference these days for speaker design is 10 octaves, drivers are basically 5 octave devices, so any extension beyond this range is some form of distortion, euphonic though it may be. *(1/ XO can at or below the ¼ wavelength of the driver centre-to-centre distance (ie drivers are effectively coincident) and 2/ one can often get away with very simple XOs that are phase preserving).Īnd one final note: if one of the compromises you have to make is budget then a decent FR will bring the most bang for the buck. So we compromise by adding a minimally evil XO, having a more complex and a more expensive system (the woofers can cost many times what the FR does). Now if you want loud or want to feed it big works one can add helper woofers and an XO that minimizes the evil* to be able to go low as you want, and free the FR of bass duty. The user can choose strengths and weaknesses that suit their needs. The compromises a FR driver designer has to choose bring us a rich range of FR drivers to choose from. With a FR we are choosing to have a single physical sound source and not to have a crossover - XOs are evil and devilishly tricky to design (a good FR driver is tricky to design too, but designers are reaching new heights all the time). The compromises one makes when choosing a FR suit many of us. Turn it up too loud or feed it big works and they can get overloaded. Speakers are hughly compromised devices and the art is in choosing which compromises to choose.Ī good FR design has a seamlessness that most multiways fail to bring. ![]() Speaker design is as much an art as it is an engineering task. ![]()
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