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be classed as “good”. Now the reality is that we are
not sending simple frequency sweeps to a speaker,
but complex musical information. A single note from
a piano, violin, human voice etc will contain low,
medium and high frequencies which will be split into
two or three parts by the crossover for the ear to put
back
together.
Now
although
the frequency
information will be correct some essential phase and
detail will either be lost or misunderstood by the time
the three parts are separated by the crossover,
reproduced by the three speakers for our ears to try
and understand the original meaning.
Musical information which often consists of the
orchestra and singer(s). Obviously one device (i.e.
the microphone) is able to pick up all these sounds at
the same time as we use only one microphone for
the whole frequency range so a “perfect” loudspeaker
would behave in the same way. But because is the
“norm” to have a 2 or 3 way speaker most people
assume that this is essential. This is not true!
In the past we have had experience working with and
making cabinets for full range loudspeakers such as
Fostex,
Lowther
and
older
Wharfedale
and
Goodmans designs. These are still highly regarded
by many audiophiles as having qualities which
modern designs seemed to have lost.
What were are aiming to achieve with the FRm series
is a Full Range speaker that is a combination of the
best of old and new.
Full range speakers have two disadvantages when
compared to conventional types.
a) The
“running in” period is longer than conventional
speakers. This is because the lower power needed to
move the cone takes longer to “free up” the cone
suspension parts, and to “run in” the cone material to
its optimum sound quality. This is also temperature
dependant. So if the speakers have been stored in
the cold, they will need about 48 hours for the
suspension material to “normalise”.
b) FRm speakers are more directional than
conventional speakers because the treble radiator is
“recessed” in the cone. This is similar to Tannoy
“Dual Concentric” speakers and Electrostatic types.
So careful positioning is needed. When listening the
drive units should be at “ear level”. In some cases it
may be necessary to tilt the speakers back slightly.
This may be done by adjusting the spikes lower at
the back, or not fitting the rear spikes.
However the
benefit is much increased definition of the sound
stage. You should be able to “pin point”
instruments left, right and centre and even
“outside” the speakers with excellent “front-
back” definition as well.
Dynamic Range;
Due to the “no power wasted” design and the lack of
a “crossover” a much larger amount of the amplifier
power is converted into sound, giving a dynamic
range much larger than conventional designs. This is
especially noticeable when comparing to electrostatic
types.