10/09/2011

Study of Powered Woofer System with Alpair 5

Besides the digital equalizing (boosting) method as I had introduced on this blog, powered woofer systems can also provide quite excellent low end performances with very compact configurations. The powered woofer system can be configured either as 2.1ch system (monaural sub-woofer system) or 2.2ch system (2-way dual amplifier system).

I’ll introduce two studies I performed for this kind of systems;

1. Alpair 5 + 13cm Woofer Dual Amplifier System

Fig.1: Alpair 5 + 13cm Woofer

Data:
Main speaker: Mark Audio Alpair 5 metal cone full-ranger, sealed enclosure with 1L volume
Woofer: Dyanavox LW5002PPR-S PP cone woofer, sealed enclosure with 3L volume


Fig.2: System Schematics


Fig.3: Analog Channel Divider: Behringer CX2310 Super-X Pro


Fig.4: Responses of the woofer with different Cut-offs

The basic response of the woofer starts rolling-off at approx. 100Hz with approx.12dB/Oct slope. This is a typical sealed box behavior with plenty of absorption materials inside (which effectively suppresses mechanical resonances of the driver-box system). Additional three curves in the figure are measured with different cut-off settings; 44Hz(the lowest position), 60Hz, 120Hz with -24dB/Oct High-Cut filter. Since the basic response has +12dB/Oct slope in the frequency range of <100Hz, the filtered response curves decay with -12dB/Oct slope within this frequency range (because +12 -24 = -12dB/Oct). This is quite convenient to combine with a sealed boxed main speaker.


Fig.5: Combination with Alpair 5

Now, a curve from Alpair5 (1L sealed also with absorption materials inside) is added in the figure. This also rolls-off with 12dB/Oct slope. To get a flat response in the cross-over range, both curves(i.e. woofer and Alpair 5) should cross at -6dB point. The frequency of this point is fixed by the main speaker (i.e. Alpair 5 in this case, and the cross-frequency = approx. 100Hz). To achieve this, the Cut-Off freq. and the gain balance between two speakers should be selected carefully. Finally, the Cut-Off of 60Hz is selected as the optimum shown as Fig. 5. For this kind of configurations, it is important to understand that the filter’s Cut-Off freq. and the actual Cross-Over freq. are not equal because the basic response of the woofer is not flat.


Fig.6: Total frequency response

The finally obtained full range frequency response is shown in Fig.6. Quite enough low-end performance (30Hz/-10dB or more) can be achieved with well flat cross-over range. The low-end limit (roll-off freq.) of this kind of system does not depend on the woofer size, because any sizes of woofers would have the same 12dB/Oct response in <100Hz range if they were installed in a very small sealed box fully stuffed with absorption materials. If you use a smaller woofer, you will need to increase the amplifier output accordingly to balance with the main speaker. To prove this, I just tried Alpair 6M (3” full-ranger) as the woofer.


Fig.7: Alpair 6M used as the woofer

Green lines indicates the result with Alpair 6M. As you can see, identical low-end response can be achieved even with a much smaller driver. With traditional passive network configurations, you must use larger woofer to bring the low-end limit lower. So, Low-end limit basically depends on the woofer size. With those systems, you need a very big woofer if you want to have 30Hz/-6dB response (usually 38cm woofer + >100L box will be required, as shown in Table.1).


Table.1: JBL Monitor Series

In case of powered woofer systems, the woofer size just depends on the sound volume you need. if you live in a small room (please understand Japanese standard environment), or if you don’t need tremendous sound volume, or if you want to have a near-field / desktop system, and if you can accept an additional power amplifier and a divider, you can reduce the system size drastically with achieving equivalent or even better low-end response comparing with full or mid sized conventional bas-reflex systems. Further, needless to say, bass generated from a sealed box has much better quality in nature.


