Article on how you can and should tune the woofer HF speakers. The information will be useful for those who buy Redpower DSP 5.1
Thought it would be helpful and interesting to many. Info taken from the Internet.
tweeter. same. a.k.a. the squeaker, the smallest one in your car. Typically installed in the door posts. Size is about 5 cm in diameter.
One of the obligatory stages of tuning the sound in the cabin of a car is the selection of optimal frequency separation between all radiating heads: bass, treble/midrange, midrange (if any) and tweeter. There are two solutions to this problem.
Firstly, rebuilding, and often a complete rework of the original passive crossover, and secondly. connection of the speakers to the amplifier operating in a mode of multiband amplification, the so-called variants of Bi-amp (two-band amplification) or Tri-amp (three-band amplification).
The first way requires a serious knowledge of electroacoustics and electrical engineering, so it can be used only by specialists and experienced amateur radioelectronic engineers, but the second way, although it requires a larger number of amplification channels, is also available to less prepared car enthusiast.
The more so since the vast majority of power amplifiers being sold have an active crossover built in. In many models it is so developed that it successfully and sufficiently high quality allows to realize a multiband speaker connection with a large number of speakers. However, the absence of a developed crossover in the amplifier or head unit does not stop fans of this method of sounding the salon, because there are many external crossovers on the market that are able to solve these problems.
At the beginning it should be said that we will not give you one hundred percent universal recommendations, because they do not exist. In general, acoustics is an area of technology where experimentation and creativity play a major role, and in this sense, audio fans are lucky. But to conduct the experiment not to turn out like that mad professor. with explosions and smoke. you must follow certain rules. The first rule is do no harm, and we will talk about the others below.
The most difficult part is switching the MF and/or HF components. Here the point is not only that exactly these bands bear the maximum informational load and are responsible for the stereo effect and sound stage formation and also they are strongly subject to intermodulation and harmonic distortions if the crossover frequency is wrongly chosen, but also that the reliability of MF and HF units operation depends directly on this frequency.
The choice of the lower boundary frequency of the range of signals fed to the tweeter head depends on the number of bands of the loudspeaker. When a two-way speaker is used, in the most typical case, t.е. when locating the woofer/midrange driver in the doors, it is desirable to choose as low a frequency bandwidth as possible to raise the soundstage level. Modern high quality tweeters with low resonance frequency FS (800-1500 Hz) can reproduce signals as low as 2000 Hz. However, most tweeter heads in use have a resonance frequency of 2000-3000 Hz and you need to remember that the closer you set the frequency division to the resonance frequency, the more stress you will put on the tweeter.
Ideally, if the filter’s attenuation response is 12 dB/octave, the spread between the split frequency and the resonant frequency should be more than one octave. For example, if the resonant frequency of the head is 2000Hz, with a filter of that order, the crossover frequency should be set to 4000Hz. If you really want a separation frequency of 3000 Hz, the slope of the filter’s attenuation should be higher, 18dB/oct, or better still 24dB/oct.
There is another problem to consider when setting the separation frequency for the tweeter. After you have matched components in terms of reproducible frequency range you also need to match them in level and phase. The latter, as always, is a stumbling block. you seem to have done everything right, but the sound is “wrong. It is known that the first order filter will give a phase shift of 90°, the second order filter will give a phase shift of 180° (antiphase), etc.д., therefore don’t be lazy to listen to the speakers with different polarities during the tuning.
The human ear is very sensitive to the frequency range of 1500-3000 Hz, and in order to reproduce it as well and purely as possible, you should be extremely careful. It is possible to break (split) the sound range in this area, but you should think how to properly eliminate the consequences of unpleasant sound afterwards. From that point of view a three-way speaker system is more convenient and safer to set up, and the MF driver used in it allows not only to reproduce effectively the range of 200 to 7000 Hz, but also to solve the problem of building the sound stage more easily. The ternary speakers turn on the HF driver at higher frequencies, 3500-6000 Hz, which is obviously above the critical frequency bandwidth, which reduces (but does not exclude) the requirements to phase shift.
Before discussing the choice of MF and LF separation frequency, let’s turn to the design features of MF speakers. Dome diaphragm tweeters are very popular among installers lately. Compared to cone bass drivers they provide a much wider dispersion pattern and are easier to install as they require no additional acoustic treatment. Their main disadvantage is a high resonance frequency, ranging from 450-800 Hz.
The problem is the higher the LF frequency bandwidth of the signals fed to the midrange driver, the smaller the distance between the MF and LF drivers should be, and the more critical where exactly the LF driver stands and where it is oriented. Experience has shown that domed midrange speakers can be driven at 500-600 Hz without any problems with harmonisation. As you see, this is quite a critical range for most of the units you sell, so if you dare to use such a division, the order of the separation filter must be quite high, for example 4th.
It should be added that recently domed speakers with a resonance frequency of 300-350 Hz have started to appear. They can be used from as low as 400 Hz, but for the time being they are quite expensive.
Cone-diffuser midrange drive units have a resonance frequency of between 100 Hz and 300 Hz, so that they can be used from as low as 200 Hz (in practice 300-400 Hz is more common) and with a low pass filter, completely freeing the LF/MF drive unit from the need to move into the midrange. Playing back signals between 300-400 Hz and 5000-6000 Hz without equalisation between speakers allows for a nice, high quality sound.
Subtractive equalization method
There is no general ideal of equalisation, and most people will never agree on equalisation methods. You could say that I belong to the camp where it is accepted that subtracting more than adding leads to an improvement in your mix in most cases. Now, I’m not dictating that you live in a strictly cut-out world; I do boost from time to time when necessary or appropriate, but it’s about a 3:1 or 4:1 ratio in terms of the number of cuts/raises. Also, a quick note on the subject of Highpass filters: use them. They can be your best friend, but be careful, as they. A sword sharpened on both sides. HP filters can easily clean the mud out of your mix and open up the sound, but if you overdo it, it will just as easily lead to a thin, weak-sounding mix. When I do them, I like to go from top to bottom looking for the cut off frequency, which I think is the easiest way to find the right value. By that I mean that instead of rolling the HP filter from the bottom, and listening until I feel like what I wanted is removed, I start the way down, with “too much” HP filtering, and roll it down until I feel like I have all the low frequency information that I need. I find it easier to hear the effect this way, which consequently allows me to control the bass edge more accurately and effectively. And here’s a detailed guide to equalization by instrument individually.
