Truextent 4" diaphragms available soon
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www.truextent.com
for more info
Deleted was a detailed comparison between a JBL 476BE and a JBL 2451 equipped with truextent diaphragm. Both on an Everest 2 horn clone.
Plus a short distance picture of a truextent diaphragm.
5 Attachment(s)
As requested by many PM's
It's easier this way
The graphs are similar on H9800 or H4338 Horns.
Oh, these diaphragms are NOT pricey. Put them in a nice 1,5" JBL Driver and you end up with an absolute SOTA Driver. WORLD CLASS.
More-transparent speakers & professional cables illuminate system defects
Quote:
Originally Posted by
Ian Mackenzie
there is no free lunch and the more transparent the driver, the more flaws it will illuminate from the lesser quality mass market electronics. Therefore, unless you have the means to upgrade the entire signal path to [any] driver don't expect a miracle.
Well said, Ian Mackenzie; this also applies, especially in very low audio frequency transmissions & sub woofer speaker performance. It also severely impacts evaluation & comparison procedures of conventional wire against professional quality speaker cables and interconects. To begin with, conventional wire generates "phase shift-non linearity" & "phase shift-distortion", two distinct entities, which generate smearing of complex audio signals and increase of transmission delay time inversely proportional to the signal frequency. Phase Shift is related to Group Delay.
Group delay in the audio field from Wikipedia, the free encyclopedia
Group delay is a measure of the transit time of a signal through a device under test (DUT), versus frequency. Group delay is a useful measure of phase distortion, and is calculated by differentiating the insertion phase...
en.wikipedia.org/wiki/Group_delay_and_phase_delay - Cached
Group delay is a useful measure of phase distortion, and is calculated by differentiating the insertion phase...Group delay has some importance in the audio field and especially in the sound reproduction field. Many components of an audio reproduction chain, notably loudspeakers and multiway loudspeakers crossover networks, introduce group delay in the audio signal. It is therefore important to know the threshold of audibility of group delay with respect to frequency, especially if the audio chain is supposed to provide a high fidelity reproduction. At the time of writing no extensive data is available, and the concept is often treated by "rule of thumb" or based on hunches and received wisdom. The best thresholds of audibility table below has been provided by Blauert and Laws:
FrequencyThreshold
500 Hz 3.2 ms
1 kHz 2 ms
2 kHz 1 ms
4 kHz 1.5 ms
8 kHz 2 ms
The table above has been published into the following article:
Blauert, J. and Laws, P "Group Delay Distortions in Electroacoustical Systems", Journal of the Acoustical Society of America, Volume 63, Number 5, pp. 1478–1483 (May 1978)
With professional cables correctly implemented, illumination of system components defects does facilitate the ability to locate & identify equiment system component defects to locate & identify problem areas for repair or upgrade, which were originally masked by conventional wire grunge.
New professional quality cables & interconnects requires a "break in" or "burn In" period of many hours & even days, which has to be repeated to a certain extent every time the cable is physically distrubed including disconnection & reconnection to the audio components. Bypassing this procedure renders cable comparisons "meaningless."
Bruce Brisson, Ceo of MIT Interface Technologies, has proven "If you can hear it but can't measure it, you are measuring the wrong thing." That is what you learn when you read his white papers and patents. See the "Skywalker 'Avatar" Movie applications credentials at this link:
http://www.mitcables.com/pdf/mit_movies.pdf.
At MIT Interface Technologies, you dont need to spend a fortune for 1st class professional speaker cables. Bruce Brisson will engineer your cable applications to match your specific system components. MIT cables are also are available for evaluation from the MIT lending library.
MIT Teflon cables, of performance identical to the $1000.00 Teflon Cables, are available under $100.00 with garanteed satisfaction or your money back.
Cheers, herki the cat
Be' - aftermarket diaphragms on JBL drivers ?
Quote:
Originally Posted by
Ian Mackenzie
="Motive: Guido is making a play (read marketing play or teaser) for what he sees as a potential market using the 0476 comparisons for Be after market diaphragms.When I compare this type of smoke and shadows visibility stuff to some of the really excellent home grown cottage audio it makes me want to hammer down the protruding nail.
The JBL guys have the credibility as does 4313, always have had, always This driver has many design features that were pioneered by the designer. Don wrote a good post on it once and it would be useful if it was re posted here.
I think that post was a little counter intuitive in that you have your work cut out for yourself re working all those network models for the aftermarket Be diaphragms.......Of course they won't be pure JBL drivers anymore."
Ian, You have stated a very gogent entiti: "Of course they won't be pure JBL drivers anymore."
I had considered for a fleeting moment__equipping my 2440's pair with this Guido"Be 'Meme Brain", all to no avail. since, i do have new-in-the-box JBL 375 diaphragms. They won't JBL anymore, and what resale bail-out value would they ultimately have in the end?
My 2440's will improve immensely if I copper plate all the interior soft magnetic iron surfaces and the entire top plate, and while it is disasembled, i can convert these motors to "field coils" which will take me one step closer to the WECO 594-A Parent driver.
The orignal 594-A pair i had were stone cold flat to 7500 Hz and rolled off in a straight line at (6) Db per octave beyond 15,000 Hz which could be EQ-ued absolutely flat well beyond 15,000 Hz with a simple active RC pole in single ended WECO 91-B, 300-B Power Amplifiers, which was more than adequate to drive you out of the house. The 10,000 to 12,000 high frequency sound was absolutely Sweet, Using a pair of RCA Photophone Horns with of 150 Hz cut off, crossed over at 250 Hz on top of RCA Mi9462 Low Frequency Photophone Ubangi Radial Horns, I have never heard anythng better in my 72 years of playing with this stuff.
Cheers Herki the cat