Some thoughts on ASR and the reviews


I’ve briefly taken a look at some online reviews for budget Tekton speakers from ASR and Youtube. Both are based on Klippel quasi-anechoic measurements to achieve "in-room" simulations.

As an amateur speaker designer, and lover of graphs and data I have some thoughts. I mostly hope this helps the entire A’gon community get a little more perspective into how a speaker builder would think about the data.

Of course, I’ve only skimmed the data I’ve seen, I’m no expert, and have no eyes or ears on actual Tekton speakers. Please take this as purely an academic exercise based on limited and incomplete knowledge.

1. Speaker pricing.

One ASR review spends an amazing amount of time and effort analyzing the ~$800 US Tekton M-Lore. That price compares very favorably with a full Seas A26 kit from Madisound, around $1,700. I mean, not sure these inexpensive speakers deserve quite the nit-picking done here.

2. Measuring mid-woofers is hard.

The standard practice for analyzing speakers is called "quasi-anechoic." That is, we pretend to do so in a room free of reflections or boundaries. You do this with very close measurements (within 1/2") of the components, blended together. There are a couple of ways this can be incomplete though.

a - Midwoofers measure much worse this way than in a truly anechoic room. The 7" Scanspeak Revelators are good examples of this. The close mic response is deceptively bad but the 1m in-room measurements smooth out a lot of problems. If you took the close-mic measurements (as seen in the spec sheet) as correct you’d make the wrong crossover.

b - Baffle step - As popularized and researched by the late, great Jeff Bagby, the effects of the baffle on the output need to be included in any whole speaker/room simulation, which of course also means the speaker should have this built in when it is not a near-wall speaker. I don’t know enough about the Klippel simulation, but if this is not included you’ll get a bass-lite expereinced compared to real life. The effects of baffle compensation is to have more bass, but an overall lower sensitivity rating.

For both of those reasons, an actual in-room measurement is critical to assessing actual speaker behavior. We may not all have the same room, but this is a great way to see the actual mid-woofer response as well as the effects of any baffle step compensation.

Looking at the quasi anechoic measurements done by ASR and Erin it _seems_ that these speakers are not compensated, which may be OK if close-wall placement is expected.

In either event, you really want to see the actual in-room response, not just the simulated response before passing judgement. If I had to critique based strictly on the measurements and simulations, I’d 100% wonder if a better design wouldn’t be to trade sensitivity for more bass, and the in-room response would tell me that.

3. Crossover point and dispersion

One of the most important choices a speaker designer has is picking the -3 or -6 dB point for the high and low pass filters. A lot of things have to be balanced and traded off, including cost of crossover parts.

Both of the reviews, above, seem to imply a crossover point that is too high for a smooth transition from the woofer to the tweeters. No speaker can avoid rolling off the treble as you go off-axis, but the best at this do so very evenly. This gives the best off-axis performance and offers up great imaging and wide sweet spots. You’d think this was a budget speaker problem, but it is not. Look at reviews for B&W’s D series speakers, and many Focal models as examples of expensive, well received speakers that don’t excel at this.

Speakers which DO typically excel here include Revel and Magico. This is by no means a story that you should buy Revel because B&W sucks, at all. Buy what you like. I’m just pointing out that this limited dispersion problem is not at all unique to Tekton. And in fact many other Tekton speakers don’t suffer this particular set of challenges.

In the case of the M-Lore, the tweeter has really amazingly good dynamic range. If I was the designer I’d definitely want to ask if I could lower the crossover 1 kHz, which would give up a little power handling but improve the off-axis response.  One big reason not to is crossover costs.  I may have to add more parts to flatten the tweeter response well enough to extend it's useful range.  In other words, a higher crossover point may hide tweeter deficiencies.  Again, Tekton is NOT alone if they did this calculus.

I’ve probably made a lot of omissions here, but I hope this helps readers think about speaker performance and costs in a more complete manner. The listening tests always matter more than the measurements, so finding reviewers with trustworthy ears is really more important than taste-makers who let the tools, which may not be properly used, judge the experience.

erik_squires

Most problems arise when listeners make assertions in which no listening is involved. I applaud those that admit they dont hear a difference. Takes guts. In the end you listened and this is all that matters. 

FWIW, it takes alot to get banned on this forum. Which is as it should be. 

The main problem with ASR is Amir. If he were a congenial host who conceded that there are many ways to audio bliss which can include exotic and/or high end gear, he wouldn’t be demonized

You are wrong.  I own high-end gear.  I recommend high-end gear.  Here is an example:  Mola Mola Tambaqui USB DAC

 

Conclusions
The Mola Mola Tambaqui DAC shows again that just because a DAC is designed from ground up, it need not perform poorly. It is actually the opposite with it performing at the top of the class with respect to distortion and noise.

Since I am not the one paying for it for you to purchase it, it is not my issue to worry about the cost. As such, I am happy to recommend the Mola Mola Tambaqui DAC based on its measured performance and functionality.

Nearly $12,000 streamer/DAC is recommended.

What I don't recommend is high-end gear that takes massive steps backward in performance, attempting to please audiophiles who believe in myths.  Here is the direct competitor to above, the PS Audio PerfectWave DirectStream DAC:

 

This is its distoriton+noise relative to frequency (in blue):

 

This is the Mola Mola (now in red):

 

PS Audio is selling you a noise and distortion generator.  Mola Mola is selling you a state of the art DAC.  Both are custom solutions.  One designer (Bruno) knows what he is doing. The other, not.

