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former case, the only requirement is that each driver has a flat response at least to the point where its signal is approximately −10dB down from the passband. In the latter case, the final acoustic slope is usually steeper than that of the electrical filters used. A third- or fourth-order acoustic crossover often has just a second-order electrical filter. This requires that speaker drivers be well behaved a considerable way from the nominal crossover frequency, and further that the high-frequency driver be able to survive a considerable input in a frequency range below its crossover point. This is difficult to achieve in actual practice. In the discussion below, the characteristics of the electrical filter order are discussed, followed by a discussion of crossovers having that acoustic slope and their advantages or disadvantages.
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moment, has a positive voltage on the upper Input terminal compared to the lower Input terminal. The low-pass filter presents a high impedance to the signal, and the tweeter presents a low impedance; so the signal passes through the tweeter. The signal continues to the connection point between the woofer and the high-pass filter. There, the HPF presents a low impedance to the signal, so the signal passes through the HPF, and appears at the lower Input terminal. A low-frequency signal with a similar instantaneous voltage characteristic first passes through the LPF, then the woofer, and appears at the lower Input terminal.
583:
function. Careful selection of materials used for the cone, whizzer and suspension elements determines the crossover frequency and the effectiveness of the crossover. Such mechanical crossovers are complex to design, especially if high fidelity is desired. Computer-aided design has largely replaced the laborious trial and error approach that was historically used. Over several years, the compliance of the materials may change, negatively affecting the frequency response of the speaker.
634:
first-order crossover allows more signal content consisting of unwanted frequencies to get through in the LPF and HPF sections than do higher-order configurations. While woofers can easily handle this (aside from generating distortion at frequencies above those that they can properly reproduce), smaller high-frequency drivers (especially tweeters) are more likely to be damaged, since they are not capable of handling large power inputs at frequencies below their rated crossover point.
242:. This ideal performance can only be approximated. How to implement the best approximation is a matter of lively debate. On the other hand, if the audio crossover separates the audio bands in a loudspeaker, there is no requirement for mathematically ideal characteristics within the crossover itself, as the frequency and phase response of the loudspeaker drivers within their mountings will eclipse the results. Satisfactory output of the complete system comprising the audio crossover
446:
600:
audio spectrum. For best performance at low frequencies, these drivers require careful enclosure design. Their small size (typically 165 to 200 mm) requires considerable cone excursion to reproduce bass effectively. However, the short voice coils, which are necessary for reasonable high-frequency performance, can only move over a limited range. Nevertheless, within these constraints, cost and complications are reduced, as no crossovers are required.
33:
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222:
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tweeter/mid-range and the other the mid-range/woofer sections. This could create excess gain and a 'haystack' response in the mid-range output, together with a lower than anticipated input impedance. Other issues such as improper phase matching or incomplete modeling of the driver impedance curves could also go unnoticed. These problems were not impossible to solve but required more iterations, time and effort than they do today.
336:, so that the amplified signal can be sent to two or more driver types, each of which cover different frequency ranges. These crossover are made entirely of passive components and circuitry; the term "passive" means that no additional power source is needed for the circuitry. A passive crossover just needs to be connected by wiring to the power amplifier signal. Passive crossovers are usually arranged in a
317:
488:
185:, and then sending the remaining low-, mid- and high-range frequencies to five speakers which are placed around the listener. In a typical application, the signals sent to the surround speaker cabinets are further split up using a passive crossover into a low/mid-range woofer and a high-range tweeter. Active crossovers come in both digital and analog varieties.
715:(named after its inventors), and can be constructed in active form by cascading two 2nd-order Butterworth filter sections. The low-frequency and high-frequency output signals of the Linkwitz–Riley crossover type are in phase, thus avoiding partial phase inversion if the crossover band-passes are electrically summed, as they would be within the output stage of a
778:
tolerance variations will be isolated but like all crossovers, the final design relies on the output of the drivers to be complementary acoustically and this, in turn, requires careful matching in amplitude and phase of the underlying crossover. Parallel crossovers also have the advantage of allowing the speaker drivers to be
667:
systems, the tweeter is wired with opposite polarity to the woofer; for active crossovers the high-pass filter's output is inverted. In 3-way systems the mid-range driver or filter is inverted. However, this is generally only true when the speakers have a wide response overlap and the acoustic centers are physically aligned.