Fig.8: Possible Configurations

Fig.8 is showing several possible configurations with 3” full-rangers. For example you can use Alpair 5 or 6 for this purpose. As the 4” woofers, CHR-70 might be useful for instance. Alpair 10 woofer must be the optimum due to its big Xmax. All these configurations have an identical frequency response (30Hz/-10dB or more) as mentioned above. Again, the low-end limit does not depend on the woofer size at all. You should select the size just depending on the sound volume you need. For desktop/near-field applications, MINI or SMALL could be sufficient. Actually, my new desktop system with Alpair 6M named "ZAP" (see next article) belongs to SMALL class. For typical Japanese private rooms, COMPACT or MEDIUM may be enough, if he is not a big sound enthusiast. My "Alpair 5+13cm woofer" system belongs to COMPACT class. This is rather bulky for desktop applications.

More than 80% of music listeners feel comfortable with <80 dBA sound pressure level at their ear position, according to a research performed by a Japanese authority. If you listen to music routinely with more than 85 dBA sound pressure, your ears will be damaged, some European agency says. If you listen to music within these moderate sound levels in your private room, and you feel full-sized systems as unnecessarily bulky, however, if you want to have real bass that is enough to enjoy syomphonies in deep (hopefully good response down to 40Hz), these systems must be quite attravtive. You can select your best size as needed without sacrificing bass performance. I believe this must be a very basic requirement for any music reproducing machines.

Currently, very cheap and compact digital amplifiers with good enough sound qualities are available (e.g. Nuforce Icon). So, cost of additional amplifier seems not critical. Cheap and compact 2ch digital channel divider with integrated DAC could be quite useful for this kind of applications. I want it !

2. Minimum 2.1ch System
I made a very nice minimum 2.1ch sound system named “KERO” based on the theory as described above. This can be classified as MICRO that is smaller than MINI in Fig. 8.


Fig.9: Micro Monitor KERO-1


Fig.10: Schematics of KERO

Data:
Main speaker: Aura Sound NSW1-205 1” metal cone full-ranger; sealed enclosure with <100cc volume
Sub-woofer: Aura Sound NSW3-193 8A 3” metal cone full-ranger; sealed enclosure with approx. 700cc volume
Sub-woofer Amp.: Victor 30W, integrated variable High-Cut filter and fixed 50Hz Low-Cut filter for safety
Response: 45Hz – 20kHz/-6dB


Fig.11: Response of KERO

This system is targeted for super near-field applications within 50cm distance. As you can see, very good low-end performance is achieved even with such minimum size (total volume < 1L !). This system sounds quite clear and natural with quite sufficient bass much more than I expected. I’m using KERO beside a folding bed in my office room, with iPod Classic and a small tube amplifier (6BM8 single). Placing KERO just behind the pillow, I can enjoy very clear sound just like as head-phones because of substantially no distrubing room effects. This is really super!


Fig.12: KERO on site

5/23/2009

Validation

Honestly, I cannot be really sure whether I'm doing the right thing (I’m sure many of you share the same feeling).

To be sure, I did simple measurements as below;

Testing method
1) Generates WAV files containing sinusoidal signals (30/40/50/70/100Hz, with 0/-6 dB).
2) Playbacks the test files with my usual amplifier volume position (approx. 1/5 angular position, full power=60W(spec.data)).
3) Records the sounds via a microphone just in front of a speaker.
4) Compares the recoded signals with the original signals.

Result s
1) 100Hz
0dB, std. volume
2) 70Hz
0dB, std. volume

3) 50Hz
0dB, std. volume

-6dB, std. volume
4) 40Hz
0dB, std. volume
-6dB, std. volume
-10dB, std. volume
5) 30Hz
0dB, std. volume
-6dB, std. volume

0dB corresponds to the absolute maximum signal magnitude in 16bit Wav data, thus any boosted signals cannot exceed this level. As described in previous articles, peak signal levels blow 50Hz in most of music sources do not exceed –20 dB , and it is exceedingly rare and quite short moment to reach to –10 dB. These levels correspond respectively to –10dB and 0dB with my standard boost setting (base level = -13.5dB, approx. +10dB at low end ). So basically blow 50Hz signal can be less than –10dB in most cases with my typical boosted listening conditions. If the signal reaches to 0dB, then I can know that via the AVC activations, which happen quite infrequently.

