Vet ikke helt om dette er rette forum posten,
men Coda Audio fra Tyskland slår seg opp. Har lest flere erfarne sound engineers si at Coda Audio setup er de systemene med den best lydkvaliteten de noensinne har hørt.
Dette er sef PA anlegg spilt i en LIVE setting men uansett, fant ett intervju med grunnleggeren Svetly Alexandrov, interessant lesning.
Fordelen med PA er at det er mindre mumbo jumbo ordmassering og mer fokus på teknologi eller resultat, men mye av det han snakker om her om planar wavefront og forvrengning fra compression drivers osv har jo vært en innforstått svakhet med horndrivere opp gjennom årene. Så mulig han har noen poeng å fare med...??????
De har jo noen avanserte kompresjonsdrivere, coax ringradiator, som også gjør høytalerne svært små i forhold til konkurrentene (viktig i PA). Mellomtonen, en kompresjonsdriver kjører 440 - 6500Hz....
DDP, DDC & RDC drivers redefine the performance expectations for high-powered reinforcement of mid and high frequencies. Discarding the traditional dome diaphragm compression driver design, CODA Audio utilises a 2-way coaxial system employing two concentric annular ring diaphragms. Each...
codaaudio.com
Og noen deksler foran elementene som tvinger lydbølgene ut på ett sted "Couplers fundamentally solve this, by summing the energy from all transducers, to perform as a single source"
This post is also available in: Deutsch (German) Couplers for AiRAY, ViRAY and APS solve a common problem for Line Arrays. Coverage: Once the mid and high frequencies behave correctly it is necessary to tackle the inconsistent horizontal coverage of line arrays. A typical narrowing of...
codaaudio.com
Også sier de at høytalerne er fase linære, imponerende hvis alt stemmer, og ihvertfall innovative
This post is also available in: Deutsch (German) All CODA systems are phase-linear and will work together without compromise. This eliminates the need to apply destructive processing when combining different elements in complex systems (see fig. below). Ease of use Compatibility between products...
codaaudio.com
Wooferne er vinklet inn mot hverandre bak waveguiden, så de funker i en kvasi hornkonfigjrasjon sammen med baksiden av waveguiden.
Samme metoden som Meyer-Sound har utviklet for bruk i Leo, Leopard og Ultra X40, noe de egentlig står eller faller på.
No er de markedsledende i Vegas og det er ingen som stiller høyere krav eller bruker mer penger enn der, for at de $1000 billettene til Celine Dion skal gi en kunde opplevelse.
Her er konseptet bak coax horn forklart enkelt av Chris A. fra Klisch Community:
Altså en (1) kompresjonsdriver som spiller 400 til 20kHz.
En god kompis å bruke her er vel Audiolense eller miniDSP minimum.
Jeg får høre herligheten her hos meg live om 2 uker....
Coda er da høytaler avdelingen av element produsenten BMS.
(De har hatt patent på dette siden 1997, som nå er gått ut, så nå er det flere element produsenter som jobber med saken)
Sitat:
This is a good place to lay out the following about this maligned topic of dual-diaphragm compression drivers, and avoid some notable memeplexes (information that isn't correct and was not actually achieved by first-hand learning) that audiophiles like to perpetuate in this pastime. These type of drivers outperform anything else for home hi-fi duty except perhaps TAD beryllium diaphragm compression drivers--because of their unique design that avoids having to use two separate horns to do one job.
This isn't a cone/cone or cone/compression driver co-axial. It's a dual diaphragm ring-radiator compression driver--with two separate electrical circuits, including four connectors on the back of the driver. Please refer to the diagram below for a cross section view of this driver to understand its configuration: red = tweeter diaphragm, green = midrange diaphragm, yellow = compression chamber...
This driver doesn't suffer from high frequency chatter that you hear with dome-type titanium or aluminum compression drivers (listening to very clean ride cymbals in jazz and other music genres) due to the elimination of the center dome structure of the diaphragms, which makes the diaphragms effectively much structure stiffer and lighter.