The Barrel While the handyman is probably the most singing drum in the setup, the barre has an amazing array of possibilities for shaping the tone. I think in many cases you can really measure the skill of the information engineer by how the drum sounds, and how it sits in the mix.
- 40. 60 Hz. Bass: the tone of the reverb in the cabinet, sometimes too boomy, can be elusive/undefined, depending on the mics/speakers.
- 60. 100 Hz. Muffled kick: the range of “hitting you in the chest” with the barrel.
- 100. 200 Hz. Body: this is, if you will, the “meat” of the barrel sound.
- 200. 2000 Hz. Ringing/hollow: this is the wide band where you can often find problems with ringing and muddy drum sounds.
- 2000. 4000 Hz. The attack of the beater: this is the range to look for the click of the beater, critical for getting the “basketball bounce” sound of the drum.
- 200. 400 Hz. Body/Bottom: the basic foundation of most snare usually resides somewhere in this range.
- 400. 800 Hz. Ringing: this range tends to give an empty “ringing” to the worker’s tone, which is often undesirable. Although, if you crush this range too much, your worker will start to lose liveliness and sound flat in the mix.
- 2000. 4000 Hz. Attack: the crackle of a stick hitting plastic is often around 8000 Hz (hiss and click). The overtones of the snare themselves can be emphasized or muted somewhere around this point.
- 100. 300 Hz. Body: depends on the drum tuning, but a good place to look for the “boom” in the toms sound. If you overdo it, they will sound “chiming.”. If you take too much away, your toms will sound like cardboard boxes.
- 3000. 4000 Hz. Attack: As said, this is a drum attack from the stick on the plastic.
- 200. 300 Hz. Clang: this is where, especially your hi-hat, the “clang” sound resides. As always, tweak to taste.
- 6000 Hz and above. Sizzle: this is the range where you can make the iron’s “shhhh” sound brighter by adding more liveliness and “air”, or you can suddenly get your ears bleeding if you pile on without looking back.
The drum and bass are usually the mortal enemies in many mixes because they can literally occupy the same sonic space in terms of frequencies. So, before you grab onto any EQ, listen to both, and determine where and who is overlapping whom, in what ranges.
- 40. 80 Hz. Bass: especially for 5-string basses, this is where the lower resonances of most live basses are.
- 80. 200 Hz. Base: the basic foundation of the bass. Right around 180-200 Hz. Here you can try to trim a bass that sounds too boomy by cleaning it up, keeping the fundamentals of the sound.
- 200. 600 Hz. Overtones: here are the upper harmonics of most basses, depending on the sound you’re looking for. If you’re having trouble getting bass to cut through the mix, especially bass with a strong bottom or to make it readable through small speakers, you can look for frequencies here.
- 300. 500 Hz. Wood: particularly in double basses, this is the characteristic sound of a wooden soundboard.
- 800. 1600 Hz. Bite: the growl and attack of most bass can be emphasized or softened here.
- 2000. 5000 Hz. String noise: pretty obvious here, I think.
- 120. 200 Hz. Rumble/Body: you’ll find most of the explosive low end in mic-driven acoustics here, which winds up the feedback at gigs or is devastating in the studio. In small amounts, these frequencies add warmth and fullness when played solo, but in a tight group mix, you might want to get them out of the way.
- 200. 400 Hz. Thickness/Wood: this is the basic “body” of most acoustic tones. Trim too much here, and you lose some of the vibrancy of the guitar.
- 2000 Hz. Readability/hardness: this is a frequency that is a double-edged sword, on the one hand it will give some definition to the acoustic sound, to make it easier to hear the nuances of chords and playing, but on the other hand, if there is too much of it, it can make it sound harsh and aggressive.
- 7000 Hz. Air/iskra: a touch, and I mean exactly a touch, of shelf lift from here can help to augment the acoustic sound.
Electric Guitar Basically, I find that on an electric guitar, the lightest, broadest strokes method is most effective if any equalization is applied to all other instruments, in addition to some filtering. If you decide to hunt, however:
- 80-90 Hz and anything below. Dirt: lose it, crush it with your high pass filter. There’s almost nothing useful down there, and that section can almost always be understood as flabbiness and noise in your sound.
- 150. 200 Hz. Density: this is where the “insides” of the guitar usually live, but, again, can also muddy your mix. Use sparingly, perhaps with automation, to add sweetness on the solo part, or on the open part, and then clean it up again when the instruments compact again.
- 300. 1000 Hz. Life: I call this the “life” of an electric guitar, as many of the nuances that make a guitar sound alive are in this range. So you need to carefully consider the suppression decision here. Although, if they’re in excess, you’ll get conflicts with the worker and stuff like that, so take note.
- 1000. 2000 Hz. Cue: this is usually where you can smooth out the harshness and signature of the sound with a wide notch centered somewhere in this range.
- 3000. 8000 Hz. Brilliance and presence: this is the range that can add spark or allow the guitar to cut through in the mix when amplified. This can also be the place where you use the notch to avoid conflict between the guitar and the vocals. If you’re doing gain in this range, keep your ear to the ground for noise, as any noise coming from distortion/effects pedals will prove just as easily emphasized.
Adjusting the LPF (low pass filter)
Naturally, the speaker has to be properly connected to the amplifier. First of all, you need to turn on the filter on the subwoofer amplifier or the head unit, which is usually labeled as LPF (low pass filter). That is, this filter allows low frequencies to get to the speaker, but cuts off high frequencies. For example, a popular cutoff frequency for subwoofers is 50 to 63 Hz.
The first step in tuning is to set the filter to about this frequency. Then you will need to fine tune this value a little bit. And if there is an opportunity to use the LPF on the head unit, you should turn it on there. Otherwise, you can adjust the cutoff with the “knob” on the amplifier. You do not need to turn on the filter on the head unit and the amplifier at the same time.
After that, it is necessary to activate the filter, which is called “subsonic”. Basically, it’s a high-pass filter that works in the sub-bass area. To put it simply, it cuts off infra-low frequencies from the signal and lets anything above it through. Not all amplifiers have a subwoofer. But if your speaker works as an FI or CV loudspeaker, you should choose an amplifier with such a filter.
Why do you need a “subsonic”?? The point is that the subwoofer speaker will also try to reproduce frequencies that lie outside the audible range, for example 20-25 Hz and below. Cone strokes are increased at these frequencies, which can cause coil breakage and damage to the voice coil. The subwoofer cuts off all “infra” and does not allow the speaker to overdrive. Also, the quality of the bass range you want is only enhanced, and the volume is increased.
