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How about frequency response? The lowest F on a bass guitar is 42Hz, the C below that is 32Hz, and low A on an acoustic piano is 27-1/2Hz.
Ten acoustic watts will produce an additional 10dB, which, as the textbooks say, is loud enough to hurt. In a typical club environment, a speaker emitting one acoustic watt will produce a sound pressure of around 110 dB SPL onstage. And a supergroup's stadium sound reinforcement rig may produce a total of 100 to 1,000 acoustic watts, wide open.
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A typical full-size professional studio monitor will produce three acoustic watts at rated power. How loud is one acoustic watt? Well, a premium home music bookshelf speaker will generally burn out before it produces one acoustic watt continuously. That is, 100 watts of amplifier power may yield 1/2 to 5 acoustic watts of sound power. Good, wide-range speaker systems typically have an efficiency of from 1/2 to 5%. Most of the high-price juice going into a speaker cabinet winds up as heat instead of sound. As converters of electrical power, loudspeakers are generally inefficient. What we want out of a speaker is sound (acoustic power). His bottom line: “Use spec sheets as a guide, but rely primarily on your ear."įirst, let's talk about acoustic power output. His comments are all relevant and applicable though in the context of what makes a good loudspeaker for plugging your Moog synthesizer into. Others on this similar path include the legendary Bob Moog-engineer with an ear. through researching the work of the pioneering giants, application of modern physics, innovation, the use of a highly developed materials pallet and making combination and assemblies repeatable through high-precision manufacturing. So, after roughly eighty years of band-aids and increasing complexity, Zu is continuing the search for real solutions for underlying problems. The two technologies did allow for some improvement in fidelity back in the day as related to home playback. Bandwidth optimization and splitting the music also resulted in timing issues and the introduction of the loudspeaker crossover network.
Large systems able to cover the entire musical scale were made up of five horns or more. The most basic is a two horn system, bass/midrange and midrange/treble.
Since horns are bandwidth limiting, only able to cover a few octaves without introducing high levels of distortion, an array of specific horns must be built to adequately cover the musical scale. But theatrical perfection and horns don’t really fit in normal homes, and even if they did there would still be fidelity issues, even in the largest of living rooms. Western Electric and others were getting 50% efficiency with their monumental horn systems designed for the early theaters and yet hear we are nearly a hundred years latter happy with 1% efficiency in our homes. Horns are acoustic transformers, able to couple a high acoustic impedance like a dynamic driver, to the relatively low impedance of our atmosphere thereby radically improving power transfer.
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In the early days of audio, inefficient loudspeaker drivers were made much more efficient through the use of horns. Big dynamic range is realized through correct design of the driver’s motor system and the loudspeakers impedance match ratio to the room.
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Plus Scott Wright’s love letter to Moog’s friend and colleague Wendy Carlos from last year is definitely worth a read.High efficiency, big fat dynamic range, wide bandwidth. If you’re into Moog, or just utterly vital music history in general, you should definitely look up Analog Days.
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