The midi range, not the tweeter, is the most important driver in a speaker.

twoleftears

Let’s pose this question another way:

within the normal range of human hearing, how many octaves are typically handled by 1. the tweeter, 2. the mid-range, 3. the woofer?

That’s not a particularly good way to consider the question, because the ear’s sensitivity is not equal at all frequencies. In addition, the spectral distribution of the sound of a band or orchestra is not equal at all frequencies. That’s why the OP’s premise is so defensible.

Most of the music is in the midrange.

I agree that the midrange region matters most, but not necessarily that the midrange driver itself matters most.  Imo how well the midrange driver works with its partners, the woofer & tweeter, matters more than the individual excellence viewed in isolation of any one of them.

(To extend that line of thinking, imo how well a speaker system works with its partners, the amp and the room, matters more than its individual excellence viewed in isolation.)

Duke

Is anyone still responding to Kinjit?

They are too revealing not distorting. They are used by the best recording studios. They could choose any speaker they like.

This is incorrect.

They are hardly used anymore at all. They have been surpassed by so many other monitors, it’s hard to count.

The NS10 have horrible frequency response. A huge (7db) peak at 2K, they are like 20 db down at 70 hz.

Modern recording engineers are baffled why they were ever so popular.

I’ve read comments on forums for recording engineers like; "I wouldn’t use them if they were offered to me for free, and quite frankly, I would be offended if they were offered to me".

Let me add, that I believe (I’m not the only one) that many people mistake that 2K bump as being ’revealing’, since it is close to the ’presence’ region, where the ears are most sensitive.

I have a friend that used to design speakers for a living (Harmon industries in Los Angeles). He once made minor modifications to a pair of NS10 crossovers to remove the hump (a simple mod, with no other changes made to the crossovers), and they ended up sounding ridiculously mundane and pedestrian.

the hardest frequencies to get correct are 40hz-250hz in the mid and upper bass.

(1) it’s the power frequencies where vocals, drum kits, cello’s, and piano’s either live or die. (2) it’s where the room will have the greatest things to say and (3) where your amplifier will be the most stressed. (4) it’s where you likely have a crossover. (5) it’s where you need linearity, but (6) are typically short of headroom in driver surface. so (7) excursions are excessive.

micro-dynamics, slam, and explosiveness in the music is in these frequencies. the 'life' of the music. 

and the higher the dynamics of the music the greater the failure in this area. big music requires this part to be fully sorted out.

which driver covers this range varies from speaker design to speaker design. mostly it’s 2 drivers, or multiple drivers of two types.

in the most ’uber’ well thought out systems it’s this part that gets fully done. lots of systems get the mids right. this is the hard part. and the break thru area of ultimate performance.

and this is where alternate driver types (horns, panels, omni) fail. they struggle with coherence here.

Eric Alexander of Tekton uses multiples of tweeters (14) from 270 Hz up to 2500 where he crosses over to a designated HF tweeter which is the same as the 14 used as midrange drivers. So in his flagships with 15 tweeters the same driver(s) are both midrange and tweeter.