John wyckoff speakers going
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Brae Wyckoff
It gives me great pleasure to introduce the Hammer Dynamics Super 12 loudspeaker to a wide audience, and not just because the Super 12 represents a milestone in the evolution of the full-range dynamic driver. In my global search for the best and most cost-effective audio gear, it seems that I almost missed what was practically parked in my own backyard.
Magdalena, New Mexico, home of Hammer Dynamics, is a mere 3. Magdalena, a small town even by New Mexico standards, earned its name around when a Spanish soldier saw the face of Mary Magdalene on the north side of the mountain that overlooks the present town.
Another sort of vision has kept designer John Wyckoff occupied for the past several years: the pursuit of full-range driver technology. I was sufficiently fascinated to arrange for a visit. What I saw and heard in Magdalena convinced me to purchase a pair of the Super 12 loudspeakers. In order to save time, I commissioned Wyckoff to build me a pair, complete with cabinets, to his specifications. Let me turn the podium over momentarily to Wyckoff for a few words of explanation: "The mission of Hammer Dynamics is to create great sounding, well balanced, high-sensitivity loudspeakers, to owners of low-powered tube amps, for reasonable prices.
Five years ago I was struck by the fact that there were no inexpensive high-efficiency loudspeakers on the market. Once I settled on a "full-range" approach I began testing most of the full-range drivers on the market. Not one of them gave me the sound I wanted no matter the price.
The few, which had reasonable mids and highs, had no bass. The few, which had good bass, had lumpy mids and no highs. My solution to these problems was to design my own driver. My final design represents the best compromise I have been able to come to. The driver is capable of fast, accurate bass, silken mids and exceptional response to 10, Hz. I believe it is better to add a fast super-tweeter to a system than a slow sub-woofer. During my research I found that the usual 8-inch full-range drivers were never going to offer the kind of dynamic range I wanted so I finally settled on an ultra-light inch.
The entire moving mass of this driver is less than 29 grams. With a surface area of around three times that of an eight-inch driver the dynamic range is increased by a similar factor. The S represents my efforts to create a loudspeaker that sounds like Quad ESLs with much greater dynamic range, sensitivity and another octave on the bass-end.
My own research and recent listening experience with several full-range drivers has confirmed the validity and potential of this technology. To be blunt: full-range drivers are capable of coaxing more magic and more drama out of reproduced music than a horde of expensive multi-way speakers.
My passion for these drivers has little to do with nostalgia; rather it is driven by the technology's ability to kindle the soul. The Quest for that Old-time Religion. There was a time, two generations ago, when the full-range cone driver reigned supreme.
In an age when the radio console together with the shellac rpm record defined audio quality, a frequency range of 60 Hz to 9 kHz was about as wide a window as was needed or desired for the enjoyable reproduction of available source material. If anyone dared to open the window any wider — especially in the treble - they ran the risk of exposing gremlins such as needle scratch and other high-frequency hash and noise.
With the advent of the high-fidelity phenomenon in the 50s, the audio industry moved inexorably toward multi-way loudspeakers, such as two and three-way designs, as a means of expanding the bandwidth at the frequency extremes.
Many consumers expected to pay a premium for a high-fidelity loudspeaker basically because of its increased bandwidth. Even today, many audiophiles and audio engineers seem convinced that the road to hi-fi heaven lies at the frequency extremes. Of course, music lovers know that this is patently false, and that the emotional content and drama of live music have little to do with the frequency extremes.
Hartley - a contemporary of Voigt and Lowther - devoted much of his life to perfecting the single-driver, full-range, loudspeaker. He lived through the transition from full-range to multi-way, and clearly realized that the widest frequency response was obtainable from a multi-driver design.
Hartley noted that if mere width of frequency response was the ultimate goal then such a system would be ideal. Sure "audiophiles want it," he said, "but I have no real evidence that music lovers want it. With 30 years worth of hindsight, he expanded the limits from 20 to 12, Hz. The crucial point is that while there's nothing wrong per se with the pursuit of bass or treble extension to the threshold of audibility, the heart and soul of the music remain within the range of 60 Hz to 9 kHz.