You should tune the subwoofer about 5 Hz below the frequency of the subwoofer port. For example, if you tune it to 35 Hz, you must tune it to 30 Hz. To do so, you must turn the rocker switch on and rotate it to the desired setting.
A little bit about vinyl
I’m not going to dwell in detail on why the gramophone doesn’t stand a chance in competition even with mp3 320 kb/s in terms of fidelity of playback when comparing objective parameters. I can only remind you of the detonation, the miserable dynamic range, the limitation on recording low frequencies, as well as of recording them in mono, and in that area in which you can already localize the bass source, as well as of the limit of the gramophone in terms of signal-to-noise ratio.
The question is solely about the frequency range of records on vinyl discs. If it’s about old gramophone records, made during the prime of the industry (60s, 70s, 80s), then their frequency is limited by 20 kHz maximum, sometimes by 16 kHz at the mastering level. In any case, the RIAA-standard does not allow frequencies beyond 20 kHz in records (before 1978 the standard guaranteed 15,000 Hz). “So how come there are peaks of 100 and 200 kHz in the spectrograms of vinyl hi-fi rips, flying off into the distance??”, inquisitive audiophiles will ask.
And they will start referring to magic cymbals, high-frequency sensations from above and golden ears capable of detecting “air” at frequencies beyond the limits determined by incompetent physicists and surdologists.
The answer to this question is very simple. These are nothing more than harmonic distortions from the digitising of vinyl. Due to the “highres” nature of the format, the distortions remained in the frequency spectrum for which the highres was designed. These ultrasonic components simply weren’t present in the original work, at least because the master tape from which the vinyl was recorded has frequency limitations.
The mythology of ultra-high range recordings on vinyl echoes the data that ultrasound up to 100 kHz can be recorded on vinyl. This is indeed true, for example, quad recordings were made in the late 70’s, recording with modulation of the signal at frequencies above 40 kHz. It was for this, not for unknown spatial effects, that the frequency range of the cartridges was increased and that shibata-ground needles were used.
Conclusion 3: The upper limit of the frequency range of pre-1970s vinyl recordings (before the advent of the RIAA-78 standard) is rarely above 15 kHz, for the 1970s-80s at best reaching 20 kHz, on first listens.
The notional ceiling a person is capable of hearing is slightly higher than the real ceiling plus or minus 3-4 kHz. People in their thirties and forties who claim they are capable of hearing 20 kHz, most likely lie or make a mistake (very unlikely casuistic isolated case). Only 3 instruments (the violin piccolo, the flute piccolo, the human voice coloratura soprano) have overtones above 15, 5. 16 kHz, there is no registered case, that overtones of these instruments (sounds) reached the 20 kHz mark (the ceiling of the violin piccolo is 18 kHz). Records produced from 1952 to 1978 do not guarantee a frequency range of 20 kHz, they have a standard ceiling of 15 kHz. It is to this period that the t.н. the reference Pink Floyd albums that audiophiles are so fond of talking about.
In increasing the reproducible frequency range beyond the audible frequency range in loudspeakers and headphones really makes technical sense. But this is not an attempt to render “metaphysical features of music” in an unknown to science way, but a well-known way to improve the transient response, which is not so obvious as the AFC, but greatly influences the fidelity of reproduction. That is why many studio monitors and expensive hi-fi speakers have the frequency range upper bound much higher than conventionally heard 20 kHz.
Please share in the Комментарии и мнения владельцев, and what is your threshold of high frequency perception. Let me remind you that the generator can be found here. onlinetonegenerator.com
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The taming of high frequencies is not an easy task. This is one of the most “stubborn” and “unruly” frequency domain of the Spectra. Too much treble and your mix will start to “cut the ear,” too little and the life will disappear from it.
Here are some tips for saddling up and taming the treble.
Dealing with the treble range is easier if all the instruments in your mix are in balance, all the tracks have their volumes and panning adjusted, and there are no conflicts in the bass and midrange. Remember that we start with the low frequencies in the mix and gradually work our way up. Pay attention to the balance between the big drum and the bass, if you feel that there is something wrong, deal with it before you go up the frequency spectrum, otherwise you will create a lot of additional problems by trying to patch the top when there is a mess below.
For example, if you have an unpleasant hum and conflict of instruments in the low frequencies, then trying to adjust the upper frequency range, you will make the low and high frequencies a real battle, in which there are no winners, but you will definitely lose. On the other hand if the low end of your mix is fuzzy there is a risk to overload the highs to balance the mix which will lead to unnecessary lowing of the overall volume of the mix.
By testing and adjusting the lower areas of your mix you can more accurately read your mix, identify its weaknesses, and understand what you need to do to take control of the high frequency range. It is quite possible that the solution is very simple. to open or close the low pass filter a little bit.
A lot of high frequency range problems can be solved with a good old fashioned EQ.
Solution: If you have too much treble in your mix, try turning down the volume in the 3-8 kilohertz range. Alternatively, you can add a little bit of bass, this will create a psychoacoustic effect of lowering the volume of high frequencies.
Solution : If the top is a bit deaf, a gentle boost around 10-15 kilohertz can “air out” the upper frequencies and give the mix some air. But be careful with the settings of such a high frequency range. Pay special attention to high-frequency-rich content: cymbals, hi-hats, and bright synth sounds. With an abundance of high frequency range, these instruments can start to sound very unpleasant.
Solution : If vocals, guitars, or synths are having trouble breaking through the dense sound of the rest of the instruments in the mix, or you just want to emphasize their presence in certain parts of the track, a little boost around 3 to 5 kilohertz may help. Again, be careful and cautious when working with additive EQ settings: if you unthinkingly raise the same frequency range in several musical elements at once, you can get an unpleasant high-frequency mess.
Our ears are very sensitive to the different volume boosts that can be applied to a screen. In some cases, even a one-decibel boost may seem excessive. So before you add anything to EQ, make sure that you’ve cut off everything you don’t need and make room for more volume.
If you need a bright top in your mix, but instead of using an additive equalizer, turn to saturation devices, harmonic exciters or simply overdrive effects (distortion, overdrive). Such devices add harmonics (overtones) to the signal, which enrich it and make it sound warmer. You want a brighter, warmer sound? Try using a reel-to-reel recorder (plug-in or real device) or putting the sound through a tube amplifier.
Adding harmonics also leads to more volume, so saturation plug-ins are always equipped with fine volume settings. So be sure to adjust the volume so that the difference between the processed and unprocessed signal is minimal. The human ear is accustomed to perceive the louder signal as sharper and of higher quality, which is not always true.
