One for Tony ASS

Originally built over 9 years ago using a Volt 8" + Revelator 9900 tweeter, Supersound caps. and air cored inductors. Cabs are made from 25mm MDF.
All the cabs I used to make for other people always got veneered with some exotic wood however as these were for myself they remained self color until a few weeks ago when I was painting some large cabs and these sort of got some on them.

It's nice to see things done properly. It's so easy to see a small cab as something that's quick and easy. Doing it the right way can make a little cab sound great, as I'm sure Tony will testify.

Tony,
Thank you for the kind words, from someone with your CV that is praise indeed.

Regarding the sound, one of my friends is a total anorak when it comes to his Hi-FI and has a selection of hi-end speakers that would make you drool.

However as soon as he heard these little cabs he asked me to make him a a pair and they still get used for his to day to day listening.

The only thing is he had them veneered with selected Indian Walnut that cost me more than the pair of tweeters!!! Look nice though.

Tony
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Could these be used for studio monitoring?

RiddimKid wrote: Could these be used for studio monitoring?
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Infinite baffle speakers are preferable as monitors for their more accurate time domain response.

Yes no problems at all however they are pretty expensive to make because of the cost of the drivers and X-over components (maybe Tony ASS could help here).
They would then not look very good value next to say active Mackies monitors etc. However if you compare them to similar quality ATC's or Dynaudio's then they begin to make sense.
Absolutely no resale value though!!!

Tony

Sam York wrote:

RiddimKid wrote: Could these be used for studio monitoring?
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Infinite baffle speakers are preferable as monitors for their more accurate time domain response.

Almost every well respected Studio monitor is reflex or transmission line loaded. Very few world class drivers optimized for I.B. or acoustic suspension loading.
Can work very well though.

Tony

ATC do some sealed enclosures. But they also build their drivers on-site.

There's been a lot of interesting discussion on the Sound on Sound forum recently, I think it was sparked by questions along the lines of 'why do I mix better on NS10s even though they sound sh*t?'

Manufacturers (even a lot of really high end ones) sell largely on the frequency response graphs and reflex loading is seen as something of a free lunch in that it extends the power output of the bottom octave or two. However the additional distance of the path from the rear of the driver out of the port can cause smearing in the time domain.

The consensus from those who really know what they're talking about is that the ear compensates for frequency domain anomalies much better and much less noticeably than time response anomalies, hence why the NS10s are a perennial favourite!

I'll try and dig up some threads now, there's some really interesting reading for us speaker geeks.

www.soundonsound.com/forum/showflat.php?Cat=&Number=606426 (goes off topic a bit!)

www.soundonsound.com/forum/showflat.php?...rd=MRT&Number=620632

www.soundonsound.com/forum/showflat.php?Cat=&Number=614130

www.soundonsound.com/forum/showflat.php?...rd=MRT&Number=551442

Lots of mentions of the new Acoustic Energy AE22 (which I haven't heard), as well as the NS-10s

My favourite monitors to mix on ever are Questeds and Klein & Hummels which are both infinite baffle: like a lot of people say about the NS10s, I feel like the mixes port (haha) to different systems much easier than when using reflex monitoring systems (and I mean good ones, Genelecs and PMCs and things). I'd never really considered why until doing a bit more research into this more recently.

There's a site (not a forum thread) that goes into it in a lot more detail, I'll see if I can dredge that up from my memory/Google as well