Even when playing double time (2 notes every beat) the rear sub would be off by 4% at most. Suppose a bass player plays a walking bass line (every beat a note) then the rear subwoofer would be off by as little as 2% for an up-tempo piece. Evidently behind the array there's no delay which is vital for the functioning of this particular approach.įigure 3What do these values mean in terms of musicality (figure 3)? I've chosen 4 well known tracks with tempi ranging from slightly slower than a walking pace (Andantino) to very fast and lively (Vivacissimo). When you move off axis equidistant to the array, the delay by physical displacement is gone once you find yourself perpendicluar (triangulation) to the array. Half of this is caused by physical displacement and the other half by means of electronic delay. In front of the array the rear sub arrives 7.4 ms late to the party. Lets start off by looking at the temporal effects or timing from a musical point of view first (figure 2). To illustrate this article a configuration will be used that is optimized (temp = 21 ☌) for usage from 35 Hz to 100 Hz with maximum summation at 68 Hz. 1,5 octaves between the half power or -3 dB points, regardless of the chosen spacing and corresponding delay (figure 1). manual for a more in-depth explanation of the former.įigure 1 Figure 2The gradient cardioid configuration (in front of the array) behaves like a band-pass system which spans approx.
This article requires a good understanding of gradient cardioid configurations and phase aligning subwoofers to main speakers. This article hopefully sheds some light on both tonal and temporal mechanisms that arguably lead to this apparent but unwarranted sensation. The most common complaint about gradient cardioid configurations is a lack of impact.
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