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PENG

Audioholic Slumlord
Poorer in the mids and highs - but better in the bass.
Thanks, I should have mentioned that, fixed now.

But as Dr. Toole himself has pointed out many times, those THD measurements don't easily correlate to sound quality or listener preference. THD audibility (or lack thereof) is very complex and can't be captured with a simple sweep like this.
I am not sure what exactly Dr. Toole said about that as I have not read his book. From those graphs, we can compare their THD vs frequency quantitatively, that's all, and we really don't know anything about the harmonic contents.

Regardless, I would think the 703's roughly 1% THD between 1.5k to 10kHz is likely low enough that it is not a problem regardless of the harmonic contents, while the LS50's distortions from >400 Hz is even lower, such that we don't have to worry about or consider their "audibility" at all. Their much higher THD in the low end may not be too bad either as people supposedly have higher tolerance to distortions in the lower frequencies.
 
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shkumar4963

Audioholic
Thanks, I should have mentioned that, fixed now.



I am not sure what exactly Dr. Toole said about that as I have not read his book. From those graphs, we can compare their THD vs frequency quantitatively, that's all, and we really don't know anything about the harmonic contents.

Regardless, I would think the 703's roughly 1% THD between 1.5k to 10kHz is likely low enough that it is not a problem regardless of the harmonic contents, while the LS50's distortions from >400 Hz is even lower, such that we don't have to worry about or consider their "audibility" at all. Their much higher THD in the low end may not be too bad either as people supposedly have higher tolerance to distortions in the lower frequencies.
Also, the measurements were done in anechoic chamber at 90 dB which is exceedingly loud.

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KEW

KEW

Audioholic Overlord
Also, the measurements were done in anechoic chamber at 90 dB which is exceedingly loud.

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90dB is loud, but the measurement is usually performed at 1 2 meters. Typically, my LP is about 3 meters away which would reduce the SPL to 78dB! (~86.5dB).

Edit - see correction below from Steve81, (as marked above)!
 
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ematthews

ematthews

Audioholic General
The 703 did measure poorer in THD except in the lower range <250 Hz.

LS50

LSiM703
After another
Night with both I do find the LS50 much more detailed. The Polk almost mudddy but with more body. That is the lower regester I am hearing. So I need to blend the sub better with the LS50 to get a more balanced sound stage. I can see why they rate so high now.
 
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PENG

Audioholic Slumlord
90dB is loud, but the measurement is usually performed at 1 meter. Typically, my LP is about 3 meters away which would reduce the SPL to 78dB!
The NRC did it at 2 meter to allow for proper/better driver integration as they explained and then plot it for 1 meter, that makes sense to me.

If it is 90 dB at 1 m, you should get about 80.5 dB at 3 m, not 78 dB. That's in an anechoic chamber, you will get some room gain, the exact amount would depend on placement and your room acoustic environment. My guess is that you would get at least 2 to 3 dB of room gain, plus another 2 to 3 dB gain (on average for stereo) with 2 speakers, depending on the music contents. So in the end you will probably get around 84-86 dB from your mic position if you convert it from the NRC graphs.

If you dial it down to around 78 dB from you mic position listening to two channel music, you will likely be using less than 0.5 WPC average and can expect much lower THD than that shown in the anechoic chamber graphs. So you may not need to set the crossover overly high, but I do suggest you put them on proper stands, preferably the KEF ones at the minimum.
 
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PENG

Audioholic Slumlord
After another
Night with both I do find the LS50 much more detailed. The Polk almost mudddy but with more body. That is the lower regester I am hearing. So I need to blend the sub better with the LS50 to get a more balanced sound stage. I can see why they rate so high now.
The reviewer also said the Polks were "neutral to warm", so his subjective observation was in line with yours. By the way, I do think the LS50 needs to be placed on stands, good quality ones, instead of sitting on some book shelves. The Polk LSiM703s, being larger and 3 way, may be a little more forgiving but should be put on proper stands too for optimal performance. So how did you place them?
 
