Had a productive evening at Colin's yesterday, having found a bit of time between work and gigs to go over there and get the ball rolling. This is a write-up for those interested in how that went, plus tasting notes for whoever might demo them in the future.
First up, these new speakers make the Edingdales look rather compact. They're tall and imposing and they clearly mean business.
Colin put on a CD for me, with just the mid-high section running, powered by his valve amp. Initial impressions, for female vocals and other no-bass-needed instruments, were very good. Measurements backed that up - nice and flat.
When something with bass came along, the sharp low-frequency cutoff was apparent. No problem, though - that's what the 4x 10" bass drivers are for.
Scott had passed on a suggestion of a 2nd order Bessel filter for the woofers, at 200Hz. After messing around with the Hypex amps a bit (firmware updates!), we had them up and running.
It's worth noting at this point that the amps have 3x presets which can easily be switched between. I set the lowpass-only filter as Preset 1.
We played some tunes for a bit, and the outlook was positive. That was, until I played Hey Now by London Grammar. When the bass kicks in, there are a few different notes which should all be approximately the same volume (the very low note should be a little quieter). With those initial settings, one of the middle notes made the floor shake and was much much louder than the rest.
A close-mic'd measurement of the woofers revealed nothing amiss (your usual 2nd order rolloff starting around 40Hz). Putting the mic at the listening position revealed the problem: a very tall spike at 38Hz, plus some a wide and fairly-deep dip at 100Hz.
First of all, I set about coming up with a DSP filter that would bring down the 38Hz spike, and the results were much improved. The 100Hz dip, though, was still audible: as notes played there (or instrumental harmonics passed through), things would disappear. It was fairly subtle, but once you'd spotted it, it was easy enough to pick out repeatably.
Anyway, this improvement was saved as Preset 2.
We tried a couple of things like moving the speakers closer to the back wall (remarkably little change in sound), adjusting the carpet, etc, without luck.
Normally, when I encounter a dip in the response, I'm hesitant to simply apply more power to fill it back in: I often work with PA systems which will be pushed close to the ragged edge, and applying 10+dB of boost at a frequency would simply put an amp into the limiters all night.
Colin, however, suggested that we do try to EQ it back in. A lot of boost was required (something like 18dB overall), but the advantage of large amplifiers and powerful drivers is that they don't mind if you throw a bit of power around every now and again.
So, I came up with the final DSP curve and saved it to the amps as Preset 3. The measurements showed the dip had filled in nicely, so we settled down to do some listening. We were treated to world-class sound. It's as simple as that. Some of you know where I've worked previously, and it shouldn't be surprising that Colin's speakers cheerfully demolish anything that was built there. Even the flagship £140k/pair floorstanders.
In the future, it would be nice to go back and figure out where the 100Hz cancellation was coming from and find an acoustical fix for the problem, but for now Colin seemed to be pleased with the results.
It's easy to switch between the presets, so if a fix is found for the 100Hz problem, the 2nd preset (without the 100Hz boost) would likely be suitable.
On account of the size of these speakers, and the required DSP matching to the room, I doubt that Colin would be enthusiastic about taking these out to HiFi shows. Perhaps the best way to hear them would be to form an orderly queue.
PS - the -3dB point ended up being 11Hz, -10dB at 7Hz. Proper bass.
Last edited by chris661
on Sat Nov 19, 2022 1:04 pm, edited 1 time in total.