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christos77

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το αφιερωνω στο μεγαλο αυτι
να μου πει πως ακουγεται πολυκαναλικα με τα νιουμαν τα ιμερσιβια κλπ
Τελος ηταν πολυ η τσιπουροποσια
 

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https://www.fidelity-online.de/bowers-wilkins-800-d3-messungen/

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For the frequency response measurement, the double terminal also offers the option of measuring the woofer and the mid-high unit separately. In this case, the measurement is carried out including the associated filters, which are always in the signal path. As can be seen from the individual curves and the resulting green cumulative curve in Figure 3, the frequency response of the 800 D3 is not perfectly straight, but within a relatively narrow tolerance range. The evaluated fluctuation range between 100 Hz and 10 kHz is ± 2.6 dB (gray dashed lines). If one takes the mean value of the sensitivity of 90.7 dB between 100 Hz and 10 kHz as a reference, then with −6 dB the lower and upper corner frequencies are at 29 Hz and 30 kHz, which should be more than sufficient for all applications. At 84.7 dB, the orange line in the diagram is exactly 6 dB below the average sensitivity of 90.7 dB.




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The swing-out behavior of the 800 D3 is shown in the spectrogram from Figure 6. Here the special membranes of the B&W drivers and the design of the housing can show their qualities. The swing-out behavior is almost perfect. There are virtually no resonances, even at the highest frequencies. The longer reverberation at low frequencies is caused by the runtime behavior of the bass reflex housing and therefore has a “natural” cause. This could be remedied by a closed housing and / or by means of digital FIR filters, which can give a loudspeaker a largely linear phase response in active mode. Newly developed design methods for this type of filter make this possible even with well-tolerated latencies of 10 ms or less. At this point you can be curious if and when the active variant of the 800 D3 will come. The rear wall of the housing already indicates that active electronics could also find its place here in the future.


Isobars and room acoustics

The radiation behavior of a loudspeaker determines how much the surrounding space is included. A distinction is made between the direct sound component, which goes straight from the source (loudspeaker) to the listener, as well as the early reflections and the diffuse field in the room. The latter is directly related to the reverberation time of the room. The early reflections arise primarily from reverberant and non-scattering surfaces near the source or the listener. How pronounced these early reflections occur and how much the reverberation of a room is stimulated in relation to the direct sound depends on the directional behavior of the source. Regardless of the behavior of the speakers, the structure in the room should be as symmetrical as possible and the back wall behind the listener should be either diffusely scattering or absorbent. The speakers should have a certain distance to the side of the walls, which are ideally designed to be scattering or absorbing. For the floor in a listening room, a thick carpet is always recommended, at least in a section between the loudspeaker and the listening position. This effectively reduces the first hard reflection for medium and high frequencies. In a normal stereo listening situation, an average reverberation time of 0.5 s is recommended, which should not increase too much at low frequencies.

For the selection of the loudspeakers, it is important to prefer systems that focus more in reverberant rooms, as this achieves a better ratio of direct to diffuse sound. This improves the source location and clarity in the reproduction. Loudspeakers in the form of a long row of radiators are therefore particularly suitable for acoustically difficult rooms.

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Das räumliche Abstrahlverhalten eines Lautsprechers wird durch die Strahlerflächen und deren Zusammenspiel bestimmt. Große Membranen bündeln den Schall stärker als kleine, wobei das entscheidende Maß die Ausdehnung der Strahlerfläche in Relation zur Wellenlänge ist. Weitere Faktoren sind das Gehäuse mit möglichen Kanteneffekten und der Übergang zwischen den Wegen mit der Steilheit der Trennung.

Sehen wir uns dazu zunächst die Isobaren der horizontalen Ebene der 800 D3 aus Abbildung 7 an: Hier gibt es ein weitgehend gleich breites Abstrahlverhalten bis ca. 1,2 kHz, wo sich die Isobaren dann sprunghaft auf einen Öffnungswinkel von ca. 90° einschnüren. Der Grund dafür könnte in der speziellen Gehäuseform des Mitteltöners liegen, dessen Durchmesser dort mit der Wellenlänge übereinstimmt. Mit dem Einsatz des Hochtöners weiten sich die Isobaren dann ein wenig wieder auf.

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The vertical isobars (Figure 8) are strongly dominated by the interferences between the paths. In the transition ranges around 500 Hz and 3.5 kHz, either woofers and midranges or midrange and tweeters work together, creating an extended radiator with a correspondingly narrow directional behavior. Depending on the angle, there are also phase shifts between the paths with corresponding interference effects. Between the two bottlenecks at the crossover frequencies, the isobars expand again where the midrange is acting alone. Such behavior is typical of multi-way loudspeakers with drivers arranged one above the other and cannot be avoided at first. In the case of active systems in particular, the transition areas could at best be reduced by a steeper separation. If you want to completely avoid the interference effects, then only the coaxial arrangement of the paths remains, which in turn brings new and different problem areas with it.
In summary, one could sum up the radiation behavior of the 800 D3 that the relatively narrow horizontal opening angle above 1 kHz is quite an advantage for a hi-fi speaker, and that the isobars also run very nicely evenly. The same applies to the vertical, which inevitably runs somewhat more restlessly.


