So do you have hand-on experience with this driver that you can share?
One obvious challenge to using it in my build is getting my hands on a pair here in Western Canada: There is no FaitalPRO Canadian distributor or retailer. This means importation with the usual shipping, exchange rate & customs duty extra charges & delays. These will end up costing >CA$700 to land. And a sealed enclosure is not an option with it.
At TLHP, the Faital 10RS430 costs €167.68/piece if you buy 2 pieces. I don't think that would be $8-900 all taxes included. TLHP only shows the real price if you log in to the site.
Why it can't be used in sealed? If you use DSP, there are much more flexibility. Put the 10RS430 into sealed box approx. net 27-30 liters for Qtc = 0.5 and EQ it to whatever response you want. The only limit is cone excursion and/or electrical power handling of the woofer and amp power of course.
Not yet with this one. But the brand is reputable, just like quite a few other Italian ones.So do you have hand-on experience with this driver that you can share?
One obvious challenge to using it in my build is getting my hands on a pair here in Western Canada: There is no FaitalPRO Canadian distributor or retailer. This means importation with the usual shipping, exchange rate & customs duty extra charges & delays. These will end up costing >CA$700 to land. And a sealed enclosure is not an option with it.
From your list, the NE265 would be my first choice if you can get it. The Satori's would fit the bill too. But the normal SB woofers don't do mid very well. The Dayton is a typical sub but has shorting rings and crossing it around 600Hz seems viable.
Because you want to couple it to a mid dome, pick drivers with low Le, shorting rings or cap and a former that doesn't have eddy currents (Kapton or fibreglass being the usual suspects). Those tend to have the lowest midrange distortions while making noticeable excursions. That is the short story.
Good points... Can I suggest that if you want your bass mid to crossover around 500 Hz to 1,000 Hz then this is the driver...https://www.precision-devices.com/products/all-products/pd-103nr1/
Here are A couple of sims to utilise your DSP / active design... Saves money on cabinet design (lower cost than a cheap(er) driver in big box?) and acoustically superior sound from a small sealed box (time domain accurate = low distortion accurate bass) and easier to make solid and non resonant and saves desk top / studio space.
This is a single driver at max power (700 watts) it holds 105 dB SPL at 1 meter.
Here it is using 250 watts with just +/_ 4.5 mm cone travel... Holds 100 dB so a pair will hold 103 dB at 40 Hz with the driver well within its limits.
Hope thats of interest?
Cheers
A.
PS The incredible low Mms 31 g and powerful 18 Bl motor (75mm voice coil) gives a super responsive "fast*" Mms / Bl ratio of 1.7.... Very few 10 inch drivers even get close to that.
* "Fast" I dont want to go off topic but I believe as the OP wants an accurate studio monitor this is important...
In driver performance it is not just acceleration (what all heavy coned / rubber surround driver manufacturers claim...) that counts, Deceleration is equally or even more important!
How fast the driver can lose the excess energy and not continue to "bounce around" on its suspension (imagine using a rubber band for driver suspension...!! ) is vital.... Bouncing around after the music impulse has ended will sound muddy/blurry/one note bass.
I have found that there is a close correlation between sound quality and the CSD / time domain performance of a driver.
A powerful motor / low Mms / low Qts driver in a sealed box (Q around 0.5 to 0.6 and never ported/BLH/ transmission line etc as they are all inherently time delayed designs) will have a far superior sound compared to the heavy cone / rubber surround drivers...
YMMV!!
* "Fast" I dont want to go off topic but I believe as the OP wants an accurate studio monitor this is important...
In driver performance it is not just acceleration (what all heavy coned / rubber surround driver manufacturers claim...) that counts, Deceleration is equally or even more important!
How fast the driver can lose the excess energy and not continue to "bounce around" on its suspension (imagine using a rubber band for driver suspension...!!
) is vital.... Bouncing around after the music impulse has ended will sound muddy/blurry/one note bass.I have found that there is a close correlation between sound quality and the CSD / time domain performance of a driver.