Saturation can also be excessive. If you overdo it, you can again get an overly bright and unpleasant-sounding mix. I would call an over-saturated mix subdued.
Reducing the volume of sibilants, which are very bright short high-frequency signals, is often an essential part of mixing a mix. Dialogues and vocal parts with the presence of S, S, F, T, P and their counterparts in foreign speech, the main sources of sibilants. In some artists, the timbre of the voice naturally gives off a lot of sibilance when they speak or sing. In this case, much depends on the choice of microphone, and further processing is very important. To combat sibilants there are special devices called de-essers. In essence, it’s a compressor that adjusts to the narrow frequency range where the very hissing sounds live, and reduces their volume as soon as they manifest themselves.
Not only can de-esserors be used to suppress sibilance in vocals, they are also great for other musical instruments that sound rough and overly bright. In that case, a de-esser tuned to a specific frequency range will handle that kind of trouble just fine. The sound of guitars, percussion, and even synthesizers can suffer from sibilants. Try to apply equalizer on a specific frequency range (usually around 5 kilohertz) in addition to a deesser, make a slight decrease in the frequencies in this range, and then connect the deesser to the process. This way you can achieve great results against unpleasant hissing sounds.
The mix is a battleground for space in the frequency range, and the fiercest battles take place in the upper register. If your music has a lot of cymbals and percussion, and vocals and synthesizers occupy the foreground, you will have to make some important decisions about which element is more important, and you will need to clear some space for it by using a high-pass filter.
Using a low-shelf
Your mix might need a little more volume and depth. If this is the case, boosting frequencies with a low-shelf EQ can help. You can experiment with boosting bass frequencies and cutting in the low midrange at the same time: the frequency dip before the boost (or the frequency boost before the dip) is often more pleasing to the ear (see “What’s Most Effective” on page 25). also step 3).
If your mix needs more brightness and air, the first thing you can try is boosting the upper frequencies with a high-shelf EQ. Rounded, gentle cuts often work well in tight mixes, but if it leads to excessive harshness, you can try using a steeper boost to avoid boosting the upper midrange, or add a cut just below (before boosting the treble).
What kind of capacitor to put on the tweeter
In order to obtain the sound quality of the acoustic systems, it is necessary to choose the capacitor very carefully. What kind of capacitor is needed for the tweeter? Chinese manufacturers of inexpensive speakers put an electrolyte with a capacity of 2-10 μF in series with the coil of the tweeter.
Products of this type are polar and by definition are designed to work in DC circuits. They do not behave quite correctly on alternating current, that’s why for connecting the high-frequency speaker in the speaker system of two or three speakers it is necessary to use film products of appropriate capacitance. If there is an inexpensive Chinese-made speaker system, it is enough to open it and replace the electrolyte with a polypropylene or paper capacitor to feel the difference.
If the necessary capacitance is not available, the necessary capacitors for tweeter speakers are assembled from several products connected in parallel.From domestic products K73-17 and K78-34 can be used. These are lavsan and polypropylene products. The K78-34 type is specially designed for installation in filters of high quality loudspeakers. It works correctly at frequencies up to 22 kHz for speaker outputs up to 220 Watts with 4 Ohm loudspeakers.
To find the right capacitor for a 4 ohm tweeter you need to know its resonant frequency. HF speakers can have a relatively low resonance frequency of the order of 800-1,200 Hz, but most “tweeters” will resonate at 2,000-3,000 Hz. Capacitor values for different cutoff levels to the 4 ohm speaker are as follows:
Cut the band, with a first-order filter, must be above the resonance, otherwise the speaker will vibrate unpleasantly when playing sound. It is recommended that the cut-off frequency of the filter should be approximately twice the resonance value of the high-frequency loudspeaker.
Hi there! In this post, I decided to raise an urgent and relevant topic for many beginners. Let’s try to understand it, look into it, make some conclusions and give some advice. Let’s go!
It’s about choosing capacitors for horn loudspeakers. This is the question all newbies ask. You and I are smart guys and we’re very experienced, so let’s rephrase it more accurately. Selecting a passive first-order high-pass filter for horn loudspeakers.
First let’s remember what this stuff is, what it’s for and how it works?We need crossovers (filters) to cut off unnecessary frequency ranges of sound from the speaker giving it the bandwidth it needs to work properly.There’s nothing wrong with subs in this respect. Even if you give a sub a full bandwidth, nothing will happen to it. But when we’re talking about speakers of any design, a crossover will determine their life, sound and durability.
The second point that’s important to understand: any crossover does NOT cut off frequencies drastically. If your high-pass filter is set to, say, 3 kilohertz, it doesn’t mean that the speaker will suddenly stop sounding below three kilohertz. The speaker will sing 2 and 1 kilohertz and 500 Hz and even 20!The whole question is how much power the signal will come to the speaker at those frequencies and how much and how fast the volume will drop outside the crossover setting.It’s determined by the crossover cutoff. 1st, order (6dB/oct). 2nd (12dB/oct), etc.д. What do these dB/octave mean??Well, there’s no question about the dB. Db-decibels determine the volume level (or rather the sound pressure level, but whatever the point) and Oct is an octave. Octave is(Bellin, how to put it simply :D) Octave is a range of frequencies, which is frequency up to twice the current frequency or half the current frequency. I do not understand it all the same. :D:D Explain with an example: Let’s say we have a high pass filter of the 1st order at 1 kilohertz (1000 Hz). Such a filter allows high frequencies to pass to the squeaker and cuts the lows. So the first-order filter (6dB/octave) means that it won’t go below 1 kilohertz, but the volume will go down.If we had a speaker who sings at 100 decibels at 1 kilohertz, then below the filter setting by one octave (1000Hz/2=500Hz) at 500Hz, the speaker will sing at 6 decibels quieter. It’s about an octave lower (500/2=250gz), 12dB quieter, 125gz 18dB quieter, 63gz 24dB quieter, and so on.If you were to cut the speaker at the same frequency but by the 2nd order (12dB/oct), you would lose 12dB at 500 Hz, 24dB at 250 Hz, 36dB at 125 Hz and 48dB at 63 Hz.This way you can calculate any order of the filter at different frequencies.
