mayhem13

Inexpensively.....you'd have to create a 5.1 or 7.1 mix in Logic Pro and then play it back through a home theater AVR. There's probobly other Freeware you can find that will allow you to do this as well.

Awesome!

I've been building home and pro audio speakers for years and measuring and improving along the way.......and can find NOTHING in this post that matches my experience or anything I've ever been taught or read other than listening ( in YOUR space) is better than purchasing from measurements.........which isn't saying much as I'd be better off eating that steak in the Delminicos ad instead of wondering how it tastes. LOL

This assumes the production of modal harmonics from those signals outside of our range and is really easy for you and others to test yourself.......just disconnect all the other drivers in your speakers except your tweeters with response to 50khz and play loud test tones of the frequencies in question and see if those theoretical harmonics are audible?........ This also assumes that the recording microphones, sources and mastering and mixdown gear were not electronically capped in range above 20khz or whatever FR you suppose proves your hypothesis. Be interesting to see what common era ADCs do in this regards?.......is that content filtered out in the analog stage, digital, both? Homework assignments!.......yes!

My Man!.......couldn't have said it better myself!

Easier to track phase and tighten impulse response this way with the steep filters. Shallow slopes present their own problems of course.......like huge files for one

Again.......I've figured after a few years of this some of you would have stopped trying to separate time from frequency in an effort to incorrectly attribute suspected audible differences to this mystical place. Can't have one without the other fellas! If timing changes, so does the response at the listening position.

Only working with his example buddy......but even for a millisecond (.001) there's still no relevance unless ones head is clamped in a vise of chair positioned in a measured equilateral triangle in an anechoic room of equandestant dimensions. More of a matter of preference for me but I tend not to listen under those conditions! Lol I like to move around a bit, ya know? God help us all if the culinary world develops the same audiophobia criteria where everything matters! Who wants a lab technician instead of a Michelin chef?

It's important to look at these concerns in relative terms and conditions. In the case of your example, given the wavelength of 1.35" at 10khz, if your head at the time of listening or your speakers in the horizontal plane are off axis 1 degree or more, you've already exceeded your 100 microsecond time smear by a magnitude of 3 or greater.......and this assumes laboratory consistency for everything else in the signal and environmental chain. I agree, you can make an argument for anything, but relevant arguements are few and far between. If i take 2 samples of a high end tweeter, install them on the same fixed test baffle without changing anything in the signal chain or testing environment the two responses, CSD, distortion sweeps, phase measure or impedance will NEVER measure exactly the same. Add humanistic variables like blood pressure and glucose levels and the waters get even murkier for your position. Coefficients of significance.

A failure of fundamental responsibility to serve the law, which serves the people. How we've gotten to where we are is a huge portion of the problem..........that it takes professionals to explain the difference between right and wrong. You may agree.......or not.......inconsequential i suppose........but just a relevant as professionals suggesting we like A vs B. Debacle?.......I dunno?

Any that supports and promotes his commercial objectives.

Magnepan 1.7's if you have the room.........not even close at that price cap.

I like a bit of BBC dip as well!..........back in the day before the foam rotted away, my Rogers were my favorite monitors. The graph you posted is the individual drivers measured outside of filters and shown on the same scale for comparison. That nasty breakup is what a 15" woofer should sound like above 1.5khz as depicted in the red trace. It's also important when looking at some graphs to take note of the scale and smoothing. Many reviewers AND manufacturers use that to their advantage when trying to get their point across...... or not! Lol. I think they meant to confirm system efficiency with that one?..lol But in all seriousness, the M2 system is really pricey and IMO audio is one of the BEST examples of diminishing returns and one of the WORST offenders of form over function. Take a pair of Maggie 1.7's for an example coupled with a SS run of the mill 200wpc amplifier........man, that performance is VERY hard to eclipse at that cost. It checks quite a few boxes with ultra light ribbon membranes for near perfect transient response, no enclosure so no resonances and dipolar bass which interacts less with the room for reduced propagation of modes and nulls.........but they are VERY power hungry and unforgiving of amplifier clipping to the point of instantaneous destruction so........another example of your trade offs! Lol Much enjoyed debating this topic with you!

I've come across plenty of remastered multi channel BD-A releases and the newest apink Floyd is a great example which offers 5.1 and the original QUAD mixes never available before. My experience has bee. You've gotta read the release notes in and out to see what's in there.

The M2 is actually a three way.......the compression driver is a dual concentric design that's really ingenious in its design. The pillowed waveguide solves an age old diffraction problem that has always plagued horns in the throats with large format drivers. So the M2 borrows from TAD keeping the critical listening FR window from a single point.....or a near perfect point source. From a practicality standpoint, chasing directivity below 800hz is impractical as otherwise requires long line sources or huge waveguide/horns. You'd be better off finding a production studio using the M2 for mixdown where the system has been set optimally in the space. Call it an audition instead of asking for an invite. Now while the premise of a four way system being optimal, there's the reality of passive network components to get the slopes right. So many caps and inductors IMO suck the dynamic life out of a speaker with inductors being the worst offenders. Today's wide band drivers have come a long way from Scandinavian main stay drive units from SEAS, Scanspeak, Vifa and the like. JBL who's been perfecting bass drivers for the past 30 years has some 15" woofers who's breakup mode isn't until 1.2khz and so benign to require only a simple notch filter and cap to achieve near textbook 2nd order combined acoustic/electric slope. Low QTS combined with cloth or foam surrounds allow the driver to produce fine detail with dynamics and efficiencies not possible with critically damped hifi drivers. For a four way, there's also the problem of driver spacing and inherent vertical lobes also known as cancellation notches. While not a problem on axis, off axis they leave wide holes in the overall power response which is quite audible.