I use linkwitz riley 12 db and 24 db

 

LR24- and Horbach-keele



And it matters a great deal
LR24 is almost a standard for audiophiles

 

How are you implementing Horbach-Keele and on what arrangement of speakers?

 

Ok, thanks guys, about 2 years and still can't get this **** to sound right, it's a joke.

 

You need a rta and see what's happening

As far as crossovers go tho use what works and sounds good there's no rule to what's best.

I've used 6db countless times because it sounded better weather I could achieve a better tune or not

 

Whats wrong with 48?

Sent from my SGH-T999 using Tapatalk

 

It's too steep!
I like my slopes like I like my work, slacker is better!

 

I use the filter and slope required to achieve flat frequency response and as little phase shift as I can get away with. The choice of filter will depend on the location of the midrange, tweeter, the natural rolloff of the drivers used, and the output capabilities of the drivers.

It's a complex subject, check out Dickason's book.

 

Back when I was using my CDA-9815 and then 9833, I used 24dB/Oct slopes. My Sony didn't have such, so I played around with the crossover slopes it had,, which were 6dB, 12dB, and 18dB/Oct slopes. 18dB/Oct seemed to not work out for me like I wanted, not that I knew what I was doing, so I ended up using 12dB slopes by the end of it's use.

Now I've got my CDA-117 back in use with the Imprint processor, so once again, I was using 24dB slopes.

I'd heard the sharper the slope, the better. No idea if there was ever any truth to such, but that's more/less what I've followed.

If I had sharper slopes, I'd probably be using them, or at least trying them.

Still much to learn.

 

I too recommend Vance Dickason's book The Loudspeaker Cookbook.

The most important thing to remember about crossovers, because almost *everyone* gets this wrong when they are learning, is that the shape of the acoustic frequency response is what is important (and it must be measured with a microphone). The electrical filters used is absolutely not important whatsoever as long as the acoustic frequency response lines up to the crossover alignment that you want.

This is illustrated perfectly when you read how many different people end up with so many different electronic filter styles and slopes that sound good to them. As Patrick mentions above, there are a TON of variables that effect the frequency response of your speakers, and therefore you will need a unique set of filters to make your speakers have a frequency response that will match the crossover alignment you are looking for, and sound good.

In car audio in particular, having a different set of filters for the left and right channels is not a bad thing. Asymmetric electronic filters in a car is not a bad thing. It is not a bad thing. It's not bad. It's not!

 

Thank you for this.

 

Patrick, I saw in another thread you mentioned that the LR24 leads to a "lispiness" in the sound of the system since one driver is a full 360 degrees out of phase. Could you elaborate on this a bit? And what other anomalies do other slopes/alignments create?

I saw a post somewhere on a different website about how if you use a weird crossover q you can turn it into a normal alignment. I think it was if you take a woofer in a box too small with a q of 1.31 and apply a bessel filter at the speaker fs/1.41 you get a 24 db butterworth filter at the fs of the speaker. Don't quote me on the exact detail though, but it was something like that.

 

I'd like to hear more about this as well. From what I have read, the effect is not supposed to be audible.

 

There is no straight answer other than the general guideline that Patrick stated.

For instance, On my mids I am using a passive 12db Butterworth that works with the natural low end roll off of a small sealed enclosure to approximate a 24db slope which matches the phase and group delay of my bandpass midbass enclosures. This is done so that I can use a single channel for both.

 

I do realize this is a dated thread, but a great topic to discuss. Here’s an interesting video on the different crossover types. You may want to use English subtitles as audio is in German.

 

LR 24db for me across the board on the single seat tune

 

Subbass lp and midbass hp - usually LR24 or even steeper up to 36dB/Oct, on the rest of channels usually LR24, sometimes even shallower like LR12 or BUT18.....depends of the situation, goals, type of equipment, vehicle type,....