John, thanks for the reply. I'm kind of confused by a few things though. It sounds like you are saying that if I use the subs speaker level through put that it sends a full signal to the mains. I may be totally wrong but I've always been under the assumption that the subs crossover was there to cut off lower frequencies and send them to the sub, and only allow the upper frequencies, say 80 hz or what ever, and above to reach the mains. Albeit rolled off at 6dB as to allow for a smooth transition. If I'm wrong about this I feel foolish not knowing something so fundamental after all these years. I'm almost positive that this is the way it worked with my M&K's. Maybe the EP 600 doesn't do this?? Though I drive it through the XLR. I realize that good speakers all have internal crossovers that roll off at what ever given frequency but I'm almost certain that my M&K 150's would have been blown long ago had they been run full spectrum. Also if this is not the case then why do so many manufactures advise against running speakers at full range? I’ve heard lots of speakers bottom out that couldn’t handle the lower end. One other thing that I can think off right now is that so many things that I have read advise against running through the subs crossover when it comes to musical clarity. (With full range speakers) Why throw another crossover into the mix is what I’ve heard over and over again. Once again I'd love to know if I'm completely wrong about this because it would bring up a completely different solution to what I'm thinking.
Back to original subject though. The argument of stereo bass that was made in that article that made sense to me was that if we are all trying to seek that magical musical nirvana of depth, clarity, soundstage etc…..then taking into consideration the fundamentals of a live performance it makes perfect sense that say an organ, orchestra, or electric deep bass something at 30hz or so would have waves that would be reflected and there by reach your ears at different times and angles. If these “stereo” bass frequencies are combined by the pre amp into one channel then something is lost. Hence my thinking of two runs of speaker wire to each of the left and right channels. One for the mains and one for the subs.
Taking your string bass analogy one step further. What you say about 50hz being primarily on the mains left or right with the harmonics on the sub makes perfect sense until I started to think about 2 or 3 or more microphones added into the recording equation. Lets say your sitting at a concert hall and the note is struck on that bass. If there is only one microphone on that bass right in front of it then yes that analogy covers it quite well. However if we put another, or several other microphones into the mix that are scattered across the stage, then we have harmonics bouncing off walls that are all being received by the listener at different times from different directions. Maybe or maybe not being able to localize them but lost none the less if we are using one mic and one sub through one channel.
I have researched extensively on the other boards too about this subject but it doesn’t seem to be covered. Thought there is a lot of discussion of dual subs this particular issue isn’t addressed at all that I can find. I was hoping some one around here might have had some experience with this that they might be willing to share.
If any one is running dual subs I’d love to know your experience with any of this, and how they are hooked up, especially if you have gone the 2 channel route.
