Who is the other guy that is getting a pair of TL? Post #3487 TL going to Hawaii is me. I envy all you guys that are building a pair of TL. I asked X to made a pair for me and he said yes! His cabinet maker on the west coast in his spare time took on the project and after 5 months it was done. The package came in at 128# with 2 speakers in the box. I was happy it arrived safe. Anyway, you guys know how good the TL sounds. Let the music play.
Hi Audiostar,
Glad you received the TL's in good order! When they get settled into their new home please send us an update with photos.
The other set are going to a good friend of mine in Texas. These just got their final coat of spray enamel. They will also be burned in and stuffing adjusted with impedance sweeps.
Enjoy your new speakers!
Glad you received the TL's in good order! When they get settled into their new home please send us an update with photos.
The other set are going to a good friend of mine in Texas. These just got their final coat of spray enamel. They will also be burned in and stuffing adjusted with impedance sweeps.
Enjoy your new speakers!
Hi Plott,
You are right about the price! I went to a high end audio boutique listening room and they had me listen to the usual $13,500 B&W 802D (used in numerous famous recording studio mastering rooms according to the sales guy) and a beautiful leather clad $15,000 Sonus Faber Olympica V speaker. I wasn’t impressed with either of them when comparing them to my 10F/RS225 FAST speakers and thought they sounded rather fatiguing and the percussion was not right. They could play loud without distortion because of their high quality drivers and they had some zing to their highs but never engaged me with their dynamics and they sounded unnatural. The splashy oooh ahh wow factor was there for people to say they think they sound better. I really think a lot of it comes down to the crossover execution and aiming for a good step response that is not disjointed. Much of the beauty of the sound comes from the coherent output shared by the woofer and full range driver in the 200Hz to 3kHz range.
You are right about the price! I went to a high end audio boutique listening room and they had me listen to the usual $13,500 B&W 802D (used in numerous famous recording studio mastering rooms according to the sales guy) and a beautiful leather clad $15,000 Sonus Faber Olympica V speaker. I wasn’t impressed with either of them when comparing them to my 10F/RS225 FAST speakers and thought they sounded rather fatiguing and the percussion was not right. They could play loud without distortion because of their high quality drivers and they had some zing to their highs but never engaged me with their dynamics and they sounded unnatural. The splashy oooh ahh wow factor was there for people to say they think they sound better. I really think a lot of it comes down to the crossover execution and aiming for a good step response that is not disjointed. Much of the beauty of the sound comes from the coherent output shared by the woofer and full range driver in the 200Hz to 3kHz range.
Hi X,
great to read this! In our comparisons there were Magnepan, big B&Ws, Focal Sopra No.2, Sonus Olympica 1, just to name a few. They all sounded very good in terms of good hifi, but for me (and yes, for the others too) without emotions, they were somehow boring, I missed the liveliness, the dynamics (my friends too, and it's great). I can't wait to finish my speakers (they are now standing around without drivers, one of them is perfectly sanded, and I just started with the second one), but after the hospital I need some time for the recovery - and I must hear with my Sonus Fabers which I don't like anymore
great to read this! In our comparisons there were Magnepan, big B&Ws, Focal Sopra No.2, Sonus Olympica 1, just to name a few. They all sounded very good in terms of good hifi, but for me (and yes, for the others too) without emotions, they were somehow boring, I missed the liveliness, the dynamics (my friends too, and it's great). I can't wait to finish my speakers (they are now standing around without drivers, one of them is perfectly sanded, and I just started with the second one), but after the hospital I need some time for the recovery - and I must hear with my Sonus Fabers which I don't like anymore
I've been inspired by this thread... After buying too many Pass PCBs, I need some new speakers to use them all with...
I feel embarrassed asking such a basic question 176 pages in - but I wonder about the 10in width that seems "set" and most people are following. I was going to build some speakers previously and had a mess around with Vituix CAD. Using its baffle tool, it seems like there is not very much change between 10in wide and 12in wide - especially if you move the driver towards the top with the wider configuration.
I am just wondering why there is a particular width recommendation, but not a driver placement?
Also I'd expect more people to be offsetting the full range as far as possible?
I feel embarrassed asking such a basic question 176 pages in - but I wonder about the 10in width that seems "set" and most people are following. I was going to build some speakers previously and had a mess around with Vituix CAD. Using its baffle tool, it seems like there is not very much change between 10in wide and 12in wide - especially if you move the driver towards the top with the wider configuration.