An example, of course, is extremely simplistic and crude. The speed and uniformity of the attenuation will depend on another 100500 factors, but in principle the example reflects the essence we need. Precisely because a squeaker will always sing below the cutoff frequency, it is highly discouraged to cut near their resonant frequency below which they become extremely difficult to operate. It will at best make it several times louder (you just can’t crank it up to full volume without distortion). At worst the squeaker will die. You’ve learned that fact and moved on. It’s even more complicated and confusing there :D.
The next important aspect of this case is that in the minds of newcomers this kind of tables on the Internet:
Actually the plates are correct.would be if it weren’t for one thing. there is no such thing as 4 ohm, or 2 ohm, or 8 ohm speakers. It never was. ))
It’s not the resistance which is printed on the loudspeaker. The second criterion is the MINIMUM impedance the loudspeaker has when it works.This criterion is very important for a stable performance of the amplifier without overloading. But that doesn’t mean the impedance can’t be higher when the speaker is working. I’ll tell you more, it’s almost always higher, the whole question is how much higher and when. (By the way, you can use a multimeter to measure your 4 ohm speakers. They are always a little less than 4 ohms there. 3.7-3.8 ohm precisely because it says impedance and you’re measuring impedance)) ). So the impedance of the speaker when you play the sound depends on a bunch of factors, ranging from the design of the dyn itself and ending with the registration of speakers (and after all a horn squeaker is a squeaker in the ROOP oromization) and frequency. That’s the last factor we’re especially interested in when we’re talking about HF.If you take two 4 ohm loudspeakers and measure their impedance at say 5 kilohertz then it easily turns out that one loudspeaker has impedance of 5 ohms at this frequency and the other 7. Then according to the table above, try to cut them to 5 kilohertz with an 8 microfarad capacitor. As a result, the first one will be cut at 4 kilohertz, and the second one with the same condenser will be cut at 3 kilohertz! Accordingly the first one will simply dump a shit sound, and the second one will start to burn.To give you an example, here is a graph of the system impedance versus frequency (Z characteristic) for component speakers:
I don’t know what you mean by “I’m not a fan of “Japanese” tweeters.”but tried to twist the timbrblock?
No, that doesn’t work. With the silver ones the acerbity and sand disappear, subjectively it may even seem that the highs become less :))
I tried the thermoblock, of course. The amount of HF adds up. Quality goes away. I prefer to listen to music in Direct. Don’t like equalizers.
Easily. We need to modify the filter of the speakers a bit. If you are ready, I will describe in detail what to do.
You can try the acoustic cable Ortofon Reference SPK-200 or bi-viring 400 they have copper with a silver-plated wire, the top will lift!
At one time on the KEF Q5 I increased the HF significantly by connecting different cables “bi-varying”: VDH D352i on the bottom, VDH Clearvater on the top. It was even a bit harsh at times.
“You can minus as much as you want.”. But I personally felt the cable “Clearwater by Van Den Hul”, really bright and not expensive compared to the others ! ( Cheaper than replacing the speakers )
Probably not, also had a lot of problems with the Dali, and a lot of wires and amplifiers, after changing the speakers was all ok. Need to see other ac.
Not going to change it. I like the sound.
Then experiment with cables, if nothing, then, as rightly pointed out, replace the speakers. I was chasing tweeter too at one time, I wanted the cymbals psst ! But I have got over sick and realized that tonal balance is more important, the music is more accurate.
I had a speaker like that a few years ago, now I have a set of 7.1 based on evo2-50.
You will not indulge with plenty of high frequencies, but they are quite enough and soft, not straining and not cutting your ears. It’s kind of a peculiarity of silk tweeters, which is why many people like them. They might take some getting used to after other bright speakers. I like the pitch of Wahs (not the budget models, of course, which many people dislike), but starting from evo series, in general.
Playing with cables will certainly give a little result, but still I doubt that it will be enough for the author, after all cables are nuances!
If you want and need to add high frequencies in sound, the most correct variant is EQ, unfortunately! Or play with crossovers, which not everyone dares to do.
The solution to the HInd class! Add a super. It’s a pretty decent pairing to put together in one night.
Thank you all for your answers. It’s probably a bit far-fetched, though. I like the sound of the speakers. Pssst on the HF (as many like to do) is not necessary. I think it’s more a question of the sound designers. On black Metallica there are even a lot of them (hi Lars Ulrich), and in Porcupine Three there are exactly as much as you need (who would have doubted Stephen Wilson). But, for example, on Pink Floyd’s Animals, there are criminally few of them.
you gave everyone a hard time but at the end you comforted yourself that all is well in the treble but there is a problem with kicks.but their treble is very muddy and may not be too bad but it depends on what kind of whiskey you’re drinking.（that’s how they’re spelled out on your CD（that’s the blend））
And on Wish you were here even less :-). That’s the mood Parsons was in 🙂
The blend should be good. Animals from the famous box set does not sound. Bought on Oxford Street (not fake Chinese). In fact, this is a special case. I want more “strong” treble in about 20% of my collection (of 800 CDs).
Not an indicator. The pirated Deep Purple “raptures of the deep” CD I bought as a present from the Virgin store sounded way better. It’s not so strange.
Yamaha-AS-701 amplifier, Marantz-CD-67 CD-player. Dear friends,Can you please tell me if you can increase the number of high frequencies on the Wharfedale evo-2-30??
I know from the description that these speakers don’t have much of a tweeter ring. I like the quality of high frequencies, I would like to raise the amount of. I should point out right away that I am not a fan of “Japanese” tweeters. When I bought it I listened to it with an expensive Yamaha. It’s like the tweeter’s just been boosted with EQ. I don’t like that kind of tweeter.
1.Bi-Wiring? Now wired through a jumper.
2.Replacing the cable. Now a thick copper wire. 4 meter. The length affects the tweeter?
3.Interconnect cables? I’m on coaxial at the moment.
The room is 5,8×3,4. The speakers are on the short side.
I do not understand what “I am not a fan of Japanese tweeters” means.”Tried to turn the thermostat, of course?
No, it does not help. With the silver ones, causticity and sand disappear, subjectively, it may even seem that the highs got less :))
Of course, I’ve tried turning the thermoblocks. The amount of treble adds up. The quality goes away. I prefer to listen to music in direct. I don’t like equalizers.
Sure. Need to modify the speaker filter a bit. If you’re ready, I’ll tell you in detail what to do.
You can try the acoustic cable Ortofon Reference SPK-200 or bi-wiring 400, they have copper with a silver-plated wire, it will raise the top!
At one time on the KEF Q5 I significantly increased the HF by connecting different cables, “bi-varying”: VDH D352i on the bottom, VDH Clearvater on the top. At times it was even harsh.