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PENG

Audioholic Slumlord
Also, the measurements were done in anechoic chamber at 90 dB which is exceedingly loud.

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Agree, fyi, my REW plots may not be as accurate, but they did show much lower distortions when measured around 70 dB @3 m, translate into approx. 75-77 dB anechoic (educated guess). That's for full range without sub, even lower if the sub was on with XO at 90 to 100 Hz.
 
Steve81

Steve81

Audioholics Five-0
90dB is loud, but the measurement is usually performed at 1 meter. Typically, my LP is about 3 meters away which would reduce the SPL to 78dB!
The distortion measurement is plotted at 2m, as opposed to the base FR:
1.gif
So 96dB at 1m, or 86.5dB at 3m, ignoring the additional SPL going in room vs an anechoic chamber.

Meanwhile, 95dB @ 2m on the R500s:
2.gif
Crossed at 120Hz to the Funks, they stay very clean for anything I throw at them.
 
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shkumar4963

Audioholic
Yes. Compared to R500, the distortion in LS50 is a bit higher. (My estimate since ls50 is measured at 90 dB and R500 at 95 dB) But compared to some other well known speakers like Revel Salon2 , it is much higher.

Luckily, it does not seem to deteriorate the sound quality too much.



Bottom line, don't play ls50 too loud.

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Steve81

Steve81

Audioholics Five-0
Yes. Compared to R500, the distortion in LS50 is a bit higher. (My estimate since ls50 is measured at 90 dB and R500 at 95 dB) But compared to some other well known speakers like Revel Salon2 , it is much higher.
I don't know that anyone expects the R500s to play with well executed speakers running north of $20,000 :D

Here are the LS50, R500, and the more comparable (but still larger and costlier) Revel F206s:

1.png

Not exactly a bad showing in my book, and it shows the limitations of trying to use a small monitor speaker at high levels vs something with a little more meat on its bones. Also interesting to the similarities in response between the R500 and the Revel, and the different voicing of the LS50.
 
KEW

KEW

Audioholic Overlord
After another
Night with both I do find the LS50 much more detailed. The Polk almost muddy but with more body.
Your description reminds me of a comparison I once did. It was Behringer Truth monitor vs. Advent Legacy.
I found that my preference was dependent on the content; for Steely Dan, the Behringers were nice and tight and the Advent sloppy. For Hotel California, the Advent was gloriously rich and full and the Behringers seemed "empty" in comparison! The funny thing is neither speaker sounded bad in either situation until I switched to the other!!!
That experience impressed on me how important a good variety of music was to the audition process!
 
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shkumar4963

Audioholic
I don't know that anyone expects the R500s to play with well executed speakers running north of $20,000 :D

Here are the LS50, R500, and the more comparable (but still larger and costlier) Revel F206s:

View attachment 23094

Not exactly a bad showing in my book, and it shows the limitations of trying to use a small monitor speaker at high levels vs something with a little more meat on its bones. Also interesting to the similarities in response between the R500 and the Revel, and the different voicing of the LS50.
Agreed. As Dr. Toole said in another thread, buying an expensive floor mount speaker often buys you a much higher spl compared to a well designed smaller speaker. Of course two way vs three way also makes a difference.

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ematthews

ematthews

Audioholic General
Your description reminds me of a comparison I once did. It was Behringer Truth monitor vs. Advent Legacy.
I found that my preference was dependent on the content; for Steely Dan, the Behringers were nice and tight and the Advent sloppy. For Hotel California, the Advent was gloriously rich and full and the Behringers seemed "empty" in comparison! The funny thing is neither speaker sounded bad in either situation until I switched to the other!!!
That experience impressed on me how important a good variety of music was to the audition process!
Ambient Post Rock sounds amazing on the LS50. Poor recorded rock, not so much. Most of what I listen to is Post modern rock that is all instrumental.
 
killdozzer

killdozzer

Audioholic Samurai
Every situation is different. I have driven those speakers with various preamps/amps including Marantz (vintage), AVR, NAD integrated, CA pre/Halo power amp (250W 8 ohm, 400W 4 ohm), with and without subwoofer; and found any of them seemed to have more than enough power output for those speakers in my room for the spl I need. In fact, even my 50W rated NAD C326BEE was good with them.

