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Tom is a fan of beer. period.

You did say that... i have been paying close attention to your posts

Don't quote me on this, but I believe it's around 3.5 ohms. This could change depending on the final crossover values. And yes, I'm still tweaking!

Hmmmm...did I just quote quoting myself then?

I'm not surprised.

Considering that you're tweaking and all.

Ok, i am "looking" at a ksa 250... 250w @ 8ohm, and doubles down to 2,000W @ .5ohm....

The gain on that amp is 24dbw.. and the smaller amp is 25.8dbw...

I am not sure if i want to get the KSA 250.. It is a pure class A amp which would be nice; but I have read that it needs a dedicated 12A breaker... i will have to call and verify this....

Thanks Amie, for posting Andrew's very informative discussion on "What Does That Thing Do, Anyway", which many of us have been wondering about. This info and further details which are to come can certainly help prospective purchasers to be more confident and others of us to be able to suggest that it be seriously considered.

Just to put some numbers on the cancellation effect between the front and back drivers which Andrew pointed out as a flaw in some previous designs using a back driver array, a basic point is that two drivers playing the same frequency will partially cancel when separated by about half the wavelength of that frequency. The mid-range drivers in the LFR1100 are separated(from centers of their cones)about 25". The wavelength affected would be about 13,600(speed of sound in inches per second)/25, or about 540Hz. So, a partial cancellation would occur in the lower mid-range around 270Hz, with the effects Andrew described. The DSP processing compensates for this and other effects by modifying the frequency response of the back drivers.

I have been reading this thread and trying to learn, but I'll be honest and say my 1000 foot view of these speakers is muddy at best. Mark touched on this before when he asked about room acoustics, but that's where my logic falls apart.

With the DSP, I understand that you can get around the cancellation effects of front and back drivers and get the family of curves approaching optimum in an anechoic chamber. But doesn't that all go out the window as soon as you introduce room acoustics/reflections? Andrew (or anybody who actually understands this), can you explain to a dumb@ss like myself how all that careful DSP mapping in controlled conditions still has benefit when introduced to a real listening environment? To be clear, i am not being critical, I just don't understand. I still very much want to hear these bad boys since I missed them at the show (friggin Utah trip )

Thanks!

While the room is ultimately on your end, the family curves are very important to predict how the speaker will ultimately sound in a room because they deal with the direct, early reflected and late reflected sound of the speaker. The direct, first and late arrivals is ultimately makes up what we hear.

OK, I'm still blurry on this but that helps. Does this hold for an analogy - kinda like performance tuning a car, it may perform better or worse depending on environmental conditions (temp, moisture etc...) but in general will perform better when tuned than in untuned stock trim?