Maximum level and interests


The result of this measurement for the 800 D3 is excellent. A maximum level of just below the 115 dB line without recognizable weak points is reached over wide areas. The tweeter is 10 dB below the 50 W power limit. Probably one could have continued measuring here with a higher output, but we did not want to risk the destruction of the tweeter (with a diamond cone). The purpose of this measurement with sine bursts is primarily to uncover possible weaknesses in certain frequency ranges that would be noticeable through dips in the curves.


However, the question of the maximum possible level of a loudspeaker under practical conditions is often asked, i.e. H. "How loud is it" with a typical music signal. A distinction is made between the peak level that can be achieved for short pulses and the so-called averaging level. The latter is the usual value for level information, e.g. B. in the recording studio, when it is said that the normal listening level is 85 dBA; here is the A-rating. However, no information can be given on these values with a sine burst measurement, since broadband excitation is required.


Under these conditions, the 800 D3 reaches a peak level of 126 dB for a typical music spectrum according to EIA-426B in relation to 1 m distance in free field under full room conditions. The average level is 113 dB unweighted and 108.5 dB with A rating. That's a lot, a lot, as you have to say with respect. Large rooms or high level requirements are therefore not a problem for the 800 D3, provided the power amplifiers supply the appropriate voltage. For “normal” hearing, you will of course hardly need the 141 V peak voltage and 126 dB. Even with 10 dB less, i. H. you will get along well with a power amplifier that delivers a solid 250 W at 4 Ω. It is particularly gratifying that even with these extreme values of the test, the overall distortions were only 5%.


If you look at the measured values next, the low distortions and the high level stability stand out. The frequency response is not absolutely perfectly smooth, but with a fluctuation range of ± 2.6 dB very uniform - especially for a passive loudspeaker - and also widely extended with corner frequencies of 29 Hz and 30 kHz.
 


haris1308

Грязный Харис Στιχουργός
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......αυτα και καποια ακομα ηχεια μπορουν να παιξουν μουσικα αριστουργηματα ......:dance:
Κοίτα, κανονικά στα Abbey Road Θα έπρεπε να παίζουν τα Κοραλ του Μάρκου, αλλά ας όψονται τα συμφέροντα...
Παράγκα!!
 


costas EAR

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ΝΚ; Αυτό πάντως που ανέβασες:



ε, είναι λίγο ντροπιαστικό. :tongue:

Ωστόσο, αυτό:



δεν είναι "λίγο", πάει δυνατά για πρωτιά. :lol:


ΥΓ. Με τρώει λίγο, να ανεβάσω αντίστοιχα σχεδιαγραμματα από άλλα ηχεία, σε αυτά τα λεφτά ή και λιγότερα, πολύ λιγότερα, όπως το παμφθηνο (συγκριτικά) Μ2 του τερματογκαζι. Αλλά κρατιέμαι, δεν ανεβάζω τίποτα. :tongue:
 
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εγω εδω το σταματησα.....δεν ξερει τι λεει ο τυπος. :lolsign:

Für den Boden in einem Hörraum gilt, dass ein dicker Teppich zumindest in einem Teilbereich zwischen Lautsprecher und Hörplatz immer zu empfehlen ist. Damit wird eine erste harte Reflexion für mittlere und hohe Frequenzen wirksam reduziert.

εδω ειναι ετοιμος να προσκυνησει ; 😍

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ΝΚ; Αυτό πάντως που ανέβασες:



ε, είναι λίγο ντροπιαστικό. :tongue:

Ωστόσο, αυτό:



δεν είναι "λίγο", πάει δυνατά για πρωτιά. :lol:


ΥΓ. Με τρώει λίγο, να ανεβάσω αντίστοιχα σχεδιαγραμματα από άλλα ηχεία, σε αυτά τα λεφτά ή και λιγότερα, πολύ λιγότερα, όπως το παμφθηνο (συγκριτικά) Μ2 του τερματογκαζι. Αλλά κρατιέμαι, δεν ανεβάζω τίποτα. :tongue:
30000€
:biggrin:
Τι να πω, Όπως τη βρίσκει ο καθένας
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Dimifoot

Грези c Xeдpум
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Μη τα πάρετε....
Πάρτε κάτι άλλο.....
Πάρτε ενεργά......
Εμάς μας αρέσουν!!!

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Πανέμορφο για το σαλόνι.
Και παίρνεις και ακόμα ένα σύστημα για άλλο δωμάτιο να παίζει σωστά, αλλά κρυφό, να μην το δει κανεις και σε πει τσίπη
 

daharis666

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να ρωτήσω.....
γιατί ενώ είναι 3δρομο απεικονίζει μόνο το ένα κρος πόιντ?

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