“Minus you can do as much as you want.”. but I personally experienced cable “Klearwater by Van Den Hul”, really bright and not expensive compared to the others ! ( Cheaper than replacing the speakers)
Most likely not, too long suffered with Dali, and a bunch of wires and amplifiers, after changing the speakers were all ok. Need to look at other ac.
I’m not going to change. I like the sound of them.
Then experiment with cables, if nothing else, then, as rightly pointed out, replace the speakers. I was chasing the tweeter too at one time, I wanted the cymbals to psssss ! But, I got sick and realized that the tonal balance is more important, the music is more accurate.
I had one a few years ago, now I have a set of 7.1 based on evo2-50.
Vay are not indulging in an abundance of high frequencies, but they are quite enough and are soft, not straining and not cutting your ears. It’s kind of a feature of silk tweeters, which is why a lot of people love them. They might take some getting used to after the other bright speakers. I like the pitch of Wai (not the budget models, of course, which many people praise), but starting with a series of evo, in general, like.
Playing with cables will certainly give a bit of result, but still I doubt that it will be enough for the author, after all cables are nuances!
If you want and need to add high frequencies in the sound, the most real way, unfortunately, is to use equalizer! Or play with crossovers, which not everyone dares to do.
HInd class solution! Add a supertwister. You can build a pretty decent pair in an evening.
Thanks for the answers everybody. Still, probably a bit far-fetched. I like the sound of the speakers. Psssss on the HF (as many like to do) is not necessary. Here I see more questions to the sound engineers. On Black Metal there are even a lot of them (hi Lars Ulrich), and in Porcupine Three there are exactly as much of them as you need (who would doubt Steven Wilson). But, for example on Pink Floyd’s Animals there are criminally few of them.
here you have all yelled at everyone, but at the end of reassured himself that all is well in the mids, but there is a problem with kicks.but their tops are very muddy. It’s kind of small, it’s kind of nice, but it depends on what kind of whiskey you’re drinking.（that’s how they’re pronounced on your CD（that’s how they’re blended）
And on Wish you were here even less:-) That’s the mood Parsons was in:-)
The blend must have been pretty good. Does not sound Animals from the famous box set. Bought on Oxford Street. Actually, it’s a special case. About 20% of the collection (of 800 CDs) want a stronger treble.
No indication. The pirated Deep Purple “raptures of the deep” CD from the market, sounded way better than the one I bought as a present from the Virgin store. Strangely enough.
Yamaha-AS-701 amplifier, Marantz-CD-67 CD-player. Dear friends,could you please tell me if it is possible to increase the number of high frequencies on the Wharfedale evo-2-30?
I know from the description that these speakers don’t have a particularly tinkling tweeter. I like the quality of the treble, I would like to raise the number. I should point out right away that I am not a fan of “Japanese” high frequencies. When I bought the amp I listened to it with expensive Yamahas. It feels like the tweeter was just kicked up a notch with the EQ. I don’t like that kind of tweeter.
1.Bi-Wiring? It’s connected via a jumper.
2.Changed the cable. Now it’s thick copper wire. 4-meter cable. The length affects the HF?
3.Interconnect cables? Now it’s coaxial.
Room 5.8×3.4. The speakers are on the short side.
Crossover. Crossover) is music in which two (or more) styles (or themes are mixed, and one of the names of the crossover is FILTER.
As the name implies, a crossover is a sound filter which divides the incoming signal into frequency bands and is used to improve the sound quality of the car speakers. The thing is that there is no speaker which can reproduce the whole range of frequencies, even if it is wideband. And in order to sound the whole range you need several speakers with different characteristics of frequency signal transmission and the more speakers, the better and more interesting sound atmosphere is, but there must be as many crossover channels as there are types of speakers in the acoustic system.
For example: the tweeters would have to work at high frequencies only, if a low frequency signal was sent to the tweeters then the sound would be seriously damaged, and if the signal was low and strong then the tweeter would “burn out. Low-frequency speakers (woofers) should get only the low-frequency range from the overall sound signal, and the midrange speakers (midwoofers) should get the middle band of the signal. In order for each speaker type to get the optimal frequency response bands, a crossover is needed to separate the audio signal for each speaker type.
Crossovers come in single-band (one filter), dual-band (two filters), triple-band (three filters), and active and passive.
The difference between active and passive crossovers is that active ones consist of components that need power supplies. operational amplifiers, microcontrollers and others. Passive crossovers are composed of elements that do not need power (resistors, capacitors, coils). There is a difference in the connection of the crossovers: the active ones are mounted only in front of the amplifier, and the passive crossovers are mounted in front of the speakers.
The number of filters in the crossover determines how many frequency bands the audio signal will be divided into: 1, 2, or 3. Filters are divided into: a low-pass filter (Low Pass) that only passes a range of low frequencies, an overpass filter (Hi Pass) that only passes a range of high frequencies, and a band-pass filter (Band Pass) that only passes a range of medium frequencies (approximately 600 Hz to 5000 Hz.) and is used in a three-band crossover.
Tuning pioneer stereo fwd tuning
This setting is safe for the audio system, but is not absolutely correct for all audio systems. Further adjustments are made to suit the specific system and listener.
Tuning your boombox depends on its specific model, here’s a look at the settings that are on almost any boombox.
Tuning your head unit:1.1 Bass Boost. Evil! Forget about it! Set it to 0 or OFF1.2. In systems with external amplifiers you first set the tone compensation, then match the levels of the GU and amplifier or don’t use this function at all. If the GUI and the external amplifier are matched in level and then turn on the tone compensation. possible occurrence of clipping!1.3. Equalizer. with its help you can compensate for the sound drawbacks of the system, I personally set it to 0 at first, then, when the sound drawbacks are revealed, I correct the sound with time. Here also by increasing certain frequencies on an external amplifier possible the appearance of clipping, it is worth remembering.1.4. Sound Retriver and other various “sound enhancers”. as in the case with the tone compensation are set before coordination of GU with the amplifier, or do not use.1.5. Playback stereo crossover: if available, set it to 1.5.1 HPF. Depends on the type of speakers, open the specification and see how many Hz it plays and set the cutoff. Roughly 16 cm midbass from 80 Hz, 13 cm. 100-125 Hz. Middle 150-200 Hz. I repeat once again this is not the final truth, it all depends on the specific speaker and how many watts will be fed to it (the lower will be the cutoff the less W can be fed to the speaker). Order of the filter by ear (the higher the order of the filter, the less chance of failure of the speaker at high power).5.2 LPF. Depends on the type of acoustic design of the subwoofer. Approximately 60 Hz to 80 Hz. The order of the filter is by ear. It is desirable to set the level to 0, and adjust the volume directly from the amplifier.