Room size is about 11.5X25X9 ft, mic was about 10 ft from the speakers. To get 70-75 dB from 10 ft, power draw would be less than 0.5W (much less most of the time) average per channel, based on the power meter readings on the SM7 as well as measurements I took in several occasions.

I plotted some graphs with REW under the same conditions, just to see how their FR compared, as heard by the mic.

View attachment 23084
So, what do you make of all this "power hungry" business? And what would be the easiest way to figure this; let's say your speakers dip to 3.9Ohm at certain freq. is it enough to just check how your amp deals with 4Ohm. For example, if it can handle 4Ohm, dips shouldn't bother it. Is this all there is to it? Does this cover all the "transients" stuff?
 
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PENG

Audioholic Slumlord
I don't know that anyone expects the R500s to play with well executed speakers running north of $20,000 :D

Here are the LS50, R500, and the more comparable (but still larger and costlier) Revel F206s:

View attachment 23094

Not exactly a bad showing in my book, and it shows the limitations of trying to use a small monitor speaker at high levels vs something with a little more meat on its bones. Also interesting to the similarities in response between the R500 and the Revel, and the different voicing of the LS50.
I auditioned them before and thought they were great for the price, but decided on the R900 in the end to avoid having to shop for a sub or 2. The Blade in the other room sounded better, yet I am now surprised to see the Blade 2 does not seem to have as good measurements as the R500.
 
Steve81

Steve81

Audioholics Five-0
The Blade in the other room sounded better, yet I am now surprised to see the Blade 2 does not seem to have as good measurements as the R500.
Artifacts of the measurement technique vs driver layout I believe. SoundStage hasn't measured the Reference 5, which is essentially identical in terms of drivers/cabinet volume/etc, but they did measure the step down Reference 3, and that probably paints a better picture of what's actually happening. With another pair of woofers on tap, you'd expect the Blade 2 to be cleaner still on the low end..
 
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PENG

Audioholic Slumlord
So, what do you make of all this "power hungry" business? And what would be the easiest way to figure this; let's say your speakers dip to 3.9Ohm at certain freq. is it enough to just check how your amp deals with 4Ohm. For example, if it can handle 4Ohm, dips shouldn't bother it. Is this all there is to it? Does this cover all the "transients" stuff?
You can use online calculators, one of the better and easy to use one linked here often, is known as the peak spl calculator:

http://myhometheater.homestead.com/splcalculator.html

I have developed spreadsheets for different scenarios and parameters but the online one linked above is good enough for most situations. It is based on speaker sensitivity of x dB at 1W and 1 meter so you don't need to worry about impedance, but if the speaker's impedance spec is based on x dB at 2.83V, 1m instead of 1W, 1m, then you do have to know the speaker's nominal impedance and minimum impedance, and then you have to de-rate the sensitivity accordingly before plugging that into the spl calculator.

The influential factors typically include how loud one listens to, the sitting distance/room dimensions, and of course the sensitivity of the speakers. Dips to 4 ohm or 3.5 ohm alone doesn't mean a whole lot, for example there are many HTIAB speakers and subwoofers that are rated 4 ohms or below. I have seen some in value village that are rated 2.5 ohms, yet their proud owners usually wouldn't feel the need to power them with big amps.:D

It would be easier to demo how to do go about this if you can specific a speaker, with detailed specs.
 
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killdozzer

killdozzer

Audioholic Samurai
It would be easier to demo how to do go about this if you can specific a speaker, with detailed specs.
Thank you. Well it's LS50's all along, we've been talking about them. They are the ones that time and again get this type of reviews saying that they like power to perform their best (usually in the context that they need more than average).

I mentioned earlier, I know about this calculator and have used it a lot. I was only worried about those impedance dips. You make it sound as it's all nonsense, which I need some time to get use to, bc reviews are almost unison about "power to the kef's".