825:
of a speaker. These tools range from commercial to free offerings. Their scope also varies. Some may focus on woofer/cabinet design and issues related to cabinet volume and ports (if any), while others may focus on the crossover and frequency response. Some tools, for instance, only simulate the baffle step response.
824:
Professionals and hobbyists have access to a range of computer tools that were not available before. These computer-based measurement and simulation tools allow for the modeling and virtual design of various parts of a speaker system which greatly accelerate the design process and improve the quality
754:
There is a class of crossover filters that produce null responses in the high-pass and low-pass outputs at frequencies close to the crossover frequency. Within their respective stopbands, the outputs have a high initial rate of attenuation, while the sum of their outputs has a flat all-pass response.
666:
difference of 180° between the outputs of a (second-order) low-pass filter and a high-pass filter having the same crossover frequency. And so, in a 2-way system, the high-pass section's output is usually connected to the high-frequency driver 'inverted', to correct for this phase problem. For passive
591:
is somewhat different for this approach than for whizzer cones. A related approach is to shape the main cone with such profile, and of such materials, that the neck area remains more rigid, radiating all frequencies, while the outer areas of the cone are selectively decoupled, radiating only at lower
582:
cone to the bobbin. This compliant section serves as a compliant filter, so the main cone is not vibrated at higher frequencies. The whizzer cone responds to all frequencies, but due to its smaller size, it only gives a useful output at higher frequencies, thereby implementing a mechanical crossover
262:
Loudspeakers are often classified as "N-way", where N is the number of drivers in the system. For instance, a loudspeaker with a woofer and a tweeter is a 2-way loudspeaker system. An N-way loudspeaker usually has an N-way crossover to divide the signal among the drivers. A 2-way crossover consists
790:
In this topology, the individual filters are connected in series, and a driver or driver combination is connected in parallel with each filter. To understand the signal path in this type of crossover, refer to the "Series
Crossover" figure, and consider a high-frequency signal that, during a certain
436:
said of them that "the only excuse for passive crossovers is their low cost. Their behavior changes with the signal level-dependent dynamics of the drivers. They block the power amplifier from taking maximum control over the voice coil motion. They are a waste of time, if accuracy of reproduction is
431:
specific (i.e. their response varies with the electrical load that they are connected to). This prevents their interchangeability with speaker systems of different impedances. Ideal crossover filters, including impedance compensation and equalization networks, can be very difficult to design, as the
233:
The definition of an ideal audio crossover changes relative to the task and audio application at hand. If the separate bands are to be mixed back together again (as in multiband processing), then the ideal audio crossover would split the incoming audio signal into separate bands that do not overlap
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Derived crossovers include active crossovers in which one of the crossover responses is derived from the other through the use of a differential amplifier. For example, the difference between the input signal and the output of the high-pass section is a low-pass response. Thus, when a differential
745:
Crossovers can also be constructed with mixed-order filters. For example, a second-order low-pass filter can be combined with a third-order high-pass filter. These are generally passive and are used for several reasons, often when the component values are found by computer program optimization. A
608:
Just as filters have different orders, so do crossovers, depending on the filter slope they implement. The final acoustic slope may be completely determined by the electrical filter or may be achieved by combining the electrical filter's slope with the natural characteristics of the driver. In the
586:
A more common approach is to employ the dust cap as a high-frequency radiator. The dust cap radiates low frequencies, moving as part of the main assembly, but due to low mass and reduced damping, radiates increased energy at higher frequencies. As with whizzer cones, careful selection of material,
828:
In the period before computer modeling made it affordable and quick to simulate the combined effects of drivers, crossovers and cabinets, a number of issues could go unnoticed by the speaker designer. For instance, simplistic three-way crossovers were designed as a pair of two-way crossovers: the
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or
Butterworth characteristic depending on design choices and the components that are used. This order is commonly used in passive crossovers as it offers a reasonable balance between complexity, response, and higher-frequency driver protection. When designed with time-aligned physical placement,
564:
response, which is thought desirable by many involved in sound reproduction. There are drawbacks though—in order to achieve linear phase response, a longer delay time is incurred than would be necessary with an IIR or minimum phase FIR filters. IIR filters, which are by nature recursive, have the
599:
Speakers which use these mechanical crossovers have some advantages in sound quality despite the difficulties of designing and manufacturing them and despite the inevitable output limitations. Full-range drivers have a single acoustic center and can have relatively modest phase change across the
815:
In the case of (1), above, the usual situation is that the derived low-pass response attenuates at a much slower rate than the fixed response. This requires the speaker to which it is directed to continue to respond to signals deep into the stopband where its physical characteristics may not be
727:
for tweeters, together with less overlap between drivers, dramatically reducing the shifting of the main lobe of a multi-way loudspeaker system's radiation pattern with frequency, or other unwelcome off-axis effects. With less frequency overlap between adjacent drivers, their geometric location
633:
to be ideal for crossovers. This is because this filter type is 'transient perfect', meaning that the sum of the low-pass and high-pass outputs passes both amplitude and phase unchanged across the range of interest. It also uses the fewest parts and has the lowest insertion loss (if passive). A
777:
Parallel crossovers are by far the most common. Electrically the filters are in parallel and thus the various filter sections do not interact. This makes two-way crossovers easier to design because, in terms of electrical impedance, the sections can be considered separate and because component
710:
Fourth-order filters have an 80 dB/decade (or 24 dB/octave) slope. These filters are relatively complex to design in passive form, because the components interact with each other, but modern computer-aided crossover optimisation design software can produce accurate designs. Steep-slope passive
294:
Recently, a number of manufacturers have begun using what is often called "N.5-way" crossover techniques for stereo loudspeaker crossovers. This usually indicates the addition of a second woofer that plays the same bass range as the main woofer but rolls off far before the main woofer does.
559:
filters. IIR filters have many similarities with analog filters and are relatively undemanding of CPU resources; FIR filters on the other hand usually have a higher order and therefore require more resources for similar characteristics. They can be designed and built so that they have a
612:
Most audio crossovers use first- to fourth-order electrical filters. Higher orders are not generally implemented in passive crossovers for loudspeakers but are sometimes found in electronic equipment under circumstances for which their considerable cost and complexity can be justified.
375:
speaker systems and receivers may use higher quality passive crossovers, to obtain improved sound quality and lower distortion. The same price/quality approach is often used with sound reinforcement system equipment and musical instrument amplifiers and speaker cabinets; a low-priced
637:
In practice, speaker systems with true first-order acoustic slopes are difficult to design because they require large overlapping driver bandwidth, and the shallow slopes mean that non-coincident drivers interfere over a wide frequency range and cause large response shifts off-axis.
513:
the power amplifiers are directly connected to the speaker drivers, thereby maximizing amplifier damping control of the speaker voice coil, reducing consequences of dynamic changes in driver electrical characteristics, all of which are likely to improve the transient response of the
719:. Crossovers used in loudspeaker design do not require the filter sections to be in phase; smooth output characteristics are often achieved using non-ideal, asymmetric crossover filter characteristics. Bessel, Butterworth, and Chebyshev are among the possible crossover topologies.
711:
networks are less tolerant of parts value deviations or tolerances, and more sensitive to mis-termination with reactive driver loads (although this is also a problem with lower-order crossovers). A 4th-order crossover with −6 dB crossover point and flat summing is also known as a
283:
filters (LPF, BPF and HPF respectively). The BPF section is in turn a combination of HPF and LPF sections. 4 (or more) way crossovers are not very common in speaker design, primarily due to the complexity involved, which is not generally justified by better acoustic performance.
800:
amplifier is used to extract this difference, its output constitutes the low-pass filter section. The main advantage of derived filters is that they produce no phase difference between the high-pass and low-pass sections at any frequency. The disadvantages are either:
764:
188:
Digital active crossovers often include additional signal processing, such as limiting, delay, and equalization. Signal crossovers allow the audio signal to be split into bands that are processed separately before they are mixed together again. Some examples are
173:
Active crossovers are distinguished from passive crossovers in that they split up an audio signal prior to the power amplification stage so that it can be sent to two or more power amplifiers, each of which is connected to a separate loudspeaker driver.
484:. This means that a loudspeaker system that is based on active crossovers will often cost more than a passive-crossover-based system. Despite the cost and complication disadvantages, active crossovers provide the following advantages over passive ones:
150:, has all of the low, mid and high frequencies combined, a crossover circuit is used to split the audio signal into separate frequency bands that can be separately routed to loudspeakers, tweeters or horns optimized for those frequency bands.
356:. Very high-performance passive crossovers are likely to be more expensive than active crossovers since individual components capable of good performance at the high currents and voltages at which speaker systems are driven are hard to make.
384:
or bass amplifier speaker cabinet will typically use lower quality, lower priced passive crossovers, whereas high-priced, high-quality cabinets typically will use better quality crossovers. Passive crossovers may use capacitors made from
736:
Passive crossovers giving acoustic slopes higher than fourth-order are not common because of cost and complexity. Filters with slopes of up to 96 dB per octave are available in active crossovers and loudspeaker management systems.
51:
circuitry that splits an audio signal into two or more frequency ranges, so that the signals can be sent to loudspeaker drivers that are designed to operate within different frequency ranges. The crossover filters can be either
577:
which are designed to cover as much of the audio band as possible. One such is constructed by coupling the cone of the speaker to the voice coil bobbin through a compliant section and directly attaching a small lightweight
424:) that compensate for the changes in impedance with frequency inherent in virtually all loudspeakers. The issue is complex, as part of the change in impedance is due to acoustic loading changes across a driver's passband.
816:
ideal. In the case of (2), above, both speakers are required to operate at higher volume levels as the signal nears the crossover points. This uses more amplifier power and may drive the speaker cones into nonlinearity.
690:, a symmetrical arrangement of drivers is used to create a symmetrical off-axis response when using third-order crossovers. Third-order acoustic crossovers are often built from first- or second-order filter circuits.
153:
Passive crossovers are probably the most common type of audio crossover. They use a network of passive electrical components (e.g., capacitors, inductors and resistors) to split up an amplified signal coming from one
517:
reduction in power amplifier output requirement. With no energy being lost in passive components, amplifier requirements are reduced considerably (up to 1/2 in some cases), reducing costs, and potentially increasing
767:
Series and parallel crossover topologies. The HPF and LPF sections for the series crossover are interchanged with respect to the parallel crossover since they appear in shunt with the low- and high-frequency
722:
Such steep-slope filters have greater problems with overshoot and ringing but there are several key advantages, even in their passive form, such as the potential for a lower crossover point and increased
287:
An extra HPF section may be present in an "N-way" loudspeaker crossover to protect the lowest-frequency driver from frequencies lower than it can safely handle. Such a crossover would then have a
420:
to protect the loudspeaker drivers from accidental overpowering (e.g., from sudden surges or spikes). Modern passive crossovers increasingly incorporate equalization networks (e.g.,
843:
437:
the goal." Alternatively, passive components can be utilized to construct filter circuits before the amplifier. This implementation is called a passive line-level crossover.
291:
for the lowest-frequency driver. Similarly, the highest-frequency driver may have a protective LPF section to prevent high-frequency damage, though this is far less common.
573:
This crossover type is mechanical and uses the properties of the materials in a driver diaphragm to achieve the necessary filtering. Such crossovers are commonly found in
453:
An active crossover contains active components in its filters, such as transistors and operational amplifiers. In recent years, the most commonly used active device is an
499:
typically, the possibility of an easy way to vary or fine-tune each frequency band to the specific drivers used. Examples would be crossover slope, filter type (e.g.,
755:
Their two outputs maintain a constant zero-phase difference across the transition, thus enhancing their lobing performance with noncoincident loudspeaker drivers.
1356:
246:
the loudspeaker drivers in their enclosure(s) is the design goal. Such a goal is often achieved using non-ideal, asymmetric crossover filter characteristics.
746:
higher-order tweeter crossover can sometimes help to compensate for the time offset between the woofer and tweeter, caused by non-aligned acoustic centers.
1224:
728:
relative to each other becomes less critical and allows more latitude in speaker system cosmetics or (in-car audio) practical installation constraints.
64:, which indicate, respectively, that the crossover splits a given signal into two frequency ranges or three frequency ranges. Crossovers are used in
476:
Active crossovers always require the use of power amplifiers for each output band. Thus a 2-way active crossover needs two amplifiers—one for the
130:
speaker systems and sound reinforcement system speaker cabinets use a combination of multiple loudspeaker drivers, each catering to a different
299:
Remark: Filter sections mentioned here is not to be confused with the individual 2-pole filter sections that a higher-order filter consists of.
229:
Butterworth and
Linkwitz-Riley crossover filters. The summed output of the Butterworth filters has a +3dB peak at the crossover frequency.
