Digression, but I wonder why they show the graph up to 60khz.
Guess to show how high the first break up mode is pushed by the expensive tweeters.Digression, but I wonder why they show the graph up to 60khz.
It's the horrendous resonance that makes these speakers sound like music.Hi-Fi News continue their crusade to only measure really awful loudspeakers, good to see them sticking by their guns, this week a Devore something or other £10k , FR isn’t too bad but … and they might have got away with it but for that pesky resonance.
KeithDeVore Fidelity O/93 Loudspeaker Lab Report
Lab Report Sharing the same 28mm silk dome tweeter and similar 250mm pulp-coned bass/mid driver with the O/96 [HFN Apr '21] means there are parallels between this latter model and the lower sensitivity O/93. 'Lower' is not 'low', however, for DeVore still rates the O/93 at a high 93dB/1W/1m...www.hifinews.com
You’ve heard them?It's the horrendous resonance that makes these speakers sound like music.
No, I haven't heard them, and I was being facetious.You’ve heard them?
No, I haven't heard them, and I was being facetious.
But some speaker companies, such as DeVore and Audio Note UK, tout resonance in cabinets as a virtue that makes their speakers sound more like real musical instruments. That, of course, is silly.
I have heard Audio Note UK speakers, and they are not good.
Possibly due to their lively cabinetsYet when I played certain piano tracks on the Devore O/96 or O/93, it was the first time I had the sense of piano keys striking a resonating body of the instrument.
On the contrary:Devore doesn't really tout it's resonances.
How about the wood speaker's enclosures vs other materials? Why do you prefer wooden chassis over other materials?
As above--materials have a sound, and likewise enclosure tuning techniques have a sound. I've never been a fan of massive over-damped cabinets, I find they need to be played loud to "wake up" and require a lot of amplifier power. All my designs are medium mass and employ careful tuning of panels rather than critical damping--and this imparts a livelier quality to the sound, energizing a listening room more like real instruments do. [. . .]
On the contrary:
Exclusive interview with John DeVore - DeVore Fidelity
Mono & Stereo High-End Audio Magazine: Magico - Nagra - Tidal Audio - Wilson Audio - MSB - Totaldac - Living Voice - Taiko Audio - Aries Cerat -Thraxwww.monoandstereo.com
The only problem is that such "effect generators" usually don't work equally well for other recordings and instruments.
'Batman Emerges'. They sort of shifted him up the FR a bit compared to other Dark Knight inspired speakers, but he's there.Hi-Fi News continue their crusade to only measure really awful loudspeakers, good to see them sticking by their guns, this week a Devore something or other £10k , FR isn’t too bad but … and they might have got away with it but for that pesky resonance.
KeithDeVore Fidelity O/93 Loudspeaker Lab Report
Lab Report Sharing the same 28mm silk dome tweeter and similar 250mm pulp-coned bass/mid driver with the O/96 [HFN Apr '21] means there are parallels between this latter model and the lower sensitivity O/93. 'Lower' is not 'low', however, for DeVore still rates the O/93 at a high 93dB/1W/1m...www.hifinews.com
I will say that Onkyo makes the same comments.But some speaker companies, such as DeVore and Audio Note UK, tout resonance in cabinets as a virtue that makes their speakers sound more like real musical instruments. That, of course, is silly.
Ah, thanks!
I know the resonances are there, and that Devore knows it and is fine with it since the end result is what he wanted to hear. But I'd forgotten that he spoke that directly about the contribution of the resonances.
In any case...I guess he knows what he's doing then
And as I mentioned, I disagree with your conclusion that it is "silly" that resonance or coloration in a speaker design can make things sound more like real instruments.
If we are talking about the accurate or realistic reproduction of instruments, ideally of course there would be no necessary contribution from the speaker. It would be invisible. But that would presume first that what the speaker is being fed is perfectly representative of the real thing (e.g. the recording). But given the often lossy quality of recordings most recorded instruments will be lacking compared to the real thing in various ways. Among them, I find most instrument reproduction on consumer-sized speakers to be reductive and lacking the body and richness of the real thing.
A speaker that adds back in a sense of body, density and presence via cannily integrated resonances therefore can, in principle, recreate *some* of the characteristics of the real thing.
That's exactly what I found to be the case with the Devore speakers in many instances. That includes drums as well.
That's certainly the reasonable intuition. This idea that a subtle but audible coloration will only make X or Y sound good, but other things not so much.
But then...that's precisely the situation we are in with respect to recordings. If you have the most accurate system in the world, you are going to hear recordings of voices and various instruments sounding more natural on some tracks, less so on others. So...it's not like one gets out of this problem.
So it comes down to the individual and whether he/she finds the coloration makes a majority of what he listens to more enjoyable or not.
Personally I auditioned the Devore speakers numerous times and played everything from jazz, R&B, Symphonic, Pop, Electronica, Funk etc and I found the richness and presence on those speakers were enjoyable through all those recordings.
Most of the time I found the added richness was very well integrated, not obvious but just producing sounds that seemed a bit more real or enjoyable. However on other stuff, for instance a recording of Johnny Cash's voice, which my Thiels rendered very accurately, there was a bit of obvious added emphasis, a bit more chestiness to his voice. It was already a rich recording so it didn't need any more. On the other hand, I found other voices seemed to benefit from that added richness, giving the vocalists a more compelling corporeal presence. So, again...some vocals sound better, some worse, but that is also the case on an accurate system given the variation in recordings.
People, please post the source/links too, for above measurements
3kHz sucks. Everybody knows that.what have PS Audio got against 3Khz? Some sort of vendetta? Does music sound better with that frequency removed?
There's apparently some support for this notion.3kHz sucks. Everybody knows that.
1.2K-3.5K -- Is nearing the end of the midrange and creeping up on treble. Hi-fi gear that emphasizes or de-emphasizes this area will impart either a forwardness that may become aggressive or conversely have a very relaxed sounding nature. 3K is usually considered the center of where our ears measure as the most sensitive. Screaming infants and screechy car breaks OWN 3K.