mijostyn wrote: "Duke, I think the L pad or resistor goes in series in front of the capacitor and driver. No?"
If the input power levels are low then you can probably get away with placing the L-pad in front of the capacitor, but you LOSE the L-pad’s feature of not shifting the crossover point. This is because the impedance of the load that the capacitor "sees" is no longer constant as you turn the knob on the L-pad. At high power levels, you run the risk of cooking the L-pad because it's seeing a full-range signal from the amp.
The L-pad is designed to go just in front of the tweeter, where it maintains an 8-ohm load regardless of how much attenuation is cranked in so the crossover point doesn’t change. Also in this location, it is protected by the crossover capacitor.
Duke
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Those tweeters are banned from import to the US. Ozone factories. Really!!! someone better tell these guys they’re breaking the law, as these Lansche speakers also use Plasma tweeters, even though they are horn loaded and directional to get the db levels, the Magnat MP-02 are better, no horn and have a 360’ radiation pattern. https://www.theabsolutesound.com/articles/lansche-audio-no7-loudspeaker/ https://www.stereophile.com/content/lansche-audio-51-loudspeaker https://www.lansche-audio.com/p-series/ Nelson Pass on plasma tweeters
As Nelson Pass said of his massless “ion-cloud loudspeaker” described in the sidebar “[the speaker] gave new meaning to the word ‘transparency.’” And so it was with the Lansche Audio No.7. This loudspeaker’s midrange and treble reproduction was absolutely sensational, and different from that of conventional loudspeakers, whether cone, electrostatic, or ribbon. The Lansche simply disappears as a sound source, not just spatially (which it, along with many other great loudspeakers, does), but also mechanically. By that I mean the physicality of the loudspeaker’s operation—the mechanism by which is creates sound— disappears, replaced by the physicality of the instrument it is reproducing. It’s the kind of sound that produces a “fool-you” realism of timbre, as well as “fool-you” palpability and immediacy. There was an ethereal character to the sound, as though the music existed independently of any electro-mechanical contrivance—“conjured out of thin air” to use Jonathan Valin’s wonderful description. Absolute Sound on them
The treble had the wonderful quality of being highly resolved without sounding bright. The No.7’s reproduction of cymbals, and of brushes on snares, was revelatory. The corona-plasma tweeter beautifully resolved the transient detail of the stick hitting the cymbal, the shimmer that changes character slightly as it decays, and then revealed the finest inner detail at the end of the decay. This lack of smearing of fine transient detail was spectacular and alone worth the price of admission. When combined with the top- end openness and transparency, this treble resolution produced a stunningly lifelike feeling of actually being in the same room as the instrument. This is why I said my Magnat's doing highs, are like fireflys dancing in 3d space in front of you. Cheers George |
I’m using enigmacoustics sopraninios permanently charged electrostatic supertweeters to goo effect, if they are in your price range .
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I appreciate the feedback from everybody. Why I would love to try both the magnats and the enigmacoustics, I'm going to work with some fostex t90a's at first to see if I like what they add. If so, I will upgrade at somepoint, so thanks for the advice on those. I'm trying to cross my tweeter over around 15khz, wouldn't a .33uf capacitor be ideal, in a 1st order filter? Considering the 106 db on the fostex, and the 96db for the fullrange. |
3uf and 1.5uf seem as little high doesn't it. |