A powerful motor / low Mms / low Qts driver in a sealed box (Q around 0.5 to 0.6 and never ported/BLH/ transmission line etc as they are all inherently time delayed designs) will have a far superior sound compared to the heavy cone / rubber surround drivers...
YMMV!!
Good to see the old school tag team boys are still holding on to last centuries beliefs... Go ahead boys play that old record one more time and "Release the De-bunking"
Back to the real world... I first heard this driver in a stunning in wall studio monitor covering 100 Hz to 800 Hz crossed over to ATC dome midrange (removed from previous monitors and reused) ) and twin 15 inch Volt bass (per side, so 4 in total) and Beyma TPL 200 with horn up top, simply was blown away... Just no words can do that system can do on live feed and masters.
The interesting part was before they had installed the Volt subs (6 months delivery time during Covid) they used the 10 inch PD driver all the way down... Much lower SPLs (still over 100 dB SPL t the 2 meter listening seat) but beautifully layered and textured bass ... Everything from Techno synth, kick drum was amazing and even Cello and bowed upright bass had such detail and life... I knew then something special was going on with that driver/loading/crossover (huge AVID desk with dedicated server running all sorts of software and Smaart Live)
... Above my pay grade!
So, to answer your poorly judged question... Yes, "I am serious".
Now I understand you, the globally successful and international award winning driver manufacturer.... Oh no sorry thats Precision Devices... mark, maybe you should go "debunk" them and teach them how to design a driver which meets your design criteria... Good luck with that.
Back to the real world... I first heard this driver in a stunning in wall studio monitor covering 100 Hz to 800 Hz crossed over to ATC dome midrange (removed from previous monitors and reused) ) and twin 15 inch Volt bass (per side, so 4 in total) and Beyma TPL 200 with horn up top, simply was blown away... Just no words can do that system can do on live feed and masters.
The interesting part was before they had installed the Volt subs (6 months delivery time during Covid) they used the 10 inch PD driver all the way down... Much lower SPLs (still over 100 dB SPL t the 2 meter listening seat) but beautifully layered and textured bass ... Everything from Techno synth, kick drum was amazing and even Cello and bowed upright bass had such detail and life... I knew then something special was going on with that driver/loading/crossover (huge AVID desk with dedicated server running all sorts of software and Smaart Live)
... Above my pay grade!
So, to answer your poorly judged question... Yes, "I am serious".
Now I understand you, the globally successful and international award winning driver manufacturer.... Oh no sorry thats Precision Devices... mark, maybe you should go "debunk" them and teach them how to design a driver which meets your design criteria... Good luck with that.
@Hydrogen Alex - I may have been too flippant. Sorry if it came across as snarky.
People can hear a qualitative difference in bass performance between speakers, that much is obvious. Some bass sounds are percussive and highly dynamic, such as kick drum, electric bass, plucked double bass. With such sounds, some speakers give the impression of being slow or sluggish. Other speakers give the impression of being closer to the original sound, more real. People like to use the term “fast” to describe this impression.
The cone of the bass driver undergoes the full swing of velocity and acceleration with each cycle it makes. It fully accelerates to full velocity in one direction, then fully accelerates to full velocity in the other direction. If two speakers with the same Sd are playing a 40 Hz tone at the same dB SPL, both are radiating the same energy, both cones are experiencing the same velocity and acceleration. There is no difference in speed or acceleration between the two, even if one sounds slow and the other fast. The higher the SPL, the higher the acceleration and velocity.
A transient bass sound with a peak SPL of 100 dB does not require more cone acceleration or velocity than a steady state sound of 100 dB. As the sound builds up in SPL, the acceleration increases. When a bass driver recreates a percussive, dynamic sound, the maximum velocity and acceleration is NOT at the start of the sound, but when the sound reaches max SPL and begins to decay.