This is what measurements do.  They bring clarity and cut through marketing claims and user random opinions.  When they speak, they speak.  Build me a $100,000 DAC that performs well and it too would get a recommendation from me if it looks gorgeous, performs great and has nice and easy functionality.

You don't have an answer for these facts so resort to personal remarks and blame game.

@markwd “The problem isn't that there are interesting experimental results, it's that they don't demonstrate that there is anything that can be done to audio equipment to implement better solutions to whatever gaps may be present.

  • Thank you for your reply markwd - but, like amir, you obsess over the equipment a little too much : ) - my discussion of the test was to underline the entire point of mahgister raising of it, which you again missed - it was to inform about how powerful our sense of hearing is, that we can and should reclaim that birthright instead of leaving it to handicapped measurements to do it for us. Why handicapped? Because measurements will always be limited by the Fourier uncertainty principle, while human ears aren’t. Why is that principle important? Because it limits the measurement accuracy of frequency simultaneously with time, the very foundations from which music flows. Are you following now?

 

@markwd “Now, you can suggest that somehow listening on the part of the designer is allowing them to choose between design pathways but this is just speculation. It may be true, as I noted to @mahgister, but we don't know and neither does the designer.”

  • I do not suggest anything of this, markwd - it IS happening, this is how the best audio equipment designers in the world are designing their servers and DACs, while of course putting equal effort to improving power supplies, and reducing realism damaging distortion. They are simply not applying signal fidelity as much as high fidelity, to their process. Do please reread my earlier post on this : )

 

@markwd “So there is a certain faith built into all this speculation, just like god-of-the-gaps arguments in other online communities ("listening-in-the-gaps" arguments has a nice ring to it!). It's interesting but needs proof and a proper measurement methodology that shows a path forward for determining exactly how these phenomena impact equipment design and use.

 

@markwd “Since you are a bit of a student of ideas in philosophy of science, one key one in contemporary thinking on the topic is lifted from Wittgenstein that we must remain silent on things we have no knowledge of and we have no knowledge of this.” 

  • I believe you took Wittgenstein quite out of context - he wasn’t discussing the lack of knowledge in his quote, but the clarity with which we should be using language. The correct quote in context here - “What can be said at all can be said clearly; and whereof one cannot speak thereof one must be silent.
  • Ludwig Wittgenstein: Tractatus Logico-Philosophicus

 

@markwd “Until we develop it sufficiently we do have an AP and spectral sweeps.

Yes, we might use analysers to help with room set up, but no, in fact, if the measurement of equipment is all that will be done for decisions - it is more correctly stated that until we are able to determine how to accurately measure frequency simultaneously with time, we have our more accurate ears to help us on this difficult but amazing and rewarding journey. We just need to apply ourselves to each develop our listening abilities.

 

@markwd “I'll just add one footnote to my previous post: we might actually be able to address the specific issues of heterodyning and nonlinear cochlea interactions in audio by using DSP to simply mute tones that interact in those areas of the hearing range. This would be like addressing a room mode but within the ear itself. Of course, we would be robbing the signal of its fidelity in so doing.”

  • you once again fall back on signal fidelity without fully understanding it matters less than high fidelity. And ‘equipment’ (in this case the tech of DSP) is again your default to address that human laziness inherent to putting effort to developing listening ability. Markwd, you have to grasp the fact there are no shortcuts in our hobby. Measurements will bring you signal fidelity, and that’s all you’ll ever have. Be happy then.

 

@markwd “Still, in order to do this we could use experiments that first demonstrate it will improve human hearing. There is a great deal of literature on methods for overcoming hearing loss; there may be something in there concerning speech that points towards something useful for audio equipment design.”

  • With all due respect, I’m concerned there may be a disconnect with how you read, and comprehend with what you write - there is nothing wrong with the human hearing apparatus. Well into our seventies, while there may be a big drop in our hearing the upper registers, all our abilities to detect frequency/time nuance is still robust and functioning - the enjoyment of music continues with every fibre in our being. What needs to improve is the development of listening ability, not the apparatus we are born with. I hope you understand that distinction.

 

In friendship ; ) - kevin

@fleschler 

Thanks for your kind words, flescher, I can get long winded too, and I’m so happy you got something from my long post. And you’re so absolutely right about magnetic tape - it is actually one of the prime reasons I believe the magnetic side of electromagnetism holds secrets we haven’t plumbed just yet - something to do with the analogue continuity of magnetic flux that we all receive some benefit of in its transmission of audio signals, while it defeats the discrete nature of digital music….and all attempts to understand the discrete measurement of it, haha. I didnt put it in only because I wanted to draw more attention to how high fidelity began rather than evolved.

On a side note, your posts over the past four years were some of the many that helped me along this amazing wonderful journey I’m on - it’s medicine unlike any other. Thank you so much!

 

In friendship ; ) - kevin

Look at What’s Best Audio Forum. Most posters are congenial and obliging of alternative views, anxious to hear what’s new, posing answers as to what improvements can be made to existing equipment. 

I co-founded What's Best Forum (and came up with that name!).  So I speak from actual knowledge that we had battles between members like no one has ever seen.  Raging wars would better explain it.  It got so bad that I had to sell my half and go and start ASR as people became incredibly rude and intolerant of any measurement or talk of science.  In some sense, if people were cordial and respectful of everyone's opinion, ASR would not exist!

So if you want to pick an example and say I am the bad guy, you should avoid referencing WBF.  😀