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PLANARS AND THE MAN WHO LOVED THEM - BY JOHN MEYER
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Given the sensitivity, power handling and controlled radiation of the NHB, we would like to try a small sound reinforcement application where hi-fi is required. Hi-fi and sound reinforcement will ultimately fuse and, having been to the NAMM Show (National Association of Music Manufacturers) one could safely predict that the sound reinforcement industry won't be leading the charge Anyone knowing of a suitable project (small theatre, presentation centre etc.) is welcome to email and discuss the possibilities.
Over a period of time, when in pursuit of a single goal, the design process can go awry. Lets have a word about designers blinders from one who has seen them from the inside.
Ah yes, tunnelvision, the ability to focus to the point of imploding. Our objective was always to eliminate "the cone effect". That is all we listened for. Two way domes great and small were rejected in the first few bars when they exposed their inherent "fatal flaw". When our first generation hand made prototypes eliminated it, the goal had been reached. Who cared for spectral balance or the presence of treble and bass that resembled the music being played. As it turned out just about everyone. It seems they were listening for music and we had been designing for a single performance parameter. The quest for the "cone effect" cure was rooted in the search for more accurate musical reproduction but by the time the quest was fulfilled, the reason for starting it had been temporarily forgotten.
This happens very frequently in the audio industry and there are sure to be many more examples of single parameter brilliance. It is no use getting pigs to fly if they have to travel in flocks and roost on telephone wires.
After some politely coded remarks, we began to nail down all of the other little nasties which proved so off-putting to the people who, although not devoid of private preferences, placed balanced performance at the tops of their lists. Music became the objective once again, not just sound. Balance, bass and treble were a relief after giving birth to a functional Ribbon.
Ribbon drivers have found homes in quite a number applications outside the normal home hi-fi venues. We participated in the demonstration of High Definition TV put on by Sony, Paramount and Labatt's. The demo was a live satellite broadcast, from LA to Toronto, of Sting's 40th birthday concert. Despite superb picture quality (1125 lines on a Sony 55" data monitor was like looking through a window) and the availability of an excellent audio signal, audio quality was simply not a consideration until we mentioned it. The three screening areas for the demo used the following equipment. The largest had a sound reinforcement system from a bar which produced 133db in the middle of the dance floor. The second used Sony PA speakers and the third used our prototype Ribbons. Opinions expressed were extremely favourable to the Ribbons but this may have been out of blessed relief as people fled the areas of the other systems.
It must be pointed out that very few of the people realized why they had left the areas with the strident sound. They simply weren't comfortable so they moved and their opinion of the entire experience was diminished despite superb visual performance which is what the demonstration was all about. If the picture had been bad, they would have known what to complain about. Since the sound was bad, they simply left the area and went where the irritation level was much lower. The audiophile community can not allow the audio portion of any advance in media technology to become an afterthought. Any format which is deficient in audio quality cannot be deemed to offer a full, balanced experience.
The next logical (scratch logical) area of application is automotive sound. Several pairs of the 30" Ribbons are now blasting musical truth into the pores of the mobility addicted. The Ribbons weigh almost 1 pound per linear inch and mounting has to be a major concern. We always raise this point and hope it is dealt with properly. The wildest application promises to be a competition show car (GTO) which will use multiple 12" subs, 10" mid-basses, JBL 3" dome upper mids and 3 Ribbons (1 x 15" and 2 x 8") per side.
The Ribbons will be mounted near the kick panel and in the front doors pointing up. They will be wired in parallel for a sensitivity level of approximately 93db. This combination could produce ear damage at 20 watts. In fact, they will be driven by their own 600 watt per channel amp. Let's hear it for headroom! The aim is to meet the test requirement of 140db in car for 30 seconds. Crashing head on into a speeding locomotive would probably produce lower levels although as long as everyone has to do it, it must be fair. But how is 140db relevant to begin with?
The constructor is going with the Ribbons because of his appreciation of quality sound. Apparently, the mobile sound market is paying much more attention to the fidelity issue which is good news but a drop in the required output to 120 db or even 110 db would be even more welcome.
Corporate jets installers are seeking very smooth loudspeakers since they must be placed close to the ears of harried executives in a high noise environment. The Ribbons meet all of the sonic requirements but weight and fuel consumption are real concerns. For the purist however, it is no issue at all. If your Ribbon equipped jet happens to land several hundred yards short of the runway, you can smugly reflect that those on the planes landing safely probably had to endure lousy sound for the whole flight.
Several recording studios in Quebec are rumoured to be using our Ribbons but these statements have yet to be confirmed. Certainly the Ribbon Modules would be excellent for that environment. If anyone out there is using them in recording studios, or other professional applications, please let us know.
Placement: The last frontier. The Ribbons have a diaphragm which is only 3/4" wide. That means they radiate horizontally like a 3/4" dome. Since dispersion is a function of piston diameter and wavelength, it is predictable that there will be more energy radiated to the sides from 1 khz to 3 khz than with virtually any other speaker system you have owned. The benefit of this (as well as the small size of the mid-bass driver and the narrow enclosure in the Modules) is excellent soundstaging. Depth, width, location, focus. It is all there in living vibrations.
The main point to watch is side waves if the listening room has hard side walls (drywall, windows etc.). The sidewaves may produce a strong reflection and foul the soundstage. A strategically placed plant, bookcase or tapestry will work wonders. You can cheat and use a mattress but what we are trying to do here is achieve state-of-the-art not state-of-the-bludgeon. Besides some level of reflection is necessary for a proper soundstage.
Stands are definitely required for the Modules since the Ribbons must be at seated ear level. 16" stands for the M30, 20" for the M15 and 24" for the M8 should do the trick. Experimentation with tilting may also prove beneficial. Being tall and heavy, close attention must be paid to the size of the base and consideration must be given to the possibility of screwing the speakers to the stands. On the full range units, isolating the Ribbon from the bracket and the cabinet top is a hot area for tweeking. Pick the right material and use it properly and the soundstage stabilizes even more.
A final caveat relates to measurement. The longer the line source, the further away the mic must be. The greater the distance between the mic and speaker, the more boundary reflections come into play. Enjoy.
In terms of crossovers, amps and placement, our Ribbon products represent very straightforward undertakings. They produce results comparable to the best efforts of the large panel manufacturers. Great sound can come from small and thin packages (especially if you have a sub lurking in the shadows) and it is much less expensive than what anyone would have imagined even 2 years ago. Technology (and the enthusiast) march on.
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