So what does this mean? When we hear fast bass and slow bass, we are definitely hearing something. There is some difference in performance between the two, and the words "fast" and "slow" seem to capture the impression of what we hear. But it is not actually about cone speed. I think it is a mistake to focus on the physics of the cone acceleration as a cause or source of the perceived difference. If we focus on things such as Bl or Mms, we may miss the true underlying cause.
j.
People can hear a qualitative difference in bass performance between speakers, that much is obvious. Some bass sounds are percussive and highly dynamic, such as kick drum, electric bass, plucked double bass. With such sounds, some speakers give the impression of being slow or sluggish. Other speakers give the impression of being closer to the original sound, more real. People like to use the term “fast” to describe this impression.
The cone of the bass driver undergoes the full swing of velocity and acceleration with each cycle it makes. It fully accelerates to full velocity in one direction, then fully accelerates to full velocity in the other direction. If two speakers with the same Sd are playing a 40 Hz tone at the same dB SPL, both are radiating the same energy, both cones are experiencing the same velocity and acceleration. There is no difference in speed or acceleration between the two, even if one sounds slow and the other fast. The higher the SPL, the higher the acceleration and velocity.
A transient bass sound with a peak SPL of 100 dB does not require more cone acceleration or velocity than a steady state sound of 100 dB. As the sound builds up in SPL, the acceleration increases. When a bass driver recreates a percussive, dynamic sound, the maximum velocity and acceleration is NOT at the start of the sound, but when the sound reaches max SPL and begins to decay.
So what does this mean? When we hear fast bass and slow bass, we are definitely hearing something. There is some difference in performance between the two, and the words "fast" and "slow" seem to capture the impression of what we hear. But it is not actually about cone speed. I think it is a mistake to focus on the physics of the cone acceleration as a cause or source of the perceived difference. If we focus on things such as Bl or Mms, we may miss the true underlying cause.
j.
I should have said something more...
If it is not about cone speed, what is it about? I have some speculations, but honestly I am not sure, and I doubt anyone really knows with certainty.
@Hydrogen Alex --
Interesting concept & product. If your projections with "AJ Sealed Designer" (??) are correct, your approach of applying lots of EQ boost to bring up the bass would work.
Most responders so far seem to think going lower than 500Hz with the ja0801 dome is not good, that going higher is better. 🤔 Call it bias: The idea of a 10" driver producing piano treble notes at 5' distance just seems wrong to me. But I'm open to trying & learning.
I rigged up a spare 18mm BB plywood box to try the ne265w and Dayton 10 sub driver in a sealed <2 sq ft volume mostly filled with poly yesterday. Powered with just 40W/ch, using minidsp 2x4 HD, ran REW sweeps to 1khz, some manual bass EQ, tried crossing over 400~700Hz LR2 & LR4 to the ja0801 dome atop the 2' tall box. I was 5' away, seated on a low stool. No images to share yet.
Very casual short first impressions...
The box has a resonance or 2 that needs addressing, but the overall sound of either duo (of drivers) at any crossover setting is not bad. A 5 dB low shelf at 70 Hz is enough to bring up F3 to <40 Hz. With the bass drivers almost at the floor, audible differences seem small. Keeping THD under 10% at 100 dB might be a challenge with either driver. Too early to express preferences.
The Yamaha dome benefits from a high shelf lift around 7-8khz. In a pinch, a tweeter to cover >10khz isn't critical; it has tremendous presence, dynamics & detail almost enough to compensate for the absence at the very top. Very low distortion, didn't check at 500 Hz tho.
Interesting concept & product. If your projections with "AJ Sealed Designer" (??) are correct, your approach of applying lots of EQ boost to bring up the bass would work.
Most responders so far seem to think going lower than 500Hz with the ja0801 dome is not good, that going higher is better. 🤔 Call it bias: The idea of a 10" driver producing piano treble notes at 5' distance just seems wrong to me. But I'm open to trying & learning.
