Acoustic & Audio engineering, music & sound technology, TV, animation & social media are our passions. We are leaders in teaching and research in audio and acoustic engineering, video and television. We are the lead academic partner in the BBC Audio Research Partnership. We have multi-million pound Pro Tools enabled studios, world class acoustics labs, professional quality 3D animation and TV/video suites at MediaCityUK.
Excellent presentation!. Dispite all this great technology the speaker still has to be voiced. Who usually does this?. With the improved Meta technology in this speaker compared to the Q350 why is it necessary to move away from a 1st order crossover that is used with very good results inthe Q350?.
As a brand new HA user, I really appreciated this presentation. I'm a vocal and instrumental musician, and found recommendations for the Widex Moment Sheer units. My audiologist used Real Ear Measurement to match my hearing Rx, and the results were great. I performed in concert two nights ago, and the difference was huge. I was able to hear the other singers, to hear the band - horns, piano, guitar, bass and drums. It went much better than my last concert. I follow up with my audiologist tomorrow, and I predict that she'll be as thrilled as I am. Looking forward to more of your studies and lectures! Many thanks!
I have a pair on the way. I am floored by the level of technology applied to this one speaker, I cant think of anything at this price level that is this advanced. As though Boeing or Rolls Royce were commissioned to build a loss leading desktop speaker. Even when I look over at gorgeous Focal speakers in this range, I cant help but think of how generic is their layout and driver complement, compared to this. Hats off, I can't wait to add them to my collection.
Very interesting talk! Thank you for sharing! Would be cool to know how a Axi2050 compares to a Reference Driver when it comes down to intermodulation distortion, as far as I understand that is not easier to control when increasing the bandwidth a driver can reproduce. Any data on this?
Paracoustics needs to study noncommutative music as explained by Fields Medal math professor Alain Connes. I have focused my research on this - see my book "Strange Vibrations" for details - "drew hempel" author - it's free online. Also my free book "Ancient Advanced Acoustic Alchemy" - for example in my latest upload I explain the secret of frisson in music is due to noncommutativity. Noncommutativity is a new unified field theory that is most easily explained by music theory as "two, three, infinity." thanks
This is really great! I love to listen to real engineers explaining technology they developed, patented and tested over years of research rather than the BS from the “Hi-Fi publications and pseudoscience marketing” Thank you Dr. Degraeve.
So this is the absolute hero that improved the great LS50! Well Sebastian, you did a tremendous job, as the little Kef’s are now sounding as I hoped the original would sound. You nailed it. I had the LS50 anniversary for 8 years, but I never was completely satisfied with the results. I wrote Kef a letter, but they never came back to me. The design is suberb, but I didn’t like the way the crossover was operating. especially with higher volumes the sound became to harsh and penetrating in the higher regions. In the meta’s this is much better. But the overall sound is also improved. Airier, better soundstage, better results off axis. The meta material is a great invention as it makes it possible to damp the tweeter in een relatively small cabinet. B&W uses a long tube with damping material placed on the cabinets of the Diamond 800 series. Takes a lot of space. So you did a great job. Kef made a good decision to hire you, as you are a specialist in the use of meta material as I saw on your LinkedIn page. Thanks very much!
Wonderful content. With it, Dr Greasley and her research colleagues are pioneering what will surely become a revolution in addressing the needs of people who love music. Most of us do, and it is scientifically proved to be very good for our health and happiness! So it is alarming to learn that music is not part of the standard audiologists' degree in UK. You might not even be told most hearing aids have a Music setting, to minimise the clever but tune-blurring speech algorithms. If your audiologist happens to be a musician (mine, NHS, is) you are in luck! Working from this research, graduate training could be addressed immediately. It would nicely complement, and possibly accelerate, development of truly music-capable hearing devices.
What you have done here is great, and sorely needed as I can think of only a few compression drives that can do what you are describing. However, you did it in the wrong material, since titanium dome is shunned by most horn enthusiasts because of its terrible breakup in comparison to Alu or Be dome diaphragms. If this feature of Ti as a material is still true when you wrinkle it the way you have done is unknown to me. But to call it wide band would be to fool the "audio pros" to continue with their use of the treble EQ boost button on their Behringer active crossovers to squeeze whatever is left above 10kHz of their poor titanium diaphragms, that causes me to hold my ears everytime I go to the cinema. Not that they would hear the breakups above 10kHz anyway, here the presentation explains a lot. Instead they should be taught to build properly sized multihorn setups. Then titanium is probably fine, as long as it doesn't go higher than 1500-2000 herz. Right now, most midrange compression drivers can't cover the frequency range that is the most sensitive to the human ear, starting at around 300Hz. Most wimp out at 500-600Hz, so this driver is a great contribution. Let's see how eager people are to put 100cm mouth horns in their cinemas and living rooms. I think this driver with a Tad-2001 or JBL with truextent diaphragm and possibly a Raal on top would be a great speaker. It would make 15" woofer almost tolerable as a midbass, if I didn't have to cross them as high as 500Hz.
Thanks for this interesting seminar. I had a question: Lipreading is a strategy used by hard-of-hearing adults. I wondered what role, if any, do you think it plays in speech perception for autistic adults?
For me I know it plays a role. Facemasks in the pandemic made me very aware that I was suddenly much more anxious about understanding what's being spoken to me because I cannot see the mouth clearly anymore. My whole life I had not realized that I look at the mouth. Sometimes the jaw movements underneath the mask help with my speech processing and it's a fascinating observation. I also read along with on-screen captions even though I can hear the speakers as a habit whenever available. I miss much less content this way when I have both text (visual) and spoken (auditory) input
Flutter is fairly rare in an our larger airboxes. And the larger the airbox the less the chance for flutter exists. Although, even in an an air box if there if there is a small amount of flutter, it can be most often damped by correct use of free floating winkers. But not always completely.
Hello there, is Part 5 on trigonometry missing from the series playlist, or not uploaded to the RU-vid channel in general? Thank you for the lectures, by the way.
ka is frequency normalised by the size of the radiating diaphragm. It's a metric that allows comparison of the performance of radiators with different size diaphragms. "k" is wavenumber (= 2*pi*freq / speedOfSound) and "a" is the radius of the diaphragm from axis of rotation to outside circumference.
ka=5 (or 2Pi*f/c*a=5) it in common humans language means that perimeter of a diaphragm (2Pi*a) is by a factor of 5 larger than the wavelenght (f/c, where c=344m/s)
Gianfranco, have a look here (scholar.google.co.uk/citations?user=GnhsCd0AAAAJ) for related publications and you can read through for the formulation. Alternatively contact me. Cheers
