MEASURMENTS
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Measurements are an important tool to guide the design process of any serious loudspeaker system. However, it will be thoroughly misleading to measure without in-depth knowledge of the limitations of the applied measurement techniques, microphones, as well as physical and theoretical limitations. Furthermore measuring during ideal conditions can give very different results than when measuring in realistic situations.
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At PERFECT8 Technologies we proudly present realistic high resolution, unsmoothed anechoic and 1/24 octave smoothed in-room measurements of our equipment in contrast to the typical measurements presented in other sources, which commonly are heavily smoothed to make the speaker at hand look better than they actually are (1/3 or 1/6 octave smoothing is often used for both anechoic and in-room measurements).
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 The Force Measurements
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Due to the clever frequency dependent combination of monopole and dipole line source radiation patterns of THE FORCE, less room modes are excited, and the effect of reflections from ceiling, floor and the side walls are drastically reduced. Furthermore, a very even balance can be achieved over a wide and extremely deep listening area. Under many circumstances, the sound pressure level hardly decreases with increased distance to THE FORCE.
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Fig. 1: THE FORCE in-room response – 1/24 octave smoothing
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Fig. 1 shows the steady state frequency of the THE FORCE open baffle at the listening position including all room effects with 1/24 octave (!) smoothing. Evidently, the detrimental impact of the room has been reduced to an impressively low level.
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Fig. 2: THE FORCE subwoofer in-room response at listening position (180m2)
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At the same time, full output capabilities of the THE FORCE subwoofer are maintained throughout the lowest bass and subsonic range even in a 180m2 room measured in Fig. 2. Note that in THE FORCE system, the subwoofer is used only below 30Hz.
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Now that the performance is no longer compromised by structural vibrations and strong room effects, virtually flawless transducers are allowed to really excel. The greatest care has been taken to develop and select technologies that enable perfectly controlled moving parts and advanced FEM-optimized magnetic drives leading to vanishing low energy storage and non-linear distortion.
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Fig. 3: 3D-cos-burst analysis of ribbon
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Fig. 3 shows the close to ideal and absolutely stunning performance of the exclusive ribbon transducer, which is completely developed and built in-house.
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Fig. 4: Square wave response of ribbon
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Fig. 4 shows the amazingly fast square wave response of the ultra light ribbon transducer.
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"Who said speakers can't produce square waves? It measures way better then most tube amps!"
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Fig. 5: Ribbon on-axis @ 3m
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Fig. 5 shows the totally unsmoothed on-axis measurement of the ribbon transducer. The on-axis response shows the psycho acoustic mid treble shape (first discovered by the BBC, optimum 3-4dB dip) which compensates for the directivity of the ear. Above 10KHz you basically see the (non-linear) response of the microphone. This means that the ribbon is within 1 dB of the on-axis target response.
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Fig. 6: Ribbon off-axis 60° @ 3m
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Fig. 6 shows a totally unsmoothed 60° off-axis measurement of the ribbon transducer. At 60° it's still completely flat up into the highest treble! This is nothing short of incredible!
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Fig. 7: Point Dipole Panel off-axis 80°
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Fig. 7 shows totally unsmoothed off-axis measurement of the Point Dipole Panel up to 80°. The response is indeed fabulously controlled throughout the entire range!
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Keep in mind that speakers usually are totally non-flat throughout treble at 60° off-axis (in many cases even slightly off-axis)! Moreover, these measurements are acquired at 3m (typical listening distance) and not the 1m distance which makes the typical speaker look better! This colored reverberant field of conventional speakers is one reason for their airless, hard and synthetic sound.
The superb off-axis response of THE FORCE guarantees a uniform listening experience for several listeners. This is in stark contrast to the so-called huge head phones created by other highly directionally sensitive designs, where you are forced to keep your head in a ridiculously tiny sweet spot.
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