![]() ![]() ![]() It works, bass was tight and felt very clean and voluminous at the same time. I experienced room filling sond pressure levels, way beyond what I would like to have regularly, let alone my neighbors' undeniable interests, with pieces from Kraftwerk, Yello, Infected Mushrooms, The Residents, or more high-end-ish Marcin's "Kashmir" (truely ironic). This contradicts common wisdom and is not to be seen soon, while e/g Adam Audio and Dynaudio offer quite small 3-ways for studio use already. Paradoxically the smaller the speaker, the more desirable the midrange becomes**. But regarding your further explications, it is possible to have decent output volume with small drivers in even smaller enclosures in two steps: get rid of the port, tailor the response electronically (1) and cope with unpreventable distortions by isloating them in using a dedicated midrange driver from as low as possible (2) in a true 3-way design. Click here if you have some audio gear you want me to test.Īny donations are much appreciated using : Ĭlick to expand.The term 'reference' was used in relation to 'quality', not to level. Unibody cone construction.īinding Post Inputs: Custom 5-way binding postsįinish: Gloss Black, Walnut, and Satin WhiteĪs always, questions, comments, recommendations, etc. Non- resonant asymmetrical chamber format. Mid-Frequency Drivers: 5.5” (14cm) Woven Fiberglass cone with cast polymer basket. High Frequency Driver: 1” x 1.4” (2.6 x 3.6cm) Gen2 Obsidian Folded Motion Tweeter with 9.2 in2 (59.4 cm2) diaphragm Recommended Amplifier Power: 20 - 200 watts Tweeter Dispersion (horizontal x vertical) 90° x 90° I am going to recommend the Martin Logan B10 speaker.ĭimensions (H x W x D, with feet) 12-1/2” x 7” x 9-3/4” 31.8cm x 17.8cm x 24.8cmįrequency Response: 56 Hz - 25 kHz ± 3 dB So where we land is that we have a gorgeous looking speaker that has a good stock sound in my opinion but can be improved to be near reference quality with some EQ help. I think this has partially to do with directivity error which is harder to get the pulse of, and the goodness of very low distortion speaker in 2 to 5 kHz - something that keeps reminding you that this speaker is doing something right. I spent more time evaluating this speaker in listening section than many others. Even though measurements clearly show a couple of design compromises, figuring out their significance and audible impact was quite non-trivial. One likes to think that after testing some 300 speaker, it would be walk in the park to analyze the performance of a speaker like B10. Techno tracks though lacked enough bass response so you should consider getting a sub to go with this speaker. On sub-bass performance, those frequencies were reproduced but with mild amount of distortion which I like. Performance was very enjoyable across every reference track I throw at the B10. I spent the next half hour tuning the last two filters and where I got them was optimal across large number of reference tracks.ĭespite the plurality of filters, the overall effect is subtle but bested the stock tuning which now sounded a bit dull. Now putting in the shelving filter did the job bringing in the highs in balance. While I really like the effect of the yellow filter on lower treble, I thought speaker sounded a bit bright. I tested this by itself and it nicely increased instrument separation (much like I hear in headphones with the same problem) with better fidelity overall. That would call for line A to be correct, needing to fill in the region between 1 and 3 kHz. Both Salon 2 and M16 had a tonality balance that I was not hearing in B10.Įven though we think directivity errors are not correctable, research into room EQ shows that it is worthwhile trying to correct them. I went back and forth with my Revel Salon 2 and M106 and M16 bookshelves I have on hand for this type of testing. With the above two filters in place, the fidelity was improved slightly but still something was not optimal. My explanation for that is the we are reducing spray of harmonic distortion from the woofer which travels to high frequencies. Counterintuitively, that improved bass response in that the sound was not only more tight, but also less harsh. That causes a track or two to sound boomy. But it managed to take out a bit of harshness.Īs is typical of many speakers, there is a hump around 100 Hz which is close to a room mode I have. The result there was quite subtle due to high Q (narrowness) of the filter. So I went after pulling down that resonance. I played around with that filter for 15 to 20 minutes but no matter what I did, it just didn't improve fidelity. It made the speaker sound dull resulting in my preferring the stock result better due to that. The shelving filtering did NOT at all have the expected result. ![]()
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