I rigged up a spare 18mm BB plywood box to try the ne265w and Dayton 10 sub driver in a sealed <2 sq ft volume mostly filled with poly yesterday. Powered with just 40W/ch, using minidsp 2x4 HD, ran REW sweeps to 1khz, some manual bass EQ, tried crossing over 400~700Hz LR2 & LR4 to the ja0801 dome atop the 2' tall box. I was 5' away, seated on a low stool. No images to share yet.
Very casual short first impressions...
The box has a resonance or 2 that needs addressing, but the overall sound of either duo (of drivers) at any crossover setting is not bad. A 5 dB low shelf at 70 Hz is enough to bring up F3 to <40 Hz. With the bass drivers almost at the floor, audible differences seem small. Keeping THD under 10% at 100 dB might be a challenge with either driver. Too early to express preferences.
The Yamaha dome benefits from a high shelf lift around 7-8khz. In a pinch, a tweeter to cover >10khz isn't critical; it has tremendous presence, dynamics & detail almost enough to compensate for the absence at the very top. Very low distortion, didn't check at 500 Hz tho.
Harmonic (or other type of) distortion at work? That low xmax "woofer" probably distorts a lot if it needs to deliver deep and loud bass.
In response to hifijim's post #35.
I remember exchanging a soft (failling) foam surround on a Dynaudio 24W75 for a stiffer one.
New Fs was higher and bass quality was considerably different. It became drier
and more punchy. I should think for the better. And I also remember how everyone and always
recommended to get one that would mimic original surround specs in order to keep the same
quality.
I remember exchanging a soft (failling) foam surround on a Dynaudio 24W75 for a stiffer one.
New Fs was higher and bass quality was considerably different. It became drier
and more punchy. I should think for the better. And I also remember how everyone and always
recommended to get one that would mimic original surround specs in order to keep the same
quality.
The "fast" attack of a slapped or plucked bass has lots of high frequency content. That will be reproduced by midrange/tweeter. If their integration is good it sounds "fast" (or correct).
Thanks Jim, thats ok, I sometimes jump in "too hot" as well!
Sorry if this is a long A** post but ...
I wont (re) post my explanations over the years but in summary they all center around the critical importance of time domain accuracy in transducers and loudspeaker systems... So without repetition, hesitation or deviation...
We are dealing with tiny amounts of energy here... Fractions of a small amount, but they are vital!
Can we agree some basics on energy:
(1) Energy can not be destroyed, energy is always conserved, energy can only be stored or converted or used to do "work"
(2) Can we agree different drivers have different efficiency / sensitivity?
(3) Regarding back EMF or the amplifiers ability to "control" the driver... There is some "heated" (excuse the pun!) debate and many technical papers and opinions... Suffice to say I agree with the opinion that the amplifier does not "re-absorb" all the excess power it dumps into the driver and most amplifiers have little or no "damping" effect on the driver.
Expanding a little on this:
An average "audiophile" (heavy cone/rubber surround/low Bl) driver has a sensitivity (lets assume efficiency and sensitivity are same here) of approx 1.5%.
A Pro audio version might have a sensitivity of 4.5% ie 200% more sensitive!
So when an amplifier delivers 100 watts into the driver some basics happen:
(1) The driver cone/suspension moves and generates sound by moving the cone in and out creating compression and rarefaction of the air ie It increases and decreases the air pressure.
(2) The driver voice coil gets warm/hot/very hot depending on how much power is being applied.
(3) The driver suspension/moving parts get warm (friction) ie dissipates energy.
If a driver is 1.5% sensitive then only 1.5 watts are used to generate sound... The remaining 98.5 watts are dissipated as heat and friction .
If a driver is 4.5% sensitive then only 4.5 watts are used to generate sound... The remaining 95.5 watts are dissipated as heat and friction .
The vast majority of heat and friction is dissipated by the voice coil (huge amount of info on this on line) with a small (but vital) amount of energy being dissipated by the suspension /moving parts creating frictional heat as the cone "bounces around on its suspension"
Two key points:
(a) The heavier the mass requires more energy to accelerate it to the same velocity as the lighter mass and now it must dissipate this energy through friction and over time by oscillation (as all "mass on a spring" systems do by bouncing around... The more energy it contains the longer it bounces around... CSD plots show this clearly.
(b) The lighter mass (the more sensitive driver in this case) has 200% less energy to dissipate as it is 200% more sensitive. Now this is 200% of a small amount of energy, but it is the only energy that effects sound quality...! (Lets assume power compression / VC overheating is only a sound quality issue at very high SPL's.)
I hope the above is not too controversial to warrant a broadside from the "De-bunking" brigade but hey ho, I'm not bothered by audio flack
IF (!) anyone agrees with my explanation so far then...
Your quote:
"The cone of the bass driver undergoes the full swing of velocity and acceleration with each cycle it makes. It fully accelerates to full velocity in one direction, then fully accelerates to full velocity in the other direction. "
That is what is supposed to happen... What actually happens is totally different... No cone even approaches "Pistonic" movement within the required time frame ie fractions of a millisecond.... Yes the cone remains "on axis" ie moving in and out mimicking pistonic motion but it is not start the STOP... It is start then long long long time of energy dissipation... Imagine if the pistons in your engine responded to the energy input (the exploding fuel /air) like an audio driver... "Bang" there is the explosion over in a fracton of a millisecond... But wait the pistons are continuing to be pistonic for 10 or 20 or 100 times that amount of time... But wait again... There is now more fuel being injected and the pistons have not yet stopped moving from the last explosion... OMG the timing is out... "She's gonna blow Captain..." One for Jim!
Your quote:
"If two speakers with the same Sd are playing a 40 Hz tone at the same dB SPL, both are radiating the same energy..."
No! They can generate the acoustic energy/SPL peak (ie what your SPL meter or mic will detect) but they do NOT radiate the same energy! (see above)
Your quote:
"Both cones are experiencing the same velocity and acceleration. There is no difference in speed or acceleration between the two, even if one sounds slow and the other fast. The higher the SPL, the higher the acceleration and velocity."
Agreed! But that is (a) not important and (b) not the issue... Speed is frequency (Hz) and acceleration is efficiency.... Neither "define" sound quality... Or to be more accurate neither affect the sound quality assuming you can supply enough watts of power to accelerate the mass to move fast enough to generate the desired frequencies.
We dont "hear" the amount of watts it takes to generate a peak SPL... But we DO HEAR the distortion or "ghost echoes" as a low sensitivity driver has to "bounce around on its spring" dissipating excess energy that a high sensitive driver does not have to dissipate as this excess energy was not required in the first place to generate the same SPL...!!!!!!!!
"A transient bass sound with a peak SPL of 100 dB does not require more cone acceleration or velocity than a steady state sound of 100 dB."
This is a really great one...!!!
(1) There is no such thing as a steady state in sound.... Not in human hearing, or in any living creature, NOT EVER!! To be more accurate... Steady state sound only exits in labs on oscilloscopes...Sine waves do not exist in nature... Can you show me an ear drum of any living creature which is permanently pushed in ie in a permanent or "steady state" of compression... Or a permanent state of rarefaction ie permanently "sucked out" (Ooops!)
All "natural sounds" are made up of three parts:
(a) An increase in air pressure.
(b) A decrease in air pressure
(c) A time period in which these two pressure differentials stabilise back to ambient air pressure.
The Human Auditory System (HAS) is built upon and dependent on analysing the time differences between arrival times and the duration of these increases/decreases in air pressure...
The HAS can detect astonishingly small gaps in time (circa 10 to 20 microseconds) and uses this ability to detect where sounds are located in 3D space... The fight or flight mechanism.
Natural sounds are just a series of pulses ie An "On" Compression followed by an "Off" rarefaction ... But the key and critical part in between is how long a time period separates there two events...Good god, as I read my own words its almost like digital Vs analog except digital is nature and analog is an oscilloscope!
Your quote:
"As the sound builds up in SPL, the acceleration increases. When a bass driver recreates a percussive, dynamic sound, the maximum velocity and acceleration is NOT at the start of the sound, but when the sound reaches max SPL and begins to decay."
Not sure what your point is here? I think you are trying to describe the composition of sound... I believe I have done this more accurately in my descriptions above?!
Your quote:
"So what does this mean? When we hear fast bass and slow bass, we are definitely hearing something."
Agreed.
Your quote;
"There is some difference in performance between the two, and the words "fast" and "slow" seem to capture the impression of what we hear."
Agreed.
Your quote:
"But it is not actually about cone speed.
Agreed.
Your quote:
" I think it is a mistake to focus on the physics of the cone acceleration as a cause or source of the perceived difference.
I 100% disagree!!
Your quote:
"If we focus on things such as Bl or Mms, we may miss the true underlying cause."
I disagree!
Well that wasn't too painful now was it!
Free speech and open debate is the life blood of progress... " Even although I couldn't disagree with you more strongly, I will defend your right to state your case with my last breath" Sir Winston Churchill 1938.
Sorry if this is a long A** post but ...
I wont (re) post my explanations over the years but in summary they all center around the critical importance of time domain accuracy in transducers and loudspeaker systems... So without repetition, hesitation or deviation...
We are dealing with tiny amounts of energy here... Fractions of a small amount, but they are vital!
Can we agree some basics on energy:
(1) Energy can not be destroyed, energy is always conserved, energy can only be stored or converted or used to do "work"
(2) Can we agree different drivers have different efficiency / sensitivity?
(3) Regarding back EMF or the amplifiers ability to "control" the driver... There is some "heated" (excuse the pun!) debate and many technical papers and opinions... Suffice to say I agree with the opinion that the amplifier does not "re-absorb" all the excess power it dumps into the driver and most amplifiers have little or no "damping" effect on the driver.
Expanding a little on this:
An average "audiophile" (heavy cone/rubber surround/low Bl) driver has a sensitivity (lets assume efficiency and sensitivity are same here) of approx 1.5%.
A Pro audio version might have a sensitivity of 4.5% ie 200% more sensitive!
So when an amplifier delivers 100 watts into the driver some basics happen:
(1) The driver cone/suspension moves and generates sound by moving the cone in and out creating compression and rarefaction of the air ie It increases and decreases the air pressure.
(2) The driver voice coil gets warm/hot/very hot depending on how much power is being applied.
(3) The driver suspension/moving parts get warm (friction) ie dissipates energy.
If a driver is 1.5% sensitive then only 1.5 watts are used to generate sound... The remaining 98.5 watts are dissipated as heat and friction .
If a driver is 4.5% sensitive then only 4.5 watts are used to generate sound... The remaining 95.5 watts are dissipated as heat and friction .
The vast majority of heat and friction is dissipated by the voice coil (huge amount of info on this on line) with a small (but vital) amount of energy being dissipated by the suspension /moving parts creating frictional heat as the cone "bounces around on its suspension"
Two key points:
(a) The heavier the mass requires more energy to accelerate it to the same velocity as the lighter mass and now it must dissipate this energy through friction and over time by oscillation (as all "mass on a spring" systems do by bouncing around... The more energy it contains the longer it bounces around... CSD plots show this clearly.
(b) The lighter mass (the more sensitive driver in this case) has 200% less energy to dissipate as it is 200% more sensitive. Now this is 200% of a small amount of energy, but it is the only energy that effects sound quality...! (Lets assume power compression / VC overheating is only a sound quality issue at very high SPL's.)
I hope the above is not too controversial to warrant a broadside from the "De-bunking" brigade but hey ho, I'm not bothered by audio flack
IF (!) anyone agrees with my explanation so far then...