I am just wondering why there is a particular width recommendation, but not a driver placement?
Also I'd expect more people to be offsetting the full range as far as possible?
Hi JT,
The baffle width has a minor effect on the diffraction and crossover. If you want to use the crossover I designed and be assured it works correctly, the width and driver CTC spacing is the only hard rule. You can offset the full range to the side a bit. It will reduce diffraction ripples. If you want a 12in baffle it will work most likely. Most people want a speaker to be less obtrusive. Imaging is better with a narrower baffle. But this is DIY and you can experiment as many have. Also, if you go with DSP, the crossover is your own making.
Cheers,
X
The baffle width has a minor effect on the diffraction and crossover. If you want to use the crossover I designed and be assured it works correctly, the width and driver CTC spacing is the only hard rule. You can offset the full range to the side a bit. It will reduce diffraction ripples. If you want a 12in baffle it will work most likely. Most people want a speaker to be less obtrusive. Imaging is better with a narrower baffle. But this is DIY and you can experiment as many have. Also, if you go with DSP, the crossover is your own making.
Cheers,
X
This idea doesn't apply to low diffraction baffles. Also, low diffraction baffles tend not to be narrow.
Great, thanks
And just because I’m being really lazy to search the thread… what is the correct distance between drivers?
(Baffle shape is really probably not an issue for me - just wanting to be sure. I’m going with you x over, but I’m getting familiar with Denis Sbragions DRC, so that should steamroller out baffle issues. Obviously not CTC being off though)
And just because I’m being really lazy to search the thread… what is the correct distance between drivers?
(Baffle shape is really probably not an issue for me - just wanting to be sure. I’m going with you x over, but I’m getting familiar with Denis Sbragions DRC, so that should steamroller out baffle issues. Obviously not CTC being off though)
All the crucial box and driver dimensions are on post 1. Center-to-center spacing is 7.0in.
@AllenB - yes, a low diffraction baffle like a large sphere large radius sound overs can be huge. But for two flat rectangular baffles with similar square edges, I think the narrower one images better if set out into a room vs being too close to a back wall.
@AllenB - yes, a low diffraction baffle like a large sphere large radius sound overs can be huge. But for two flat rectangular baffles with similar square edges, I think the narrower one images better if set out into a room vs being too close to a back wall.
Summary of this speaker build data and examples I posted in another thread:
Seems to be a good centralized post.
XO for 10F/8424 and RS225-8:
XO for B80 and RS225-8:
Measured Response of Sealed Box:
Measured Step Response:
TL Cabinet Plans:
TL internal passage render:
Measured Response and Harmonic Distortion of Sealed one with B80 driver:
Step response of the B80/RS225 combo:
Measured Response and Harmonic Distortion of TL (dips below 200Hz are room effects):
Measured TL cabinet Impedance before I balanced them and found an pin hole air leak on one of them (blue):
For the sealed box - plans are simple: 10in baffle width, 7.0in ctc spacing between woofer and full range, ~24L internal volume, make a rear chamber for full range using an 11in soccer sports cone stuffed with fiberglass and lined with felt or melamine foam in first 2in from mouth.
Works well with PS95-8 as fullrange too (adjust R1/R2 to match level of woofer):
Here is a neat looking bass reflex floor mount:
Here is a neat and cool rustic looking one with a TC9:
Seems to be a good centralized post.
XO for 10F/8424 and RS225-8:
XO for B80 and RS225-8:
Measured Response of Sealed Box:
Measured Step Response:
TL Cabinet Plans:
TL internal passage render:
Measured Response and Harmonic Distortion of Sealed one with B80 driver:
Step response of the B80/RS225 combo:
Measured Response and Harmonic Distortion of TL (dips below 200Hz are room effects):
Measured TL cabinet Impedance before I balanced them and found an pin hole air leak on one of them (blue):
For the sealed box - plans are simple: 10in baffle width, 7.0in ctc spacing between woofer and full range, ~24L internal volume, make a rear chamber for full range using an 11in soccer sports cone stuffed with fiberglass and lined with felt or melamine foam in first 2in from mouth.
Works well with PS95-8 as fullrange too (adjust R1/R2 to match level of woofer):
Here is a neat looking bass reflex floor mount:
Here is a neat and cool rustic looking one with a TC9: