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[Caleb Dueck]

One thing the SRX-p has over all these boxes in this league is larger format compression driver - 1.5" exit with a 3" diaphragm behind it. That was a major reason why I chose the SRX over anything else out there at the price point. It's going to have more upper mid/high frequency grunt with a true medium format compression driver. That may not be what many need, but it's going to cut through better on loud stages for monitor use and have better throw outdoors compared to a 1" exit driver with a 2" or smaller diaphragm. Seems the lower end boxes these days are going down as small as a 1.4" diaphragm which is not what I'm looking for. Given my druthers, I'd have boxes with a 2" exit compression driver and 4" diaphragm. But that's a lot more $$.

I heard the same speakers side by side, but one with 2" exit HF and one with 1" exit.  Both are current EV install boxes. 

Neither sounded "better" than the other but were quite different, even with factory tunings.  The 2" had better upper mid range, but had that "blanket over the horn" poor HF that screams "old school" to me.  The 1" had smoother HF, but the mid range was weaker and felt slightly scooped. 

For me - a high quality 1.4" driver seems to be the best balance.  The problem is that the better 1.4" drivers don't come on $1k level models. 

Sent from my VS980 4G using Tapatalk

[Richard Penrose]

I’ve just had a very long night testing session with the DZR12’s today and have found a couple of things that are putting me off them a bit.

1/ I’ve found the DZR12’s to have quite noticeable air turbulence coming from the ports when running bass through them. The on the DXR15’s this is not noticeable. I spent a long time finding the frequencies causing this and by the time I eliminated those the DZR12’s didn’t quite achieve the same depth of bass as the DXR15’s.

2/ I’ve found some harmonic distortion in the mids that we’re made quite obvious when playing quite harmonically complex chords. At first I thought this was the DZR’s revealing some extra detail but I double checked this through both my Beyer DT880pro headphones and Neumann KH120 / Eve TS108 monitoring setup in my studio. I’ve encountered something similar once before with a popular sub £1000 studio monitor which at first the company didn’t believe as no one had reported it. However after many conversations they sent one of their techs over and after showing them the harmonic distortion they hadn’t heard they now found it so obvious that they stopped make no that monitor!
I’m not saying that the DZR12’s have this issue but there is definitely some odd distortion happening in the mids. Could be a faulty DZR12!?

I do prefer the DZR12’s mid range clarity of vocals, acoustic guitar and piano etc but they don’t have quite the separation I was expecting for a speaker of this price. Also After playing around with the GEQ feeding the DXR’s I was able to improve the midrange noticeably (though still didn’t match the midrange of the DZR’s)!
Whilst I do love certain things about the DZR12’s, I’m not sure I can justify the £1200 price difference.

[Greg_Cameron]

Wouldn't the size /shape of the actual horn have more impact on this than  the driver size?  The DSR already performs better than it should in the real world based on the specs.  We all know that.

I see no reason to assume the DZR can not perform as well or better than the  SRX based solely on the specs.

The horn is for impedance matching and pattern control. It's not going to add extra output per se, though a tighter pattern means more output within the coverage area to some degree. There's a reason why top performing boxes use 1.4" - 2" exit horns with a 3" to 4" diaphragm behind them - output & lower frequency extension. 1" exit drivers are better now than they ever have been, but you can't get around the physics that a larger diaphragm with a larger motor and a larger exit is going to give you more output which equals more "throw." Now granted, arrayed 1" exit drivers such as those in some line arrays and some of the Danley boxes have a lot of output. But generally speaking, you can't get as much mid band power out them without breakup. 1" exits are better though for HF extension for sure, though the larger format drivers are also better now then they days of old when they started rolling off around 8k. My old Rat Sound boxes have an old JBL 2441 2" exit driver and those don't have a lot of top end sparkle. They're better with the aftermarket Radian diaphragms in them. But those boxes also have an additional 1" exit driver/horn to cover from 8k on up. With a newer high quality 2" driver, I could probably loose the 1" - but those good drivers are very expensive. And the boxes sound fine as is.


