No. I didn't.
For me, these measurements were just part of an attempt to study how to take angular frequency response measurements. Hence I just stopped at that.
However, once my actual cabinets and horn for this driver are ready, I intend to redo the measurements for the driver again and also take more detailed measurements including distortion, if possible.
That said, I did cross them over to a Satori WO24P-8 driver at 1kHz (with errors in crossover design
) but still found the combination very nice sounding.Details here: https://www.diyaudio.com/community/threads/a-3-way-design-study.376620/post-6994559
Thanks
Vineeth
BMS 4590 looks really impressive yes. Then you still need to find a big horn that goes down and doesn't disturb the upper response. As I like cheap 4524, I am sure the upper driver is at least as good.
Tad 2001 was famous for being able to play 500-20k in appropriate horn for home use.
Not coaxial but slightly compact, a 6.5 waveguided cone speaker with a 1" compression driver on top can be considered.
Tad 2001 was famous for being able to play 500-20k in appropriate horn for home use.
Not coaxial but slightly compact, a 6.5 waveguided cone speaker with a 1" compression driver on top can be considered.
I have to make an additional comment about the CSD measurements with CLIO posted here from me. I have noticed afterwards that the CSD behavior under about 1200 Hz depends from the microphone distance. No good transient behavior with more than 8 inch or 20 cm distance, the room begins to make the difference and not the horn and the driver anymore. The frequency response over all on the other hand becomes less accurate when you come to close to the horn with the microphone.
After a good comment from the forum administrator of the VISATON forum here my latest findings for a good comparison of the quality of the driver horn combination. Waterfall diagram with wavelet cycle decay view and not the standard cumulative spectral decay view
1. Eighteensound 1095N driver Visaton HT21 horn 50 cm microphone distance horn shows to ceiling of 320 cm height
2. Visaton DR45N driver Eighteensound XT1086 horn 50 cm against ceiling like 1.
3. NSD1095N with 4,5 inch wooden horn nearfield 20 cm
4. 18sound NSD1480N 18sound XR1496 alu horn 20 cm nearfield
5. 18sound NSD1480N 18sound XT1464 elliptic horn nearfield 20 cm
Visaton DR45N driver Visaton HT21 horn - 100 cm distance - too far - room decay and not horn decay
1. Eighteensound 1095N driver Visaton HT21 horn 50 cm microphone distance horn shows to ceiling of 320 cm height
2. Visaton DR45N driver Eighteensound XT1086 horn 50 cm against ceiling like 1.
3. NSD1095N with 4,5 inch wooden horn nearfield 20 cm
5. 18sound NSD1480N 18sound XT1464 elliptic horn nearfield 20 cm
Visaton DR45N driver Visaton HT21 horn - 100 cm distance - too far - room decay and not horn decay
Hello Pano, good question! I have taken the first answer to this from the CLIO pocket survival guide:
We might be interested in looking at resonances in terms of cycles instead of time. This will better highlight resonances at high frequency, where the CSD could not reveal such short time artifacts. In the Wavelet Cycle Decay the energy decay of a system is analyzed using Wavelet Analysis. The result can be interpreted as running a bank of constant Q band-pass filters and then looking at the energy decay for each calculated band. The results are then plotted using cycles instead of time. They do not explain in detail why the lines are diagonal, at least when the export to jpg is done. I have put a capture from the original view of the woodhorn WCD here:
We might be interested in looking at resonances in terms of cycles instead of time. This will better highlight resonances at high frequency, where the CSD could not reveal such short time artifacts. In the Wavelet Cycle Decay the energy decay of a system is analyzed using Wavelet Analysis. The result can be interpreted as running a bank of constant Q band-pass filters and then looking at the energy decay for each calculated band. The results are then plotted using cycles instead of time. They do not explain in detail why the lines are diagonal, at least when the export to jpg is done. I have put a capture from the original view of the woodhorn WCD here:
Hey there.
Starting to listen to my brand new hf108r on sth100, 1500 hz crossover. Below is custom waveguide with 165mm driver. Ordered a pair of phl 1140 to try to match the very well controlled damping of these CDs...
Anyway I'm quite bluffed by the sound quality, it's like having a perfect dome with the energy and control of a CD plus horn. Zéro agressivity or weird stuff.
Measures with ecm800 (in the middle of horn and miss at 50cms) shows a roll-off starting gently from 12khz but I guess it looks a little bit like those published by dickanson.
Starting to listen to my brand new hf108r on sth100, 1500 hz crossover. Below is custom waveguide with 165mm driver. Ordered a pair of phl 1140 to try to match the very well controlled damping of these CDs...
Anyway I'm quite bluffed by the sound quality, it's like having a perfect dome with the energy and control of a CD plus horn. Zéro agressivity or weird stuff.
Measures with ecm800 (in the middle of horn and miss at 50cms) shows a roll-off starting gently from 12khz but I guess it looks a little bit like those published by dickanson.
Some German littérature that could be interesting
https://usermanual.wiki/Pdf/Fphf10AkaFaitalProTestberichtKlangUndTonDe.1089883785.pdf
Hf10ak on sth100
https://usermanual.wiki/Pdf/Fphf10AkaFaitalProTestberichtKlangUndTonDe.1089883785.pdf
Hf10ak on sth100
