Well, the crossover isn’t the source of unit to unit variation in our speakers. It’s easy to get 5% or 1% or even .1% but 99% of the tolerance issue is drive units. We keep pairs matched pretty closely but it’s a challenge compared to a good dome or cone.
When we bilaterally tension the planar drivers, this resonance can vary a little and it is hugely more consequential than the exact cap value (within a few percent). One of the benefits though is that this resonance isn’t reflected back into the impedance curve in a significant way (because there is fairly weak electrical damping), so the impedance of the planar is essentially resistive, so this helps the parts track their intended frequency unit to unit.
Hi @Chris_Brunhaver, I’m looking for something to replace my Martin Logan Expression Speakers. I like these because they don’t have to be played at high level and work at all volume levels, unlike B&W that have to be played loud to work. They would be driven by Dan Agostino 300W Master Classic Stereo amp. Would the FR range be suitable for my requirements? After part exchange, I guess the FR10s would be the matching price point without investing further cash.
Many thanks for your thoughts.
Well, perception of tonality of speakers changes with level largely because of how our ear/brain system works. Basically, at lower than reference volume, a speaker will sound thinner (and sometimes lacking air and treble).
You might find that the active woofers in the martin logans gave you more low frequency output/balance so that it sounded good a low volume. B&W speaker often have an exaggerated airy treble and in some models might sound thin at lower level.
I think that there is a family sound among thin film speakers (like our planars versus the ESL panels of martin logan). However, our speakers aren’t dipole (meaning that there isn’t sound bouncing back toward the front wall). We have a smaller acoustic source and more “pinpoint” and much wider dispersion than a martin logan ESL, but I think that some of the ease in the midrange and “magic” of the low distortion panel speakers is there.
Our integration with the woofers i think is more seamless because they both have similar directivity (panel and woofer) whereas the Martin Logan has a dipole radiation (that has a large null at the side) is dramatically different directivity than their omnidirectional woofer section at the crossover. I think this is a large part of why sometimes you hear a discontinuity with the woofer section on some of their models.
Many thanks @Chris_Brunhaver. One thing I failed to mention is that I have a 77” oled between the speakers, What I think you are saying is that it could / would? Be an issues with your none-dipole speaks, which I need to watch out for, unlike my ESL that is a dipole and does not seem to affect the sound noticeably.
In general, you may have reflection issues with your large OLED. I had issues with my 65" OLED interfering with my speakers (unwanted sound reflections) when my speakers could.be seen in a reflection from the tv. I used to put a large cushion up against the tv when listening to music. Now my speakers are much further apart, minimizing (actually eliminating) reflections to the listening chair. (My speakers are the FR20).
Well, I wasn’t very clear overall. I sometimes get off on a tangent.
I was trying to explain why, in addition to things like distortion and resonances and other performance factors, why one speaker might sound better at low volume versus higher volume based on the tonal balance.
Overall, I think that our speakers are somewhat easier to place because they have very wide directivity and would be worth checking out as a worthy successor to your Martin Logans. There is still the flavor of a panel speaker but without the open baffle aspect.
As far as the TV goes, there isn’t much high frequency sound going sideways are rearward (certainly less than a dipole, depending on the angle), but, as anotherpaul mentions, having a TV there isn’t as good as not having it there (or having treatment over it), but you can still get great sound in a great room or A/V setup and I think that most of our speaker live in a similar setup.
Many thanks @Chris_Brunhaver. I guess I’ll have to try and find a dealer in the uk that is willing to swap an old pair of ML new worth £20K for a new pair of FR10s worth £10K. I hope I’m not being naive.
Boy, I don’t know a dealer that will do that kind of thing. I suppose that it doesn’t hurt to ask but you’ll likely need to sell the ML speakers on the used market and then buy replacement speakers.
Well… at least selling the Decware stuff won’t take long if I end up selling the Cornwalls and supporting amps, or I can move into a larger place with more rooms.
With all the talk about the potential problems of powering the FR10s with low-wattage tube amps, I want to highlight how well my FR10s are working with a Class D GaNFET amp that has many of the positive attributes of tube amps without the usual drawbacks. The Atma-Sphere Class D monoblocks were designed by Ralph Karsten, a legendary tube amp designer who is now building the A-S GaNFET monos alongside his highly regarded range of tube amps and preamps. These amps have provided the midrange/high-frequency smoothness and holographic imaging of the best tube amps while being even more clear and transparent at the same time. They also provide the low-end impact and control that Class D amps are famous for, while supplying 200 watts/channel into 4 ohms.
With the A-S monoblocks powering the planar-magnetic mids and tweeters of the FR10s, I am hearing a level of transparency and detail that I have never heard in my system without some degree of harshness or sibilance. Ralph Karsten points out that the distortion spectra of the A-S Class D monoblock emphasizes mainly second- and third-order harmonics, which tend to be perceived as benign and tend to mask harsher higher-order harmonics. This distortion profile is similar to that seen in many tube amps and in some Class A amps. At the same time, the overall distortion level in the A-S Class D monoblocks is significantly lower than the distortion typically seen in tube amps.
I’m finding out that combining the smoothness, speed, and transparency of the planar-magnetic drivers in the FR10s with the mid/high frequency smoothness and transparency of the A-S Class D GaNFET monoblocks is a match made in heaven. I’m now getting enough break-in hours on both the A-S monoblocks and the FR10s to feel confident that they are both “keepers.” I’m also getting used to hearing more details in recordings and a wider, more layered soundstage, with more depth and more air around singers and instruments. This is fun! And I’m expecting even more sonic revelations when I receive a set of Stack AUVA70 isolators for the FR10s.
Paul, thanks for your comments. I should also emphasize that I am adding some actual “tube goodness” to the system via my BHK preamp. I like having a bit of tube presence by using just a couple of 12AU7 tubes in the input stage of the preamp.
I’m using the Atma-Sphere Class D GaNFET monoblocks for both high and low frequencies. I use a pair of 2.5m lengths of Cardas Clear Reflection speaker cable, with a single cable attached to the Woofer input terminals of each FR10 speaker. The Mid/High input terminals are connected to the Woofer terminals on each speaker using a Cardas Clear Jumper cable.