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Loudspeakers are often classified as "N-way", where N is the number of drivers in the system. For instance, a loudspeaker with a woofer and a tweeter is a 2-way loudspeaker system. An N-way loudspeaker usually has an N-way crossover to divide the signal among the drivers. A 2-way crossover consists of a low-pass and a high-pass filter.
To properly align adjacent frequency bands through a crossover, the two phase responses should be adjusted until they are seen in Smaart to be parallel through the crossover frequency. [8] The transfer function measurement can be used to measure frequency-related electrical impedance, one of the electrical characteristics of dynamic loudspeakers.
Invented and trademarked in 1976 as "Time Alignment", the crossover design was influential in loudspeaker development from the late 1970s throughout the 1980s. [7] Long and Ronald J. Wickersham developed and patented a method for extending low-frequency response of a loudspeaker [9]. Bag End Licensed and implemented the patent into subwoofer.
This is the biggest advantage of L-R crossovers compared to even-order Butterworth crossovers, whose summed output has a +3 dB peak around the crossover frequency. Since cascading two n th -order Butterworth filters will give a (2 n ) th -order Linkwitz–Riley filter, theoretically any (2 n ) th -order Linkwitz–Riley crossover can be designed.
When used with a loudspeaker that is time-aligned, the loudspeaker's main lobe now points exactly forward (i.e., straight) and does not have a 3dB peak in response. This makes the LR2 or LR4 crossovers ideal for audio as compared to the Butterworth type. Even without a LR crossover, it is worthwhile to have the main lobe point forward so that ...
Bi-amping - An active crossover with two amplifiers.. Bi-amping and tri-amping is the practice of using two or three audio amplifiers respectively to amplify different audio frequency ranges, with the amplified signals being routed to different speaker drivers, such as woofers, subwoofers and tweeters.
The fundamental principle of bass management (also called LFE crossover) in surround sound replay systems is that bass content in the incoming signal, irrespective of channel, should be directed only to loudspeakers capable of reproducing it, whether the latter are the main system loudspeakers or one or more subwoofers.
The midwoofer-tweeter-midwoofer loudspeaker configuration (called MTM, for short) was a design arrangement from the late 1960s that suffered from serious lobing issues that prevented its popularity until it was perfected by Joseph D'Appolito as a way of correcting the inherent lobe tilting of a typical mid-tweeter (MT) configuration, at the crossover frequency, unless time-aligned. [1]