Setting of amplifier depends on its equipment with filters. If you set HPF and LPF on your boombox, you don’t need to set them on the amplifier, you can just open the filter as much as possible. If there is no crossover in your boombox, set the cutoffs at the amplifier. Turn Bass Boost to 0
Setting the amplifier for the speakers:2.1. Turn on HPF filter2.2. Set the cutoff as described in point 188.8.131.52 Set the Gain (Level):. Play a familiar track Set the volume on the radio to maximum (WITHOUT INJURY). It does not mean you have to turn the volume up to maximum, for example: Pioneer’s volume max is 62 divisions, so you should set it to about 45-50. Different models of recorders behave differently, at the bassclub was tested by an oscilloscope Pioneer DEH 80PRS, even at the volume of 62 without “enhancers” it does not clip. But it doesn’t mean your boombox will do the same, so turn it up to 80% of max volume.- Start turning the Gain (Level) until you hear some distortion in the sound, once you hear it. turn Gain back a little.- Play the other tracks and see if they have distortion, and if they do, turn Gain down! The volume you set on your boombox with Gain is the maximum! Do not turn it any higher!
Adjusting the Subwoofer Amplifier:3.1 Turn on LPF filter (if you’re using a mono, you don’t need to turn anything on)3.2 Set the cut as described in point 184.108.40.206 Subsonic (infra low pass filter) Tuning. If you have a subwoofer in the form of a Phase II (FI), Quarter Wave (QW), Horn. be sure to use Subsonic. LPF filter is set 3. 5 Hz below the frequency of the box tuning. 3.4 Gain is adjusted in the same way as in point 2.3
Initial setup is complete, keep an eye on the speakers for the first time, small adjustments may be needed. Don’t forget to warm up the speakers after purchase. Lay a proper power supply to avoid clipping! Keep an eye on the sag
Recommendations for improving the sound of the audio system in your car
Assuming that your car already has a stereo and four speakers. De facto car “with music” in the vast majority of cases presents the following portrait: Foreign-made stereo with 4 x 20. 4 x 50 W output power (according to the inscription on the front panel).
Speaker system. coaxial 2- to 3-way speakers with a diameter of 13. 16 cm. Installed in the front doors or in regular dashboard locations.
Rear acoustics. elliptical coaxial 2- to 4-way speakers (“pancakes” 6 x 9), less often. round coaxial 13. 16 cm, embedded in the rear shelf or (less often) installed in regular places behind.
No additional devices affecting the sound quality.
The character of the sound with small variations (“louder. louder”, “spine. muffled”, “with a strong coloring. with a weak coloring”) is the same. the sound fills the whole cabin, it is louder in the back. As a rule, listen with turned on tone compensation (LOUD), increasing bass (D-bass) or with turned up fully the timbre on high and low frequencies. The sound comes out “gibbering”, the bass is smudged and loose. At high volume, the speakers are wheezing, or the panels “sing along” to them, the car stereo backlight is winking in time with the music. Attempts to drag the sound forward a little bit with the fader and to restore the timbre balance (the timbres. to zero) lead to a significant decrease in the level of high and especially low frequencies (“pancakes”. the ones behind, become silent), the sound becomes absolutely uninteresting, the music plays muffled from under the dashboard. The picture is sad, and most often after such attempts everything comes back to square one with the comment “it’s better.
than once I made an experiment: I put the owner of just described audio system into a car with more or less normally produced sound (with almost the same set of components).
The second: “I’m used to the sound from behind” (variants: “Everybody plays so”, “It’ll do for a background”).
Those who are inclined to the second group of answers, you can read no further. Taste, of course, no arguments about taste, but even to dodge the argument about taste, it must at least have. But for those who are able to react “of the first type”, here are some recommendations, each of which I tested personally, for a car VAZ-2109. There is nothing difficult here, big capital investments are not required, and the described works can be carried out both comprehensively and in parts, in any sequence.
Connecting the power of a radio recorder. When “free” installation of the radio in places of purchase or own connection, as a rule, the cigarette lighter wires are used for power, less often. one of the circuits connected to the ignition switch. The criterion for this choice is simplicity. The result is limitation of power of the boombox on load peaks. Thus the boombox backlighting at high volume can wink in time with the music, the bass loses its elasticity, the highs are blurred.
When connecting the boombox “by brains” it is necessary to use copper wire with core section not less than 4 kV. mm, preferably with insulation of higher mechanical strength. Connect the car radio’s DC power wire directly to the battery terminal. The wire must be equipped with a fuse for 10. 20 A at a distance of not more than 45 cm from the terminal. Minus wire can be connected to the ground at a minimum distance from the radio, and it is necessary to ensure a good contact. It helps a lot to include the buffer capacitance in the power supply circuit of the boombox. electrolytic capacitor with the nominal value of about 80000 uF at the working voltage of 25 V. You can, of course, use two 40,000 uF capacitors or four 20,000 uF capacitors. They have to be connected in parallel and the polarity has to be correct. In VAZ-2109 on the floor behind the radio is a secluded place, as if especially for the capacitors. If you run your car with the ground switch off while stationary, you should charge the capacitors with a small current before connecting the ground switch to avoid high currents and sparks. For this I suggest to use a 12 volt, 21 watt bulb with two soldered on wires. One wire must be permanently fastened under the nut securing the wiring harness on the inner side of the left wing, and the second wire must be connected to the minus terminal before shorting the “mass” circuit. This will light up a light bulb and begin charging capacitors. After a couple of seconds, the light goes out, capacitors are charged, you can turn on the ground breaker.
Power wires should be made in one piece, without intermediate junctions and twists, neatly stacked and secured in the cabin and engine compartment. It’s better to spend extra half an hour than to spend the agony of trying to find the place of damage. The most convenient place for wire transition from the engine compartment to saloon is a hole with rubber seal, where the pipes of headlights hydraulic corrector go. When fixing the wires it is necessary to avoid contact with moving parts: hood hinges, pedals, steering shaft etc.п. Separately, I note the importance of 100% reliable contact throughout the circuit: the battery terminal, the fuse, the capacitor and the headphone jack. The length of wires should be minimal. without loops. Getting ahead of myself, I’m going to answer the reasonable question: “Why do you need to pull thick wires from the accumulator, if the wires on the terminal of the radio-recorder are much thinner??”. The thing is that the thin wires of the head unit power strip is ten times shorter than the wires to the battery, and the resistance, as you know, is proportional to the length of the. Therefore, the offered variant of the power supply organization of a radio recorder in comparison with the base “free” one will provide by an order of magnitude lesser supply voltage fluctuations at the power peaks.
