Eric Sagmuller wrote:The monitors are adjusted to be + - 1.5 db from across the range they specify.
Hi!
Yes . . . well . . . um. Incredible.
The reality is that acoustic response graphs are _never_ that flat with no bumps here and there. The "Parametric Servo Feedback" should operate to remove IMD absolutely, but the raw physics of sound propagation cannot remove Doppler distortion, and looking at the circuit diagram, the feedback system only operates in the bass. So the tweeter is not artificially controlled and high frequency graphs simply _cannot_ be that flat.
Looking up Parametric Servo Feedback turned up the spec for SRM450 which makes it clear that the system enables better smoother bass to come out of a smaller box. Brilliant. But if one is running bass through this, if one is engaged in critical listening as we are in the organ reproduction realm, certainly this design pays no heed to Doppler effects, which certainly can insert sidebands to reproduced frequencies.
However, that may be one problem - but whatever the beauty of the straight line graphs or otherwise these speakers are of a common hi-fi genre which may be more suited to the nature of current pop music and provided people using electronic organs use such designs, pipe organs will be in no danger.
Without having auditioned this particular speaker, the specification is capable of being interpreted to tell us that this type of speaker however beautifully and cannily engineered simply cannot reproduce happily a Wurlitzer Trumpet stop and I'd predict that a Diapason might sound a tad plastic. If one is looking for a hi-fi virtual reality surround sound, in multiple numbers they'll probably make people very happy. *
Standing as an organ is a different matter, however and I have had personal experience of attempting the best possible match to a real instrument adjacent. The result is critically speaker dependant.
Best wishes
David P
* PS Paul - very sure that BBC monitors will be very nice at home. Through monitors we look at a perspective through to the sound sources, as if through a window at the instrument. But to _be_ an instrument in a space of its own, it is helpful to look at the perspective from the other end, from looking out from the instrument. I wrote about a formula to relate the size of an organ and area of speaking pipes to the area of speakers through which those "pipes" are speaking. At many times we're metaphorically happy to stand on the quayside and glimpse through the porthole of a cruise ship at the Wurlitzer inside, but we cannot expect the reverse for that instrument to _perform_ to the people on the quayside only through that porthole.
Similarly we might like to experience the representation of the memory of the foghorn at home but we would not want the foghorn in our home. So home users creating the virtual reality home cathedral environment with wet sample sets have different requirements to those creating performance instruments with dry samples.
My comments above relate to the latter use: speakers such as the MACKIE-SRM-450 are marketed for public address use but organ reproduction depends on associated but different design criteria. I am unlikely to say more than this in a public forum.