In article ,
Stephen McLuckie wrote:
My comment is I don't like crossovers in the critical band. The MF
driver should handle approx 300-3kHz, IMHO. 4 octaves or so shouldn't
be a problem for a well designed driver.


What exactly do you consider the 'critical band'?

I've already given it. The part where the ear is most sensitive due to it
being the most important part of the spectrum.

The B&W Nautilus has a similar spread of crossover points. Would you
consider that a flawed design also? The Spendor SP1/2 has a 1k
crossover point (to a Scan-Speak 1.5 inch dome).

You might be forced into it with bookshelf type speakers. Not with a
larger type, though. And of course plenty of speakers are designed with
little regard to natural reproduction - after all being different is what
sells them to many.

Spendor in general stick to this rule with their larger speakers. And of
course once you go to internal multiple amplification it's rather easier
to make a decent crossover.

--
*Shin: a device for finding furniture in the dark *

Dave Plowman London SW
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Dave Plowman (News) wrote:
In article ,
Stephen McLuckie wrote:

My comment is I don't like crossovers in the critical band. The MF
driver should handle approx 300-3kHz, IMHO. 4 octaves or so shouldn't
be a problem for a well designed driver.



What exactly do you consider the 'critical band'?


I've already given it. The part where the ear is most sensitive due to it
being the most important part of the spectrum.

The part where the ear is most sensitive is not 1kHz, but 3 to 5kHz,
which - as we all know - is by far the most common crossover point in
commercial loudspeakers.

The B&W Nautilus has a similar spread of crossover points. Would you
consider that a flawed design also? The Spendor SP1/2 has a 1k
crossover point (to a Scan-Speak 1.5 inch dome).


You might be forced into it with bookshelf type speakers. Not with a larger type, though.

Force into what?

Stephen