Your quote:
"The cone of the bass driver undergoes the full swing of velocity and acceleration with each cycle it makes. It fully accelerates to full velocity in one direction, then fully accelerates to full velocity in the other direction. "
That is what is supposed to happen... What actually happens is totally different... No cone even approaches "Pistonic" movement within the required time frame ie fractions of a millisecond.... Yes the cone remains "on axis" ie moving in and out mimicking pistonic motion but it is not start the STOP... It is start then long long long time of energy dissipation... Imagine if the pistons in your engine responded to the energy input (the exploding fuel /air) like an audio driver... "Bang" there is the explosion over in a fracton of a millisecond... But wait the pistons are continuing to be pistonic for 10 or 20 or 100 times that amount of time... But wait again... There is now more fuel being injected and the pistons have not yet stopped moving from the last explosion... OMG the timing is out... "She's gonna blow Captain..." One for Jim!
Your quote:
"If two speakers with the same Sd are playing a 40 Hz tone at the same dB SPL, both are radiating the same energy..."
No! They can generate the acoustic energy/SPL peak (ie what your SPL meter or mic will detect) but they do NOT radiate the same energy! (see above)
Your quote:
"Both cones are experiencing the same velocity and acceleration. There is no difference in speed or acceleration between the two, even if one sounds slow and the other fast. The higher the SPL, the higher the acceleration and velocity."
Agreed! But that is (a) not important and (b) not the issue... Speed is frequency (Hz) and acceleration is efficiency.... Neither "define" sound quality... Or to be more accurate neither affect the sound quality assuming you can supply enough watts of power to accelerate the mass to move fast enough to generate the desired frequencies.
We dont "hear" the amount of watts it takes to generate a peak SPL... But we DO HEAR the distortion or "ghost echoes" as a low sensitivity driver has to "bounce around on its spring" dissipating excess energy that a high sensitive driver does not have to dissipate as this excess energy was not required in the first place to generate the same SPL...!!!!!!!!
"A transient bass sound with a peak SPL of 100 dB does not require more cone acceleration or velocity than a steady state sound of 100 dB."
This is a really great one...!!!
(1) There is no such thing as a steady state in sound.... Not in human hearing, or in any living creature, NOT EVER!! To be more accurate... Steady state sound only exits in labs on oscilloscopes...Sine waves do not exist in nature... Can you show me an ear drum of any living creature which is permanently pushed in ie in a permanent or "steady state" of compression... Or a permanent state of rarefaction ie permanently "sucked out" (Ooops!)
All "natural sounds" are made up of three parts:
(a) An increase in air pressure.
(b) A decrease in air pressure
(c) A time period in which these two pressure differentials stabilise back to ambient air pressure.
The Human Auditory System (HAS) is built upon and dependent on analysing the time differences between arrival times and the duration of these increases/decreases in air pressure...
The HAS can detect astonishingly small gaps in time (circa 10 to 20 microseconds) and uses this ability to detect where sounds are located in 3D space... The fight or flight mechanism.
Natural sounds are just a series of pulses ie An "On" Compression followed by an "Off" rarefaction ... But the key and critical part in between is how long a time period separates there two events...Good god, as I read my own words its almost like digital Vs analog except digital is nature and analog is an oscilloscope!
Your quote:
"As the sound builds up in SPL, the acceleration increases. When a bass driver recreates a percussive, dynamic sound, the maximum velocity and acceleration is NOT at the start of the sound, but when the sound reaches max SPL and begins to decay."
Not sure what your point is here? I think you are trying to describe the composition of sound... I believe I have done this more accurately in my descriptions above?!
Your quote:
"So what does this mean? When we hear fast bass and slow bass, we are definitely hearing something."
Agreed.
Your quote;
"There is some difference in performance between the two, and the words "fast" and "slow" seem to capture the impression of what we hear."
Agreed.
Your quote:
"But it is not actually about cone speed.
Agreed.
Your quote:
" I think it is a mistake to focus on the physics of the cone acceleration as a cause or source of the perceived difference.
I 100% disagree!!
Your quote:
"If we focus on things such as Bl or Mms, we may miss the true underlying cause."
I disagree!
Well that wasn't too painful now was it!
Free speech and open debate is the life blood of progress... " Even although I couldn't disagree with you more strongly, I will defend your right to state your case with my last breath" Sir Winston Churchill 1938.
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