I still maintain that this is a silly exercise for several reasons: - LF extension without distortion figures is kind-of meaningless
- Most sounds below ~32Hz are from environmental noise rather than music
- Room size and in-room response is a huge factor. It’s one thing to achieve flat response to 20Hz in a closet or Honda Civic vs. a 5,000 cu. ft. listening room
- We have not very clearly defined "speaker". For example, the DuNu DN2000J is a lot smaller than the Triton II+ and are fairly flat down to 5Hz with low distortion. It can do this because the "room size" is only a few cubic mm.
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Kii Three! Look no further. |
Interesting design the Kii Three A review here - pdf download available in English. http://kiiaudio.com/en/press.htmlI found the "StudioMagazin" review a good read over coffee this morning. from the review. The Kii Three was designed to provide extremely deep bass from a relatively small and surprisingly lightweight cabinet. An additional objective was to create dispersion characteristics equalling those of a flush mount monitor, notwithstanding the relatively narrow baffle. The smaller the loudspeaker front, the earlier (higher in frequency) the speakers dispersion will become omnidirectional – an unwelcome property in loudspeakers that studio planners go to great lengths to avoid.
Room acoustics issues appear predominantly at low frequencies and when trying to achieve precise stereo imaging. While the latter can be optimized by comparatively simple measures, taming the low frequencies takes a much larger effort (see also our special edition Room Acoustics and Studio Design, June 2016). This is where the Kii Three comes in, creating a consistent cardioid sound field all the way down to just short of 50Hz, then gradually becoming omnidirectional below this point. With the Speaker placed close to a wall and thus at an acoustically benign boundary distance, the resulting level increase below 50Hz can easily be treated in a compensation filter. All this complex signal processing costs the user dearly – not financially, but by introducing a latency of 90 milliseconds which would disqualify the Kii Three for any kind of real time work in the control room. To avoid this, the monitor can be set to a low latency mode by pushing a button marked “P/R“ on the back panel, reducing the latency to only a handful of DSP samples plus the DAC latency for a total value in the one millisecond range. The low latency mode replaces the highly complex low frequency filters by simplified algorithms, leaving the sonic properties of the monitor basically unchanged. The only tradeoff is reduced precision at low frequencies, but at a very reasonable magnitude with only small impact on aural evaluation. |
Kii is interesting in that it takes a unique approach
Head/earphones don't count. |
^interesting yes, but if I'm missing something please point it out to me; where are the specs, measurements, tolerances? Without which, I don't think they can qualify.
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