I would say, those conditions can be acceptable for any music sources as far as the volume level is maintained below this standard position, with which I can even play Stravinsky “Rite of Spring” without feeling problems (the signal level actually reaches to 0dB). I have the problem with this tune because the entire signal level of this CD is relatively low in order to record the extraordinary strong tympani within the 16bit dynamic range. In such case I have to turn up the volume beyond the standard position to listen it comfortably, then suffer the tragedy.

You can see a big distortion in 40Hz/0dB with slightly turned up volume position. "Rite of Spring" becomes the disaster.
40Hz, 0dB, std. + 1/20 volume - no mechanical attacking noise
Even with this volume position, I don't feel any critical distortions with classical music including LvB symphonies because of originally low signal level in low end, while sometimes feel a certain distortions with contra-basses in jazz tunes.

In other words, “maximum low boosting” means “reduction of mid-high range from the maximum powered condition of the driver". Therefore basically I would recommend to use Alpair6 or CHR-70 for this kind of extreme boosting applications, with which you could enjoy much more boosting potential (see below table).

driver / X-max(1way) / max. Power
Alpair5 / 2.5mm / 12W
Aplair6 / 5.0mm / 30W
CHR-70 / 4.5mm / 40W
(data from Mark Audio home page)

5/13/2009

If you don’t like to use a computer

or if nice software with English language are not available (Frieve Audio: only Japanese),
as an alternative way, you can do exactly the same process (automatic compensation + manual equalizing) by integrating an external digital equalizer to your existing audio system;
BEHRINGER DEQ2496 Ultracurve Pro

http://www.behringer.com/EN/Products/DEQ2496.aspx (English site)
no computers necessary
Digital In/Out and Analog In/Out available
approx. 40,000.- YEN in Japan
a microphone (option) necessary to perform automatic compensation

Although this equalizer is originally designed for music creators, many Japanese audio freaks are enjoying it quite comfortably.
http://audiolike.exblog.jp/ (Japanese site)

Possible Configurations;
(1) CD Player (Digital OUT) – (Digital IN) EQUALIZER (Digital OUT) – DAC – Amplifier
(2) CD Player (Digital OUT) – (Digital IN) EQUALIZER (Analog OUT) – Amplifier
(3) Analog Player or CD Player (Analog OUT) – (Analog IN) EQUALIZER (Analog OUT) – Amplifier

Sound Quality
(1) > (2) > (3)

(1) is strongly recommended.

5/11/2009

Final Equalizer Settings and Conclusions

I’ve settled the equalizer settings and finalized the system as below.

1. Analysis of Source Signal Level
Below figures are showing original signal levels (PEAK VALUE) in three frequency bands (-50Hz, 50-100Hz, 100-1kHz) measured from several single tracks. music sources(from left);
- "Beethoven Cello sonata No3 I (Classical)"
- "Beethoven Symphony No.8 I (Classical)"
- "Paul Chambers Yesterdays (Jazz)"
- "Chick Corea Return to Forever (Jazz Elec.)"
- "Beethoven Symphony No.5 IV (Classical)"
- "Jaco Pastrius Crisis (Jazz Elec.)"
- "Miles Davis So What (Jazz)"
- "Weather Report Volcano for Hire (Jazz Elec.)"
- "Stravinsky The Rite of Spring(Classical)"

Low end signal levels below 50Hz are generally quite low except in "Rite of Spring".

Below figure is another result measured from totally 45 CDs (including all tracks) (-50Hz only). music sources(from left);
- "Pink Floyd The dark side of the moon (Rock)"
- "Beethoven Symphony No.1-9 (Classical)"
- "Miles Davis 21CDs (Jazz, incl. Elec.)"
- "Weather Report 12 CDs (Jazz, Elec.)"
- "Stravinsky The Rite of Spring (Classical)"
- "Madonna Erotica 1 CD (Pops)"

These are only Maximum Peak values measured in a number of tracks. Generally, it is exceedingly rare and quite short moment to reach –10 dB in this frequency band (below 50Hz).

2. Final Equalizer Setting
Based on the results above I finally made two equalizer settings, i.e. Full Boost Version (30Hz flat) for most of music sources, and Limited Boost Version for e.g. “Rite of Spring”.

