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A third- or fourth-order acoustic crossover often has just a second-order electrical filter. This requires that speaker drivers be well behaved a considerable way from the nominal crossover frequency, and further that the high-frequency driver be able to survive a considerable input in a frequency range below its crossover point.
Second-order Linkwitz–Riley crossovers (LR2) have a 12 dB/octave (40 dB/decade) slope. They can be realized by cascading two one-pole filters or using a Sallen Key filter topology with a Q 0 value of 0.5. There is a 180° phase difference between the low-pass and high-pass output of the filter, which can be corrected by inverting one signal.
A simple example of a Butterworth filter is the third-order low-pass design shown in the figure on the right, with = 4/3 F, = 1 Ω, = 3/2 H, and = 1/2 H. [3] Taking the impedance of the capacitors to be / and the impedance of the inductors to be , where = + is the complex frequency, the circuit equations yield the transfer function for this device:
A line array is a loudspeaker system that is made up of a number of usually identical loudspeaker elements mounted in a line and fed in phase, to create a near-line source of sound. The distance between adjacent drivers is close enough that they constructively interfere with each other to send sound waves farther than traditional horn-loaded ...
The midwoofer-tweeter-midwoofer loudspeaker configuration (called MTM, for short) was a design arrangement from the late 1960s that suffered from serious lobing issues that prevented its popularity until it was perfected by Joseph D'Appolito as a way of correcting the inherent lobe tilting of a typical mid-tweeter (MT) configuration, at the crossover frequency, unless time-aligned. [1]
In electronics and signal processing, a Bessel filter is a type of analog linear filter with a maximally flat group delay (i.e., maximally linear phase response), which preserves the wave shape of filtered signals in the passband. [1] Bessel filters are often used in audio crossover systems.
The output power of the two carriers (M1 and M2) increases by about 1 dB in each frame, while the 3rd order intermodulation products (D3 and D4) grow by 3 dB in each frame. Higher-order intermodulation products (5th order, 7th order, 9th order) are visible at very high input power levels as the amplifier is driven past saturation.
The audio magazines need to appeal to a broad spectrum of advertisers including many who make speaker systems which are time incoherent. The magazines, and the reviewers who write for them, have ignored or downplayed the issue of time- and phase-accuracy in order to maximize advertising revenue. I am not alone in recognizing this situation." [7]