But for the sake of this discussion and dealing with 2-way and 3-way boxes, I'd tend to go with one that's got the larger format compression driver so I'm prepared for more situations. The SRXs have some shortcomings. But output isn't one of them for the price range. And they're one of the only offerings at that price point with the larger compression driver. Maybe the only offering for a fully powered and processed box.


Greg

[Tim McCulloch]

The horn is for impedance matching and pattern control. It's not going to add extra output per se, though a tighter pattern means more output within the coverage area to some degree. There's a reason why top performing boxes use 1.4" - 2" exit horns with a 3" to 4" diaphragm behind them - output & lower frequency extension. 1" exit drivers are better now than they ever have been, but you can't get around the physics that a larger diaphragm with a larger motor and a larger exit is going to give you more output which equals more "throw." Now granted, arrayed 1" exit drivers such as those in some line arrays and some of the Danley boxes have a lot of output. But generally speaking, you can't get as much mid band power out them without breakup. 1" exits are better though for HF extension for sure, though the larger format drivers are also better now then they days of old when they started rolling off around 8k. My old Rat Sound boxes have an old JBL 2441 2" exit driver and those don't have a lot of top end sparkle. They're better with the aftermarket Radian diaphragms in them. But those boxes also have an additional 1" exit driver/horn to cover from 8k on up. With a newer high quality 2" driver, I could probably loose the 1" - but those good drivers are very expensive. And the boxes sound fine as is.


But for the sake of this discussion and dealing with 2-way and 3-way boxes, I'd tend to go with one that's got the larger format compression driver so I'm prepared for more situations. The SRXs have some shortcomings. But output isn't one of them for the price range. And they're one of the only offerings at that price point with the larger compression driver. Maybe the only offering for a fully powered and processed box.


Greg

"There is no replacement for displacement."  - Carrol Shelby

[Jay Barracato]

"There is no replacement for displacement."  - Carrol Shelby

"predetermined biases can't account for improvements in technology"

Jay Barracato

Sent from my Moto Z (2) using Tapatalk

[Tim McCulloch]

"predetermined biases can't account for improvements in technology"

Jay Barracato

Sent from my Moto Z (2) using Tapatalk

"Improvements in technology are not necessarily drop-in replacements."  - Tim Mc 

[Dave Pluke]

"predetermined biases can't account for improvements in technology"

Jay Barracato

"Improvements in technology are not necessarily drop-in replacements."  - Tim Mc 

"I came here for an argument". "No, you didn't" - Monty Python

Dave

[Debbie Dunkley]

"I came here for an argument". "No, you didn't" - Monty Python

Dave

LOL

[Dave Garoutte]

That's a contradiction, not an argument.

[David Allred]

I’ve just had a very long night testing session with the DZR12’s today and have found a couple of things that are putting me off them a bit.

1/ I’ve found the DZR12’s to have quite noticeable air turbulence coming from the ports when running bass through them. The on the DXR15’s this is not noticeable. I spent a long time finding the frequencies causing this and by the time I eliminated those the DZR12’s didn’t quite achieve the same depth of bass as the DXR15’s.

2/ I’ve found some harmonic distortion in the mids that we’re made quite obvious when playing quite harmonically complex chords. At first I thought this was the DZR’s revealing some extra detail but I double checked this through both my Beyer DT880pro headphones and Neumann KH120 / Eve TS108 monitoring setup in my studio. I’ve encountered something similar once before with a popular sub £1000 studio monitor which at first the company didn’t believe as no one had reported it. However after many conversations they sent one of their techs over and after showing them the harmonic distortion they hadn’t heard they now found it so obvious that they stopped make no that monitor!
I’m not saying that the DZR12’s have this issue but there is definitely some odd distortion happening in the mids. Could be a faulty DZR12!?

I do prefer the DZR12’s mid range clarity of vocals, acoustic guitar and piano etc but they don’t have quite the separation I was expecting for a speaker of this price. Also After playing around with the GEQ feeding the DXR’s I was able to improve the midrange noticeably (though still didn’t match the midrange of the DZR’s)!
Whilst I do love certain things about the DZR12’s, I’m not sure I can justify the £1200 price difference.

Were both your negative results found under the same scenario?  (full range with heavy bass?)  If so, that would not be a concern for me.

[ProSoundWeb Community]