Originally Posted by THX1138777
Hi does anyone know when deciding between 80HZ or 100HZ on the crossover what kinds of sounds are produced in this range of 80-100HZ. For instance if I have LCR that can only go down to 100HZ and I have the X.over set at 80HZ what types of sounds am I missing?
Post 2 is correct as far as it goes. As it says the crossovers in our receivers and surround decoders aren't anything like brick walls. So, if there's a small gap between crossover points, there is at worst a slight dip.
Several other things needs to be considered.
(1) In the same frequency range where this dip would be at, is already very rough due to common room deficiencies such as standing waves. The kind of slight dip this mismatch might cause is probably small and innocent compared to other dips that are typically already there due to nature.
(2) Instruments are not restricted to such narrow frequency ranges. Even single notes typically cover a wide frequency range because musical instruments generate sounds that are loaded with harmonics. For example the note F2 has a fundamental frequency of 87 Hz, but depending on which instrument it is being played on, there are also harmonics at 176 Hz and 261 Hz and so on up. In the case of the second harmonic, when the ears hear it, it may tend to create the perception of the fundamental, even if the fundamental were totally missing.
The same can be said if a speaker can only go as high as 24KHz compared to a GoldenEar that can achieve 35kHz what more am I hearing?
Thanks for any responses.
Hearing 35 Khz on anybody's audio system while playing a recording of music is unlikely. Recordings with potentially audible amounts of energy at 35 Khz are extremely unlikey. While recordings made with 96 or 176 Khz sampling rates can potentially record and playback sounds this high, actual recordings with enough energy at this frequency or even just > 20 KHz are very rare. Studies have shown that about half of the DVD-A and SACD recordings that are out there were made from legacy masters that simply don't have significant energy on them > 22 or 24 KHz. Very few of the microphones actually used for producing recordings respond this high. The air has significant additional attenuation of frequencies this high and tends to attenuate them over the usual distances that are involved in listening to concerts or recording them. Finally, the ear has a very significant characteristic called masking wherein stronger sounds, which naturally occur at lower frequencles like say 8-12 KHz, cause the ear to shut down and not respond to frequencies at even 16-20 KHz.