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In fact this was the first use of hearing, as
a means of perceiving a threat in order to
survive. Frequency analysis in hearing, consistent with the evolution of speech and
music came much later. After the analysis of
the initial transient, the ear switches over
to working in the frequency domain in order to analyses timbre. In this mode, the
mode that will be used on steady state signa
ls, phase is not very important. However,
the recognition of the
initial transient and the relaxat
ion time are critical for
realism
. Anything in a sound reproduction system which corrupts the initial transient
is detrimental.
Whilst audio electronics can accurately handl
e transients, the traditional loudspeaker
destroys both the transient and the relaxation time measurement. Lack of attention to
the time domain in crossover networks lead
s to loudspeakers which reproduce a single
input step as a series of steps, one for each drive unit at different times..."

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Transient noises produce a one-off pressure step whose source is accurately and
instinctively located. If these transients are not accurately reproduced, the subconscious
direction finding mechanism is defeated. The sound becomes unrealistic, the stereophonic
image is impaired and the result is listening fatigue

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The great majority of today#8217;s loudspeakers are only designed to reproduce sustained notes
and frequently employ resonances to augment this process. From the standpoint of human
perception this is quite wrong because any resonance damages the transient response and
leads to unrealistic sound and poor imaging. Loudspeakers should be aperiodic, i.e. they
should have no resonances at all

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än att hög verkningsgrad och starka magneter är det enda rätta

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The typical loudspeaker product is designed to make money and not necessarily to provide accurate sound reproduction. Since customers prefer small, unobtrusive speakers and judge sound quality by the amount of bass that they hear and by high frequencies they had not noticed before, there is a staggering number of essentially identical designs on the market that meet these requirements at different price points. No wonder then that there is a generic loudspeaker sound and that you can always tell whether something that you hear originates from a speaker and not from a live source. The marketing departments of the different speaker manufacturers are busy to point out differentiating features and breakthrough inventions when it comes to the highest price points, but in reality box loudspeaker design has come to a the end of a road and all you will hear are slight variations on the same theme. The fundamental problems of box re-radiation and non-uniform power response in a room are at best only partially solved by these conventional designs.

Sound reproduction is about creating an auditory illusion. When the recorded sound is of real instruments or voices there is a familiar, live reference in our auditory memory. The illusion of hearing a realistic reproduction is destroyed by distortion that is added anywhere in the signal chain from microphone to loudspeaker, but the speaker is by far the biggest culprit. Every designer focuses on the on-axis frequency response as if it were the all determining distortion parameter. Sometimes great attention is paid to the phase response in an attempt to preserve waveform fidelity, which at best can only be achieved for a single listening point in space. Ignored usually, though of much greater importance, is resonance in drivers and cabinets and the slow release of stored energy that goes with it. Furthermore, the uniformity and flatness of the off-axis frequency response which we hear via room reverberation and reflections is rarely a design goal. You can check the naturalness of the timbre by listening from another room. Does it sound like a loudspeaker is playing? The imbalance in the speaker's power response between low and high frequencies destroys the illusion.

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Ignored usually, though of much greater importance, is resonance in drivers and cabinets and the slow release of stored energy that goes with it.

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Nja.. "enda rätta" är lite att ta i. Det är många andra aspekter av högtalerit som är viktiga, men just hög verkningsgrad och starka magneter är det som saknas mest i dagens konsument-hifi.

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"syftet är som sagt att efterlikna ett transistorsteg.."

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I så gott som alla tester av högeffektiva högtalare - ofta med hornladdning av ett eller fler register så skriver de lyriskt om "stampa takten", spelglädje, "svårt att sitta stilla" mm omskrivningar av just spelglädje.

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"syftet är som sagt att efterlikna ett transistorsteg.."

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Musik är ett dynamisk medium, som presenterar energin i pulser i rytmiska förlopp. Det ställer mycket större krav på just uppstart och uppbromsning av signal än en jämn fin respons på en slät enkel sinusvåg.

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Detta är ju en vanlig missuppfattning att basen ska återge transienter som är brantare än den högsta frekvensen som det är satt att arbeta vid. Prova att spela en 50 Hz fyrkantvåg och lyssna, inte är det transient fast det är branta flanker! Det låter som ett brum med kraftig distortion.

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BL: Driver motor strength.

The higher the value the stronger the motor. Given in tesla meters. Drivers with high BL values of around 30 or more have the ability to control their cones very accurately. These drivers will almost certainly have very large magnets and will weigh a lot. Note also that drivers with high BL values will normally have a low Qts value. Drivers with a low BL value of 20 or less will be less able to control their cones. These drivers will not feel as tight as those with higher BL#8217;s. They will also normally have higher Qts values of over 0.28 and while at home in ported or bandpass cabinets I call these drivers mud motors because of there slow and heavy sound with a less than perfect transient response.

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cone acceleration #915; is:

motor assembly force product divided by moving mass
flux density B multiplied by coil-in-gap length L divided by (cone plus former plus voice-coil plus suspension) mms
expressed as metres per second per second per Ampere (unit of applied current)
ms^-2.A^-1

which expresses the resolving power of the drive unit motor system while cone motion remains pistonic

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"syftet är som sagt att efterlikna ett transistorsteg.."