Base level of each setting is determined so as to suppress signal overflows (–13.5 dB for Full, -12 dB for Limited). This is necessary to avoid sudden volume down due to AVC (Automatic Volume Control) implemented in the software Frieve Audio, which automatically reduces the total gain (i.e. expands the dynamic range) at the moment of digital overflow.

Generally, signal overflow is inevitable in this kind of extreme digital boosting. Thus higher bit number (more than 24bit) and excellent S/N (120dB in my case) is required for DAC (digital-analog converter) to avoid significant deterioration of the sound quality.

Here is the compensated response curves;
Blue: Limited Boost Version
Red: Full Boost Version
Black: FOSTEX G2000, 4way, 20cm woofer x2
(catalog data, as reference)

You might be anxious about phase delay in low-end frequency range.
Below is the measured delay in nearly maximum excursion driving.
The result indicates clear delaying tendency in lower frequency (absolute vertical scale is not disclosed in the software), which is inevitable in any laud speakers. The DSP also compensates this delay.

3. Conclusions
Now, I’m going to finish this audio trial on my desktop. It is quite comfortable to listen the real full range sound (30Hz to 30kHz) generated from just a single cone with a quite small diameter (approx. 5cm) in a simple sealed box without any reverse ports. This was a kind of dream.

If you can accept this kind of new technologies (i.e. computer audio system with digital equalizing), limited sound volume (near-field listening style) and trivial sacrifices in the sound qualities (i.e. deterioration in S/N due to expanded dynamic range and distortions due to larger diaphragm excursion, honestly I don't feel any significant problems) , then you can realize the dream quite easily.

I selected Alpair5 originally because of the subwoofer integration. If you would not be so adhering to the super detail of Alpair5 in mid-high range, I would recommend Alpair6(fs=74Hz) or CHR-70(fs=70Hz) for desktop applications to reduce the boosting factors. I expect 6dB reduction with those drivers in my calculation.
If your listening distance exceeds 1 m substantially, then Alpair10 full range or Alpair10 woofer + Alpair5 could be suitable. In this case, I expect 10dB or more reduction in the boosting factors.

Let's try !

4/28/2009

Report of Alpair5 Aplication

Here is the total report of the Alpair5 application on my desktop system.
Please also check the system introduction to see the overview of my LEAN AUDIO concept.
http://lean-audio.blogspot.com/2009/03/hello-im-currently-enjoying-on-computer.html

1. Sealed box
I built a pair of sealed boxes for Alpair5 drivers, which have exactly the same dimensions with those for F80AMG drivers.

main dimensions: W=115, H=170, D=240 mm, t=15 mm (lauan plywood), Vin=2.5 L, sound absorbent material (fiber) =32g (adjusted based on hearing )


T/S parameters; F80AMG vs Alpair5 (gold);
http://hpcgi3.nifty.com/bachagi/calnt/calsptop.pl

Calculation result; F80AMG vs Alpair5 (gold); 2.5L sealed box Calculation results;
F80AMG: Fs=125Hz, F3=103Hz
Alpair5: Fs=152Hz, F3=129Hz

Measured responses at 20cm distance on the axial center;
black=F80AMG, red=Alpair5 (gray)

The software(Frieve Audio M-Class) plots the curves automatically adjusting the levels. The actual absolute level of Alpair5 is approx. 3dB higher at the same amplifier volume position.
Roll-off frequencies seems nearly identical despite considerable differences in the T/S parameters (fs=89 Hz vs 125Hz). It is remarkable that Alpair5 indicates nearly the same low-end response with F80AMG whose bass performance is highly reputed in Japan.

Results of the automatic response compensation (20cm, axial center, 30Hz…18kHz flat);
black=F80AMG, red=Alpair5 (gray)

Equalizing factors (20cm, axial center);
black=F80AMG, red=Alpair5 (gray)

This time, I tried extreme equalization up to nearly +30dB ! Surprisingly both drivers were capable of such tremendous low-boosting as shown above.

2. System Integration
This is the current system configuration;

Current system without subwoofer

I bought a new amplifier ONKYO A-905 FX (60W/ch at 4 ohm) to drive Alpair5 (4 ohm) with a plenty of power margin for extreme low-end boosting. The former KENWOOD KA-S10 is not so powerful (only 12W/ch, 8 ohm) and doesn’t support 4 ohm speakers.

