Why do you act like everyone has the same goals as you? And what about the furtherment and betterment of subwoofers?
This product is very much part of the reason, this AV avocation is in decline. This product might be at home in a huge cinema but in the home it is gross overkill.
Here we have 2,800 watts devoted to one driver, and a bandwidth where there is actually not much essential information and a power band that actually requires far less power than other regions of the audio spectrum.
Whether the latest Hollywood effect needs to threaten structural damage to the home is essentially irrelevant, and on the scale of things not really important at all.
Even the pipe organ needs far more power resources devoted to it reproduction well above sub range. Just do a pipe count for a start. There are way more ranks of pipes above sub range than in it.
Just look at an orchestra and look at the size of the instruments. There are may be five double bases and a speaker going down to the 30 Hz will reproduce them perfectly. There are scores of violins, violas, clarinets oboes, horns trumpets and more. The only other instrument with deep bass is the large orchestral bass drum, and again 30 Hz will do it justice. Now lets look at choral music with singers and soloists. The human voice is well above sub range.
Now we have a sub that has 2,800 watts devoted to a very small area of human hearing, and musical production. My system never uses all its power in a comparatively large room and could play loud enough to cause hearing damage easily, without breaking a sweat. Yet I have 3,200 watts available for the whole musical spectrum between eleven speakers.
I would say that the vast majority of speaker designers, certainly in more recent years, have not put resources in the right place. They have done a really poor job in this regard. Part of this is concentrating on good measurements to the exclusion of everything else. Here speakers are not like amps, as they are agnostic in power response relative to frequency, but speakers are not. So a good set of speaker measurements tells you nothing about the power band response. The reason being that if you try, practically all speakers would suffer catastrophic damage.
So, if you have been properly trained in the art of speaker design, then to make a decent speaker absolutely requires that you really can estimate the power required across the divisions of the musical spectrum. This later requires an intimate knowledge of the power bands of the human voice and musical instruments, and their relative proportions in likely encountered musical productions and programs. This is where most speaker design of recent years has tended to design inadequacy, and raising the last musical octave way above the importance it deserves.
I do not make that basic mistake. I make a careful reckoning of the frequency spectrum AND the relative powers likely to be required in parts of the musical spectrum. Now what that requires is an intimate knowledge of the frequency range of the male and female voices, and children's voices and the frequency bands of instruments AND their relative numbers likely to be encountered.
So, what am I driving at here? Let me just leave you with one last thought. A speaker with one cone type 4" or even 5" midrange is not going to reproduce an orchestra with 30 or 40 violins, 20 violas, two or three flutes, a couple of oboes , three clarinets, five trumpets, three trombones, a percussion section and three to six timpani. If you add a choir of 100 to 200 members and five soloists, then that 4" mid is as good as futile. Yet we get these designs, again and again. They are totally inadequate and a 2,800 watt sub does not even begin to solve the problem.
So if you think I am saying that most current speaker design is way wide of the mark, you are dead right.
