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- Jan 1, 1970
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This whole exercise is an unnecessary complication . . . the bridgeA bridge circuit is an unnecessary complication.
removes the subjective element and lends the exercise some scientific
credibility.
Complicated? How? You have a bridge with two identical resistors in
the ground legs, a calibrated pot in the adjustable leg, the device
under test in the opposite leg. Tune for null on a meter across the
bridge and measure the resistance directly. It is too easy.
No. You would only be listening for a volume *difference*. That's the
beauty of the scheme. No matter how nonlinear your ear might be to volume
changes, you can pick out volume differences very accurately. As soon as your
ear cannot detect the difference between the attenuator settings, then the
"bridge" is balanced and the pot setting is equal to the speaker's impedance.
You can pick out volume differences as well as a meter that can
resolve less than a 100 microvolt null? I wouldn't bet I could do
that.
Well the bridge does the same thing, more accurately.Exactly! Using my suggestion, you could determine the speaker's
impedance at *any* frequency that interests you. In an enclosure or bare.
Isn't that a lot better than trusting the manufacturer's nominal impedance
rating?
My primary point was that it is a wasted effort.
So after all this toil and trouble you do know the speaker impedance
at all frequencies of interest - you plot it out - you have a pretty
graph for your effort, and you impressed the hell out of the
salesperson pushing the speakers - it tells you nothing of the sound
output at all frequencies. The efficiency of the speaker and speaker
in a cabinet will be different at various frequencies.
Then after all that, you will connect it to an amplifier that may have
damping characteristics that color the sound, an amplifier with a
feedback network that will color the sound, a crossover network that
colors the sound, a room that colors the sound, phase differences in
the speakers, diffraction in the speaker cabinets and articles in the
room, Etc. Etc. so you can play music for ears that have some unknown
frequency response, to be interpreted by someone's own psycho acoustic
bias, while listening to a ventilation system with a bad bearing or
some other outside noise.
OK you have golden ears - you live in a cathedral (a very quiet
cathedral designed by an expert acoustician) buried in the woods and
the wind isn't blowing, and there's 15 feet of snow covering
everything in sight. Absolutely optimal conditions for listening . .
.. Just how important is speaker impedance given the breadth and depth
and intricacies and variables that make up a sound system?
Were you planning on listening to Aerosmith, on warped, scratched
vinyl, on a turntable with a slipping belt, from an analog master, or
some really exceptional Dorian classical music digitally mastered?
The final nail - we are probably talking about bargain $10 speakers
here since you don't have the impedance and no plot of the sound
output under laboratory conditions.
This way insanity lies . . .
Have fun; fun might be the redeeming feature to all this.