Hi, Brandon, and welcome to AudioKarma! As you can see, we've been discussing your project and measurement data. :guitar:Hi all
One thing I've found that maybe some of you more experienced owners can help me with is do you have general setup rules of thumb for these higher DI type speakers? Being more focused I'm finding that the soundstage is more heavily dominated by speaker placement than conventional speakers.
After the inherent dynamics and low distortion of compression driver HF, the dominant characteristic of these medium-directivity (60° - 120°) speakers is their horizontal beamwidth; these are 90° nominal at -6 dB. As you can see in your polars, the frequency response is essentially constant within that listening window, but it's not as if they are dropping off a cliff at +/- 45°, as there is still output, albeit diminished, at wider angles. The more you toe them in, the more the direct field dominates the spectral balance, the more defined the soundstage, and the sharper the imaging. Calculate or locate with a mirror where the first and earliest lateral reflection is occuring and look up the response there in your polars. While it is attenuated by the greater distance, it remains a significant contributor to what you hear. Damp that location, and both the spectral and spatial character will change.
Geddes recommends minimizing the first reflection from the near sidewall with extreme (45°) toe-in and a listening position outside the triangle apex. Since you're no longer listening on the forward axis in this alignment, the image rendition zone widens considerably, which may be a bit disconcerting at first, but the lack of a pinpoint sweet spot makes for more enjoyable listening by his view. Key to the retention of spaciousness is that the earliest and strongest first reflection now comes from the OPPOSITE sidewall with low interaural cross-correlation.
Largely independent of the horizontal alignment, you are well familiar with what's happening in the vertical -- the window is narrower where the waveguide is in control, and the nulls augment or punctuate the pattern in the crossover region, in combination, minimizing the floor and ceiling bounce, which are normally the earliest and strongest reflections, and generally acknowledged as undesirable.
Basically, then, you now have control of the directivity above the crossover frequency, and can readily and reliably manipulate the variables via deployment according to your preferences; the room is largely out of the equation. :yes:
I checked some of the links, and they are all working for me. If there are any particular ones not working, let me know via PM, please.
Welcome to AudioKarma and EconoWave, Don...! :thmbsp:
390320/7440=52.4624
Last edited:
