Ottobre, è tempo di misurare...

I have finally bought one pair of CT125 Crites tweeters.
They are known for beign the direct replacement of the T-35 Ev I had originally, without any change in the filter.
Considering how happy I was with the T-35s, the fact that they do not pop up very often in perfect conditions on the web for sale, and that I am a lazy guy and don't want to go through a passive filter once again, I decided for this tweeter. In the future I intend anyway to replace the diaphragms on my t-35s, 'cause they have the metal horns, that I like most!
I will show you pics of the installation...when done! 
For now, following the Perfect Botcher's Philosophy, they are just sitting on top of the mid horns, exactly like the T-35s you can see in the previous pics.
Follow this link for the Crites'page.
Mi son fatto due tweeter di Crites, i CT125 (qui sopra il link).
Sono nati per essere il rimpiazzo diretto dei T35 ElectroVoice senza dover modificare il filtro (almeno così dicono) e così ora poggiano in situazione precaria, in piena filosofia cialtronica, sulle trombe dei medi.

Now for the acoustic voyeurs, some measures.
E ora, qualcosa per i misuroni.

Let's start with the Little Big Horn 4th Edition (LBH4), measured from the HT position (I'll explain this later) against the measure from the HiFi position of the well famed, divine Quad ESL57 that I am proud owner of. Level is arbitrary, but the same for both. No gating. 
The Quads are positioned 2mt away from the microphone, the LBH4 4,5mt...
Cominciamo con il Little Big Horn 4^ edizione (LBH4) misurato dalla postazione HT (poi spiego) contro le famose, divine Quad ESL delle quali sono fiero possessore. Le Quad stanno a 2 mt dal microfono, le LBh a 4,5, il livello è arbitrario ma quello relativo è confrontabile.

1/6 oct., far field, clio amp

Did I said I'll explain later? 
OK, I have two systems, one with the Quads, very close position, at low levels, for night and relaxed listenings. The LBHs are in the corners, and require more distance from the listening position, so I optimised them for a listening from the home theater seats, that are behind the "hifi couch"... this 2,5 meter of increased distance helps a lot in adjusting the reproduction, considering also that these beasts are great with rock at realistic levels, especially video concerts, that I love most!
Ho scritto che poi spiegavo?
 Ho due sistemi, uno per le Quad, per ascolti ultraravvicinati a volumi notturni. Le LBH sono negli angoli (ma va?) e richiedono maggior distanza dal punto d'ascolto, perciò le ho ottimizzate per un ascolto dalle poltrone HT, che stanno dietro il divano per l'hifi. Questi 2 metri e mezzo di distanza aggiunta aiutano molto ad aggiustare la riproduzione, considerando che queste bestiacce sono eccezionali quando si "suona" qualche dvd di concerti rock a livelli realistici.

Second phase is the equalization of the LBHs, that I made through one very straight-forward Behringer DEQ2496, its pink noise, and the clio measured results:

black, far field pink noise through Sony HT amp,       green, like black plus eq +5dB

Fase due riguarda l'inserimento del mio fido Behringer DEQ2496, usato solo in sottrazione, per cui il livello post-eq, in verde, è alzato di 5dB per permettere un agevole confronto. Per prima cosa ho cercato di ricondurre alla ragione quella gobba a 3,3kHz, poi ho agito su quella gobba a 140 Hz dopo aver verificato che non si trovava anche sul diffusore sinistro, ossia che poteva essere corretta senza danni alla riproduzione.
Equalizzare è come scolpire, si levano strati e strati da un blocco informe, finchè...il tuo Behringer ti dice che non ce la fa più!
Alla fine, ecco il risultato:
Please note that the equalization is only subtractive, level of green is raised of 5 dBs to match the black flat one. Look at black: this first equalization was made to get rid of that hill around 3,3 kHz, until that spike appeared revealing a possible diffraction that can't be touched. Same for the lower end, where I just touched that bump at 140 Hz, after having verified it was not present on the left speaker, meaning it was possible to correct without damages.
Equalizing is like sculpture: you start from a row block of stone, and start to take away, layer after layer, refining until ...your Behringer says it cannot do more!
And at the end, this the result I reached:

red, right speaker, far field pink noise through Sony HT amp, black, left speaker, same.

I equalised the right speaker with mono signal from the Behringer (pink noise).
I then equalised the left speaker to match as close as possible the right one.
I am happy with the result, look at the response between 1kHz and 10kHz, where the horn usually reveals its.."hornity". Now when I turn the Volume knob clockwise it's windy in here!
I don't care what you think of that bass frequencies much over the line, when I play Smoke on the Water on the Macmini I tell to myself this is just right!
But this drug gets you addicted very fast. Sooner I realised how much I missed a first octave, with organ for example, or modern sinthesized music, so, here is the result after integrating two very simple HT subwoofers in the system. They are two Indiana Line Arbour S10, equalized through a DSPeaker manager 8033s.
This graph is made improperly, it is the mono signal from the Behringer (pink noise), sent to a 200 Euro Sony HT receiver, that addresses it to the DSpeaker and the subs through its mono sub preout, and amplifies and send it to the front left and right output to the LBHs. So in this graph both the speakers are on, with the same signal, as well as the two subs. I don't mind here the global frequency response, because of the two speakers playing together, but I was interested in the blending of the subs with the LBHs. Please compare with the above graph.

Ho equalizzato prima un canale, e poi l'altro sul primo, passando per il mio fetecchioso Sony HT da 200 Euri. Il risultato è notevole da 1 a 10 kHz, dove la tromba rivela spesso la sua "trombaggine", e il basso, beh, a me mi piacciono i bassi, che ci volete fare?

E' una droga, e come tutte le droghe dà assuefazione, così, ultimo grafico, ho aggiunto due sub, in mono, trattati con il speaker manager DSPeaker 8033s. Tira vento qui, sapete... Ah, il grafico è sbagliato, perchè ottenuto con un segnale mono mandato ad entrambi gli speakers e entrambi i sub, ma a me qui interessava vedere l'interfacciamento tra sub e tromba, non la risposta globale.