It is not about Dynamic Range per say but about dymick differences that I feel and that I care with good ULF he effect of rising of acoustic and tonal pressure is instant, very soft but absolutely instantaneous. Live music has feel like literally infinite dynamic range of ULF and little infinite dynamic headroom. I do not compare live and recording music but I am talking about perception during live and reproduced music.
Thinking about it I asked myself if dynamic amplitude is something that we truly deal with in ULF. My feeling that it is not. I feel that dynamic amplitude have very little different in ULF, it is like feeling of tsunami if you are in a middle of the ocean. If you paid attention then you know that explicit proper compression of ULF has practically no negative effect to Sound, so the dynamic amplitude is very much not the key that I would look for.
What I think I am after is a rate change of ULF, of the very leading edge of the wave to be as distinctive as possible. So we are taking about transient of ULF, however, because it ULF I think there is a very interesting kink on the whole story, the kink that might be overlooked by everyone, and it certainly is being overlooked by me.
Let pretend that we look visually at the front of pressure ways. It would be obvious that the higher ratio between in-wave pressure and background pressure would do better “rate change”. So, what would smear the sharpness of pressure build up? Surprisingly (of not surprisingly for the readers of my site) this morning it hit me that the problem might be in the driver time alignment. The morons would say “not again” but the Morons did not note that I did not say “drivers time alignment” but I said “driver time alignment”. Let me to explain.
I notice that my woofer array towers worked superbly in my old room but now as much in my new room. There are many reasons why but there is also one moment that I think is overlooked. In the old room my woofers were facing directly to me but in my new room they are way out of my view. What does it is affect? Well, the woofers are 10”, some people use 15, 18 or more inch woofers. The pressure produces by a woofer originated by the woofer surface and since the surface is large then origination surface has dimensions. We know that the time misalignment or the arrival difference between let say left and right side of MF drivers, are responsible for lateral attentions of drivers and for the restricted dispersion diagram. With bass driver we do not care as we feel that the wavelength is too long. Well, for sure at bass the dispersion patter does not change so much. However, what I propose is changing with facing-off the woofers is the density of the bass leading front.
With 18”woofer located at 45 degree to listening spot the leading border of the pressure wave will have 9” of smeared edge, where the pressure from the closer and further side of the woofers did not arrive yet. This all very simple to test with a regular woofer firing in face and off face. What is not so simple is to develop attention to the specifics that need to be listen. You might recognize a sort of not “softness” but rather elasticity of attack when woofer’s sides are not aligned to itself. This elasticity might not be unpleasant; in fact it is pleasant but it pleasant only in context of a single canal. This pleasure might not work in context of larger picture of your sound, the way how it does not work in my case.
Again, what I described above is not uncontroversial but I would like you to know that this view do exist in me and if I could then I would like to have the ULF woofers face directly to my listening chair.
"I wish I could score everything for horns." - Richard Wagner. "Our writing equipment takes part in the forming of our thoughts." - Friedrich Nietzsche