The effect of this work will be noticeable to the “naked ear” the first time you turn on your head unit. The improvement of sound will be especially striking at a higher volume. The bass will become denser (there will be “meat”), the upper frequencies against the background of heavy kicks, for example a big drum, will stop “smearing. With “light-music”. winking of display and backlighting of a radio set, will be finished. Now the main obstacle in the way of power is acoustic wires.
The “basic version” of the speakers are connected to the boombox using the same wires with which these speakers are installed. Everything, it would seem, is logical: both there are plugs, and plus with a minus is not confused. But we can only call these wires acoustic wires in the first approximation, just as a sine wave in the first approximation is a straight line. Some speaker manufacturers explain that the “kit” wires are only for testing the performance of the speakers. It’s understandable, otherwise we won’t fit into the budget. So, we are convinced of the speakers’ performance with the “complete” wires. It’s time to discover new speaker capabilities through acoustic wires.
Cutting the speakers with a capacitor
If you buy speakers and you connect them without a processor or without an amplifier, don’t rush into choosing a capacitor.
Here’s an example: If you take two 4 ohm loudspeakers and measure the impedance at, say, a cutoff frequency of 5 kHz, you might find that one loudspeaker has an impedance of 5 ohms at that frequency and the other has an impedance of 7 ohms. According to the table below, we try to cut them at 5 kHz with an 8 μf capacitor. So the first one will cut at 4 kHz and the second one with the same capacitor will cut at 3 kHz. The result is that the first one just goes haywire, the second one gets burnt out.
Speaker Cutoff Chart
|Speaker Cutoff Frequency||HF filter (HPF)||Note|
|4 Ohm||8 Ohm|
|50 Hz||796.7 μF||398.1 μF||–|
|75 Hz||530.8 uF||265.4 uF||–|
|100 Hz||398.1 uF||199 uF||–|
|125 Hz||318.5 uF||159.2 uF||–|
|150 Hz||258.4 uF||132.7 uF||Minimum value for subwoofer drivers|
|175 Hz||227.5 uF||113.7 uF||–|
|200 Hz||199 uF||99.5 uF||–|
|225 Hz||176.9 uF||88.5 uF||–|
|250 Hz||159.2 uF||79.1 uF||Minimum value for neodymium midrange drivers|
|275 Hz||144.8 uF||72.4 uF||–|
|300 Hz||132.7 uF||66.3 uF||–|
|400 Hz||99.5 uF||49.8 uF||–|
|500 Hz||79.6 uF||39.8 uF||–|
|600 Hz||66.3 uF||33.2 uF||–|
|700 Hz||56.9 uF||28.4 uF||–|
|900 Hz||44.2 uF||22.1 uF||–|
|1000 Hz||39.8 uF||19.9 uF||–|
|1100 Hz||36.2 μF||18.1 uF||–|
|1200 Hz||33.2 uF||16.6 uF||–|
|1300 Hz||30.6 uF||15.3 uF||–|
|1400 Hz||28.4 uF||14.2 uF||–|
|1500 Hz||26.5 uF||13.3 uF||–|
|1600 Hz||24.9 uF||12.4 uF||–|
|1700 Hz||23.4 uF||11.7 μF||–|
|1800 Hz||22.1 uF||11.1 uF||–|
|1900 Hz||21 uF||10.5 uF||–|
|2000 Hz||19.9 uF||9.9 uF||–|
|3000 Hz||13.3 uF||6.6 uF||Minimum value for silk tweeter|
|4000 Hz||10 uF||5 uF||–|
|5000 Hz||8 uF||4 uF||–|
|6000 Hz||6.6 uF||3.3 μF||The minimum value for a loud horn tweeter is|
|7000 Hz||5.7 uF||2.8 uF||–|
|8000 Hz||5 uF||2.5 uF||Minimum value for loudspeaker horn drivers, given the wide range of the midrange driver|
|9000 Hz||4.4 uF||2.2 uF||–|
|10000 Hz||4 uF||2 uF||–|
If you do what you read in the tables and trust the values without using your head, you will end up with bad sound and lots of burned speakers.
Such a term as AFC should not be left out of this subject. What it is? This is the diagram which describes the relationship between the amplitude of the sound and its frequency. You can tell which frequencies are louder and which ones are quieter.
The ideal diagram looks like a straight line for a trimmer with a slight descent at the beginning and a rise at the end. Alas, it is difficult to achieve such indicators, so only Hi-End class speakers have such a diagram.
In other cases, I recommend choosing speakers by their AFC, depending on what kind of sound you prefer:
- With a rise from 20 Hz to mid-bass for those who like to “boom”. fans of drum’n’bass, breakbeat, dubstep, det-metal, grindcore and some currents of doom metal;
- With the predominance of midrange frequencies. for fans of classical vocals and music;
- High frequencies. for fans of heavy metal, power metal, as well as peg scream vocals.
To the logical question how to change the AFC of the speaker system, the only adequate answer is to re-solder it yourself, replacing the basic speakers with more appropriate. However, many audiophiles know how to boost the high frequencies and cut the bass.The first way is to use the controls on the speaker system itself. If they are not provided by the design, I recommend to listen to music with a player with built-in equalizer. for example, WinAMP or AIMP.
So we have understood what affects the AFC. I also want to note that often in the accompanying documentation to the budget segment speakers, such a diagram is not given.
It is found in the middle class and more expensive devices. However, many manufacturers give all the necessary data for each device on their official website.
What kind of speakers to choose
So, I think you already realized that the answer to how to change the range of playback frequencies without the intervention of “dizzy” knobs is “no way”. What it means? You will have to choose from the available on the market if you do not want to “bother” with it.
The specifications of many speakers specify a range from 20 Hz to quite exorbitant values. 35 kHz and sometimes even higher. It’s nothing more than a marketing ploy. you’re unlikely to hear sound at frequencies greater than 20 kHz anyway. So you should buy the speakers, working in this range. you won’t miss your chance.
You can read about what the power of a speaker system is right here. I also suggest reading about the best speaker manufacturers. I will be grateful to everyone who shares this publication in social networks. See you tomorrow!