I don't really listen to my music very loud, but I remember someone here saying if you have an excellent recording that sounds perfect at low levels and starts to hurt your ears at higher volume levels, your amp is probably short of breath. The way he put it "higher" was still in the amp's comfort zone, not concert loud.

Now, I am taking my time with this and won't rush into anything since my room is not treated and higher levels could just mean more sound reflections, but I was looking for a chance to talk directly with someone who experienced this slight boost in SQ with more power to see what it's all about.

I don't suspect they have enough for easy listening, I was only asking because of all those transients and those dips and the reviews agreeing that LS50 do improve with power. I also needed some real world numbers about how much more power is more power.

What I'm aiming at is a solid 100 that can go all the way down to 1Ohm. When I dig up something like that it will probably be here until it melts.

Thanks again, @PENG
 
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shkumar4963

Audioholic
Thank you. Well it's LS50's all along, we've been talking about them. They are the ones that time and again get this type of reviews saying that they like power to perform their best (usually in the context that they need more than average).

I mentioned earlier, I know about this calculator and have used it a lot. I was only worried about those impedance dips. You make it sound as it's all nonsense, which I need some time to get use to, bc reviews are almost unison about "power to the kef's".

I don't really listen to my music very loud, but I remember someone here saying if you have an excellent recording that sounds perfect at low levels and starts to hurt your ears at higher volume levels, your amp is probably short of breath. The way he put it "higher" was still in the amp's comfort zone, not concert loud.

Now, I am taking my time with this and won't rush into anything since my room is not treated and higher levels could just mean more sound reflections, but I was looking for a chance to talk directly with someone who experienced this slight boost in SQ with more power to see what it's all about.

I don't suspect they have enough for easy listening, I was only asking because of all those transients and those dips and the reviews agreeing that LS50 do improve with power. I also needed some real world numbers about how much more power is more power.

What I'm aiming at is a solid 100 that can go all the way down to 1Ohm. When I dig up something like that it will probably be here until it melts.

Thanks again, @PENG
I drive my ls50 with Parasound (125 watts at 4 ohms but with 20 amp current capacity) . With my set up as well, I feel that the sound changes at about 80 to 85 dB at 4 meters. I assumed that it was because ls50 were driven beyond their sweet spot. And not because of the amp. But I could be wrong.

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P

PENG

Audioholic Slumlord
Thank you. Well it's LS50's all along, we've been talking about them. They are the ones that time and again get this type of reviews saying that they like power to perform their best (usually in the context that they need more than average).
It is always safe to say that the more power you have for the LS50 the less chance, or zero chance ultimately for them not to perform their best. I am just trying to remind you that you could reach that ultimate point easily.

Let's take a look of the following comparison:

LS50: sens 85 dB, 2.83V/1m, Max SPL: 106 dB, Amp req: 25-100 W Imp dip: 3.2 ohm

R500: sens 88 dB, 2.83V/1m, Max SPL: 111 dB, Amp req: 25-150 W Imp dip: 3.2 ohm

Based on the specs, the LS50 is relatively more "power hungry" than the R500 and most likely than "average", if we consider average means sensitivity of around 90 dB, 2.83V/1m, Max SPL: 112-115 dB, Impedance dip: 4-6 ohm, just for example. I do want to include the max output/spl for such consideration otherwise a lot of micro HTIB type or satellite speakers would be considered power hungry due to their low impedance. Note that their electrical phase looked quite good, no issues there. If the phase angle is large when the impedance is low, it could cause the amp to heat up more.


The caveat: Okay so they are power hungry, but remember, they can only output 106 dB @1m. if you punch in the numbers into that online peak spl calculator, for a pair of LS50, at 1m, with 0 room gain, would in fact get you about 107 dB. So you could in fact reach their maximum specified output with a 100 WPC amp.

Now let's look at the NRC graphs, you will see that at average 90 dB @ 1m, THD was <1% from 250-20,000 Hz. That'a amazing, but from 200 Hz down to 50 Hz the THD jumped from about 1.75% to 35% at 50 Hz. So based on that alone, you really don't want to give those speakers much more than 100 W of "clean" average power or 200 W of peak power.