You'll also note that the tweeter diaphragm here is a little closer to the center phase plug (the spike-looking object in the middle) than the midrange diaphragm. In the BMS 4592ND, the tweeter diaphragm leads the midrange diaphragm in time by a small amount that's equal to one wavelength at the crossover frequency (nominally 6 kHz).
If you bi-amp this driver and EQ the response of each diaphragm to be flat in SPL vs. frequency, and correct the time alignment of the diaphragms to be coincident at the phase plug then you end up with a full-range driver (nominally 375 Hz to 21 kHz) like the TAD TD-4002 or 4001, but without the cost of the beryllium dome diaphragm, and with no concerns about potential toxicity of beryllium. (Note: no one I know would ever use the TADs in a home environment in such a way that would cause the beryllium diaphragm to hit its stops, so there is no real hazard probability with the TADs.)
Additionally, the polyester dual diaphragm BMS 4592ND diaphragms have the geometries of ring radiators that precludes diaphragm chatter. The need for extreme stiffness of the diaphragms is eliminated, and the need for the extremely lightweight+stiff beryllium material is thus avoided. Additionally, the diaphragm material itself and its geometry have much better self-damping properties than a single done-shaped diaphragm of the TADs.
One additional point to be made: the dual diaphragm driver breaks the frequency spectrum into two portions: ~375 to ~6000 Hz, and ~6000 to ~21000 Hz. So the FM distortion sidebands are much lower than using a single diaphragm to cover that frequency range. This means that you get extremely clean output even at very high output levels. And each diaphragm design can be better optimized to produce more effective and cleaner output for the each of the midrange and tweeter frequencies than a single diaphragm can be designed to handle.
The BMS 4592ND also uses neodymium permanent magnets--which is much lighter overall than ferrite because it is more able to concentrate their magnetic fields at the correct locations around the voice coils, with their geometry optimized for a more effective voice coil field strength than a typical dome-type diaphragm compression driver.
I do not recommend either version of the driver (the one-diaphragm 4592-MID, or the two diaphragm 4592ND) if you do not use acoustic measurements (I strongly recommend REW or even something more powerful--but not "room correction software") to guide your EQ that is required for either of these two drivers on whatever horn that you choose to fit to them. I strongly recommend using DSP crossover for that purpose, either driver version.
To not use a DSP crossover with these drivers and whatever horn you choose would be very much like the old days of mechanical breaker points on engine distributors. You can just plop in a new distributor or replace the points in the engine and it might work, but usually not very well. If instead you use a timing light, then you can dial it in properly (i.e., rotate the distributor housing proper point) and get proper engine performance. These drivers similarly require dialing them in--in order to get the proper performance out of them. If you do not do this, the driver/horn timbre will be off, and the sound of the driver will be oddly irritating in the higher registers and missing other frequencies in its high frequency response. If you need help to measure and use a DSP crossover to dial in your BMS 4592ND (or any other drivers/horns), PM me for measurement and DSP dial-in support.
One of the things that find curious is that many people accept three-way designs having separate midrange and tweeter drivers and horns. The effects of having those two separate horns and drivers/horns is actually pretty high from an acoustics perspective. The two separate drivers/horns, due to their size and shape, create interference (lobing polar output and cancellations off-axis) between the two outputs because the two sources are separated vertically by much more than a quarter wavelength at the crossover frequency--a distance of about 5/8" at 6 kHz. This small distance is impossible to achieve using two separate drivers and horns at that crossover frequency.
My advice is use dual-diagram or concentric drivers if you are trying to cross to a higher frequency driver above 1000 Hz or higher...because you can't get two separate drivers and horns close enough together to avoid polar coverage problems in their in-room output--without causing other more severe issues in the polar output of the drivers. Usually it's vertical axis lobing that's the issue.
headlinermagazine.net