And that, my friends, is precisely the frequency domain of the full-range driver. Its magic comes from having a single coherent voice span the critical midrange and lower treble octaves. The road to "audio hell" is paved with well-intentioned multi-way speakers. This then is the sonic equivalent of that kitchen wonder - the Veg-O-Matic. You slice and dice harmonic textures with the hope that somehow the drivers can then properly synthesize the music's waveform.
You don't have to be a rocket scientist to realize that when these drivers are mounted on a loudspeaker baffle, often with their acoustic centers 6-inches apart, that sonic integration is problematic. The differences in time delay between each driver and the listening seat typically result in severe interference effects in the frequency range overlapped by the drivers. In an effort to better integrate the transition region, many designers have pushed the tweeter's crossover frequency lower, sometimes precipitously close to its free-air resonance.
This approach is based on the firm acoustic ground; in that driver spacing becomes a smaller fraction of the wavelength at a lower frequency. Hence, a lower crossover frequency minimizes interference effects and produces a smoother transition between the drivers over a larger sweet spot at the listening seat. While such a solution results in a smoother frequency response, often the sound quality is far worse because of increased distortion.
That poor tweeter is made to work much harder than it really wants to. In the end, it is reduced to painful screaming. This problem is endemic to many modern designs, and it doesn't matter whether that 1-inch dome tweeter is made of fabric, plastic, paper, metal, Kevlar, or even cheddar cheese. As a musical peak hits the tweeter, its distortion spectrum rises sharply, and in addition, it compresses the music's dynamics.
To make matters worse, all this happens in the upper midrange 2 — 4 kHz , where the ear is most sensitive. I don't care how old you are, or how much high-frequency hearing loss you may have suffered, our auditory system is optimized for acuity just in this range. By definition, distortion in this range is very audible and objectionable.
The Super An Inside Look. As you might have guessed by now, my definition of a full-range cone driver is a design that spans the frequency range from at least 60 Hz to 9 kHz. The S uses a modified Audax metal-dome super tweeter to augment the speaker's high frequency response. The tweeter is mounted on a bracket, which positions it over the central region of the wooer to approximately align the acoustic centers of the drivers at least in the vertical plane.
The woofer is a proprietary twin-cone design, featuring a uniquely damped paper pulp composite. The cones contain a mixture of four different wood pulps for an optimized combination of broadband response, lightness, strength, and self-damping. In addition there is a lightweight polymer mixed with the cellulose to minimize moisture content and further dampen the cones. The edge damping on the free whizzer cone is precipitated chalk in a polymer base to reduce edge interaction.
The woofer is to be mounted in a bass-reflex vented 4. Of course, if you build your own, you have complete control over materials and construction techniques. The most unusual aspects of the enclosure are the materials used for internal damping.
The inner walls are lined with bubble wrap. In addition, a square piece of felt is mounted on the rear wall behind the woofer. Finally, the cabinet volume, up to the lower lip of the vent, is filled with Styrofoam packing peanuts. Unorthodox to be sure, but Wyckoff assures me that these materials work extremely well in controlling internal standing waves, while being very cost effective.
If you overfill the cabinet with peanuts, you're in for quite a treat. It's a cheap thrill, but highly amusing to watch bass transients grasp hold of, and then blow peanuts right through the vent. I have to confess that I did have a role in tweaking the crossover network. The final schematic shown in Figure 1 below represents the results of a collaborative effort between John Wyckoff and I. My first serious listening impressions and initial measurements showed that the tweeter was not properly integrated with the woofer, being significantly shelved down in level relative to the woofer's upper range.
Since I owned the review pair, I felt comfortable in tweaking the network to my liking. I shared my findings and suggestions regarding the tweeter's high-pass and the woofer's low-pass networks with Hammer Dynamics, and after much listening and several iterations, a consensus emerged that pleased everyone.
Two features of the S's crossover schematic deserve a fuller explanation. The major problem facing all full-range drivers, and in particular paper cones, is cone breakup. The extreme accelerations experienced by a typical paper cone above about 2 kHz, cause it to flex in a complex pattern. The cone no longer acts as a piston but rather as a collection of vibrating elements. The resultant frequency response is cratered like the surface of the moon with giant dips and peaks, commonly referred to as breakup modes.