Again, I agree we can consider them power hungry relatively speaking, but it is not necessary to power them with a 200 WPC amp. It wouldn't hurt obviously if you do, but a 100 WPC amp that can output 150 WPC at the impedance dips of 3.2 ohm should also do fine. Just about any 4000 series Denon, 7000 series Marantz and RX-A1000 (and above) Yamaha AVR can do them justice based on facts and figures.

I mentioned earlier, I know about this calculator and have used it a lot. I was only worried about those impedance dips. You make it sound as it's all nonsense, which I need some time to get use to, bc reviews are almost unison about "power to the kef's".
I understand the feeling, that's why I posted the way I did and I never meant to even imply such talks were "nonsense", not at all. I simply tried to qualify such statements by others. I might have said something similar too in the past, though hopefully I would have qualified it with some conditions.

I don't really listen to my music very loud, but I remember someone here saying if you have an excellent recording that sounds perfect at low levels and starts to hurt your ears at higher volume levels, your amp is probably short of breath. The way he put it "higher" was still in the amp's comfort zone, not concert loud.
I agree with such saying, but it could also be the speakers that became short of breath too, it depends on which device has become the bottle neck when being pushed to produce more.

Now, I am taking my time with this and won't rush into anything since my room is not treated and higher levels could just mean more sound reflections, but I was looking for a chance to talk directly with someone who experienced this slight boost in SQ with more power to see what it's all about.
Problem is, who do you believe? I have paired my LS50 with a 50 WPC NAD integrated, a 13 year old AVR, and a 300 WPC amp and found the AVR could do just as good as job as the 300 W amp that also costs 3X the cost of the AVR when new. That's just my experience, you can easily find online posts that reported night and day kind of improvements simply by adding a power amp to their AVR, let alone using a high end separate pair.

You can see that I prefer to go with facts and figures from verifiable specs/bench tests. There is no perfect way, but subjective reviews/forum talks are not as reliable.

I don't suspect they have enough for easy listening, I was only asking because of all those transients and those dips and the reviews agreeing that LS50 do improve with power. I also needed some real world numbers about how much more power is more power.
If you go back to that online calculator, use 10 ft for distance, a 100 WPC amp should get you 101 dB, so allowing for a 20 dB for the transients in the music assuming you do listen to classical music, you should be able to get >80 dB of average spl. For me, 75 dB average is about my limit.

If you listen to 75 dB average, then the KEF suggested 100 W amp or D&M mid range AVRs will get you >25 dB of peak of clean power. If you need more than that, then you should get yourself a well specified and tested 200 WPC amp. Any more than that you won't gain anything in terms of sound quality because the speakers will become the real bottleneck.

What I'm aiming at is a solid 100 that can go all the way down to 1Ohm. When I dig up something like that it will probably be here until it melts.
I posted this before, but please do me a favor, take a good look of the bench test data of the AVR-3805 linked below. It was tested in 2004 so there is no need to register, if you want to read the newer ones then you have to register.

http://www.milleraudioresearch.com/download/reports/aug04/denonavr3805.html

Please scroll down to see the dynamic output into 1 ohm test, it actually passed that test when some separate power amps (such as TLSGuy's favorite Quad 909:D) failed even the 2 ohm test, so don't discount your AVR too quickly. They may or may not be able to do a good job on the LS50. Being too lazy to switch things around, and limited by room as I have the R900 side by side with them with a piano in the middle, I let the AVR permanently hooked up to the LS50, knowing for sure that they won't do better with my spare separate components.

I dare say few power amps, and no AVRs can sustain 100 W into 1 ohm without activating the protective circuitry, but the odd older mid range AVR such as my 3805 obviously could do it (160 W 0.8% THD) dynamically, i.e. for a very short duration. I suspect some of the newer 4000 series Denon, 7000 series Marantz and the RX-A20X0 and above could have decent dynamic output into 2 ohm.
 
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