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In the Forum: Audio Discussions
In the Thread: Constructing LF modules to the limits

Post Subject: Another Look at the "Problem" (and Branding)Posted by Paul S on: 9/27/2011

Be, thanks for bringing up the "subharmonics" in the way that you have done, for another good look at the elusive-to-hi-fi "undertones". I have been bitching about and futzing with this for ages, and now am I working with the drivers, themselves, to better understand and address this (among other things). Yes, this "structure" certainly exists in life, as those with ears can hear, and it won't be dismissed, nor (IMO) can it be "simulated" with electronic boost, at least not with Musical integrity. No, to get this right for Tone, it has to be gotten right from the "beginning". The Idea is to hang on to as much as possible without effing up something else to the point of diminishing returns.

Herman, the pressure is certainly something that can work both with and against other LF "features", and I think the "balance" can only be gotten with the "Serious Music". I agree (at this time...) that for LF, "more is better" at "the source". By this I mean that nothing about Romy's "20 dB Axiom" changes at LF, except it is MUCH harder to do "properly" at LF. Typically, we see/hear what amounts to an "inverted" version of the "LF" driver's output, achieved by some combination of amplification and attenuation. Or, we see/hear the "thunder machines" that have nothing whatsoever to do with Music. Of course, it's up to each of us to decide how we will deal with the many conflicting LF issues. Just now, my "thing" is Tone, as I have described extensively. Generally speaking (and I'm sure you agree), I think anyone could draw closer to a personal solution if he knew more about the "qualities of Sound" that make the Music he wants (and expects) to hear, as opposed to trying to figure out "which brand is best".

As for ULF, I mostly agree with Romy, and I think there is already some pretty good information in the GSC ULF threads, right now.

Best regards,
Paul S

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