The magnitude of these modes can be controlled to some extent by using a cone material with high internal damping. Full-range drivers with thin paper cones e. However, damping alone is often insufficient to fully smooth out a driver's response, and the designer must resort to electrical equalization techniques to get the job done. The S uses a parallel resonant circuit in the woofer network to control the woofer's breakup modes around 3 kHz.
John assured me that I wouldn't be happy without it. And he was absolutely right. According to Wyckoff, who has spent an enormous amount of time tweaking this circuit to perfection, both the cone resonance in the coincident region, and free whizzer cone resonance all lie within a narrow frequency band so that a single contour filter can be used. The coincident region is defined here as the band where both the main and free cones are active, and is usually the stage of the worst spikes in full-range paper drivers.
Figure 1. In addition, the woofer is gently rolled off in the treble with the help of a first-order low-pass network i. Note that the drivers are connected in phase.
If money is no object, I suggest that you go the extra mile and bypass both caps in the tweeter network with a 0. The crossover board, on my pair, is mounted on the back baffle, except that the woofer's "Zobel" network represented by the 12 mF capacitor in series with a 7-ohm resistor was soldered directly across the woofer terminals.
No input connectors are used, as the speaker cable is soldered directly onto the board. Take my word for it: no input connector is sonically superior to the most expensive connector money can buy.
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In the hundreds of years since the Holy City disappeared, darkness has fallen over the land Brae Wyckoff. He has been married to his beautiful wife, Jill, for over 23 years, and they have three children and five wonderful grandchildren. Brae currently travels the world with his wife, training and equipping people in the ways of Jesus Christ, and has ministered to thousands, both locally and abroad. He is the founder of the international ministry called The Greater News TGN where he reports on supernatural miracles happening around the world. The TGN Facebook page has over 40k members and reaches over 40 countries around the world. Brae went on to host his own blogtalk radio show, Broadcast Muse, interviewing notable people such as author, William Paul Young, Academy Award winner Peter Berkos, American Idol contestant Airika MissLadybug , and numerous other creative talents and ministry leaders.
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Emrich was previously the principal of Urban Prospects, Inc. Recently, Mr. Awards for outstanding "Contributions or Excellence" were presented to the following:. Plainfield City, Union County. Built in , Grace Episcopal Church is a reminder of Plainfield's grander days. Like so many other medium sized cities in New Jersey, Plainfield was a quiet village until the arrival of the railroad in the 19th century.
Kristen Wyckoff Reflects on 3MT Competition
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Why your phone will always have a physical button
They had a wonderful Tonality and Effortless played not just the notes but more as a whole - as Music. They had great color and Dynamics too, and I had really intended on building them but never had the room for the extra set of speakers in the living room, and never got the dedicated music room either So I decided they deserved to built and enjoyed by someone!
You get to press the infamous apocalypse button, to unleash hell on their extraterrestrial asses - but you've got a choice. The fact is, physical keys are far more satisfying to press than virtual ones, a sensation that sends a mini wave of bliss up our fingers whenever contact is made. Yet despite solid arguments against them, there are still physical buttons on almost every smartphone. Why your phone will always have a physical button. John Wyckoff. You've had a good run, but the alien warlords are closing in, and you need to act.
This privacy statement describes how PassDIY collects and uses the personal information you provide on our Web site: passdiy. It also describes the choices available…. Howdy, I finally stopped reading about this stuff and actually built something. I've read Nelson Pass's stuff for years, and a friend bought the Pass Labs Aleph 3 amp with great results, so I decided to go for it. Its my first real DIY effort, so it was a real learning experience. Pass said that "you can never have too much heat sink". The power supply has extra filtering per Mr.
I thought discussions of other speakers were off topic to the forum and not associated equipment, but since a Super Moderator suggested this thread be created here it is. Thank you, Widget! Because this topic is more general than any specific speaker or brand, I have placed it in General Audio Discussion. I am talking about Hammer Dynamics Super 12 speakers in particular here, but by way of comparison this could be all over the map.
Win option :)
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