Measured responses at the standard position (Alpair5, 80cm distance, 25deg inside offset);
black=LHS, red=RHS

The response becomes uneven due to the room effect, reflections from the desktop and axial offset.

Results of the automatic compensation (25Hz to 18kHz flat,);
black=LHS, red=RHS
NO subwoofer !

Equalizing factors;

F80AMG also worked in the same way as Alpair5.

Do you believe this kind of extreme boosting can be realistic?
I had never believed so. However, surprisingly it works quite well. I also tried a combination with the desktop subwoofer in the same way as described in previous articles in this Blog, and compared both configurations with the same response curve (flat to 25Hz). As the result I decided not to use the subwoofer because Alpair5 without subwoofer produces more natural, clearer and tighter bass. Alpair5 seems maintain its super detail character even in low-end area.

I can play most of music sources including classical symphonies with full boost setting (25Hz flat) without suffering noticeable distortions (i.e. excess driver excursions). I tried a very steep Low-pass filter with 50Hz cut-off on several music sources to know the actual signal level in low-end. Generally the signal level below 50 Hz is not so strong in most tunes that considerable boosting can be possible if you are listening the music in relatively low volume level (ex. near field listening).

As exceptional cases, some modern orchestra tunes, like as “Rite of Spring”(Stravinsky) and “The Planets”(Holst), include extremely strong signals (nearly full dynamic range) in very low-end, which come from bass drums(timpani).
Stravinsky: Le Sacre Du Printemps
Chailly / Cleveland Orchestra
Check its super bass !

For this kind of tunes, I have to reduce the boosting factor in order to avoid excess excursions (distortions). Subwoofer could be beneficial in this case.

Reduced boosting factor;

3. Summary
Alpair5s were implemented in my desktop audio system to playback lossless WAV files stored on an audio PC equipped with powerful digital signal processing software Frieve Audio M-class that offers automatic response compensation.

On the system, Alpair5 and F80AMG (highly reputed 8cm driver in Japan) were compared under the same conditions each other, i.e. under the equalized output response (25Hz to 20kHz flat) without a subwoofer, using the same 2.5L sealed boxes.

Both drivers were capable of extreme low-end digital boosting (equalizing) down to 25Hz without noticeable distortions under the limited conditions, i.e. low sound volume due to near-field listening, thus plenty of margin for maximum excursion of the drivers as well as for maximum output power of the amplifier. Further more 24bit DAC enables to maintain the lowest level signals (the least significant bit) of the original 16bit data even under such the extreme signal processing (Frieve Audio itself performs the internal process with 64bit resolution). For this kind of applications, sealed boxes should be suitable because of no phase reverse thus no steep roll-off.

Only for few music sources with exceptionally high magnitude signal below 50Hz (modern orchestra with very strong bass drums, e.g. “Rite of Spring / Stravinsky), the boosting factors below 50Hz had to be reduced in order to avoid excess excursions. Most of other music sources within my music library including classical symphonies, jazz (acoustic and electric), rock and pops do not indicate noticeable distortions even with the full boost setting.

4. Impressions of Alpair5
Comparing to F80AMG, Alpair5 delivers much higher clarity and details not only in mid-high range as already well known but also surprisingly in very low range below 100Hz with digital boosting. I’m quite sure that I can identify Alpair5 perfectly even under a blind test. The reputations of Alpair5 on its mid-high range is quite famous, so I don't like to repeat it here but would only say “that’s really true” and just add “also in low-end range if you boosted it digitally”. I don’t need F80AMG no longer for any music categories.

The boosted bass from Alpair5 is so tighter and faster that I can no longer be satisified with my own cheap subwoofer. The boosted bass from solely Alpair5 sounds much better in most cases except for above special music.
I didn't have such uncomfortable feelings with F80AMG + subwoofer combination may be because the sound qualities from both units (sub and F80) are not so much different each other.

see the next article for the conclusions;
http://lean-audio.blogspot.com/2009/05/final-equalizer-setting-and-conclusion.html