496:
a frequency response independent of the dynamic changes in a driver's electrical characteristics (e.g. from heating of the voice coil)
427:
Two disadvantages of passive networks are that they may be bulky and cause power loss. They are not only frequency specific, but also
675:
Third-order filters have a 60 dB/decade (or 18 dB/octave) slope. These crossovers usually have
Butterworth filter characteristics;
1396:
1002:
1305:
1217:
465:, active crossovers are operated at levels that are suited to power amplifier inputs. On the other hand, all circuits with
938:
371:, may use lower quality passive crossovers, often utilizing lower-order filter networks with fewer components. Expensive
1401:
210:
473:, and such noise has a deleterious effect when introduced prior to the signal being amplified by the power amplifiers.
1345:
687:
629:) slope. All first-order filters have a Butterworth filter characteristic. First-order filters are considered by many
449:
Implementation schematic of a three-way active crossover network for use with a stereo three-way loudspeaker system.
1391:
491:
Typical usage of an active crossover, though a passive crossover can be positioned similarly before the amplifiers.
104:
1197:
Waldman, Witold (1988). "Simulation and
Optimization of Multiway Loudspeaker Systems Using a Personal Computer".
716:
1386:
528:
906:
Ashley, J. Robert; Kaminsky, Allan L. (1971). "Active and
Passive Filters as Loudspeaker Crossover Networks".
249:
Many different crossover types are used in audio, but they generally belong to one of the following classes.
226:
194:
181:
audio systems use a crossover that separates out the very-low frequency signal, so that it can be sent to a
53:
684:
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drawback that, if not carefully designed, they may enter limit cycles, resulting in non-linear distortion.
962:
Thiele, Neville (1997). "Precise
Passive Crossover Networks Incorporating Loudspeaker Driver Parameters".
1178:
Schuck, Peter L. (1986). "Design of
Optimized Loudspeaker Crossover Networks Using a Personal Computer".
324:
to split up the amplified signal into a lower-frequency signal range and a higher-frequency signal range.
1006:
853:
712:
651:
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552:
454:
364:
206:
190:
540:
428:
360:
76:
1159:
Adams, Glyn J.; Roe, Stephen P. (1982). "Computer-Aided Design of
Loudspeaker Crossover Networks".
588:
646:
Second-order filters have a 40 dB/decade (or 12 dB/octave) slope. Second-order filters can have a
445:
1121:
Cohen, Abraham B. (1957). "Mechanical
Crossover Characteristics in Dual Diaphragm Loudspeakers".
848:
622:
574:
466:
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341:
235:
178:
115:
100:
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better isolation of each driver from the signals being handled by other drivers, thus reducing
457:. In contrast to passive crossovers, which operate after the power amplifier's output at high
413:
321:
95:
and musical instrument amplifier products. For the latter two markets, crossovers are used in
68:
48:
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that the high-pass and low-pass sections often have different levels of attenuation in their
863:
858:
680:
458:
32:
1278:
Chalupa, Rudolf (1986). "A Subtractive Implementation of Linkwitz-Riley Crossover Design".
698:
838:
507:
417:
333:
288:
155:
72:
17:
1249:
683:, similar to a first-order crossover. The polar response is asymmetric. In the original
221:
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from low frequencies to high frequencies with acceptable relative volume and absence of
724:
676:
532:
337:
239:
131:
119:
96:
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that the response of one or both sections peaks near the crossover frequency, or both.
763:
1380:
873:
663:
647:
548:
500:
421:
386:
377:
147:
1301:
1140:
Ashley, J. Robert (1962). "On the Transient Response of Ideal Crossover Networks".
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shape and position are required to provide smooth, extended output. High frequency
561:
536:
398:
394:
656:
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1046:
931:
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175:
84:
65:
37:
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for high frequencies. Since a sound signal source, be it recorded music from a
981:
Allen, Phillip E. (1974). "Practical Considerations of Active Filter Design".
630:
556:
544:
381:
202:
134:. A standard simple example is in hi-fi and PA system cabinets that contain a
123:
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198:
182:
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108:
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88:
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capacitors technology. Inductors may have air cores, powdered metal cores,
1333:. National Semiconductor Corporation, Santa Clara, CA 95051, 1977, §5.2.4.
805:
368:
353:
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Crossovers can also be classified based on the type of components used.
878:
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402:
167:
139:
883:
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626:
477:
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159:
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so that it can be sent to two or more loudspeaker drivers (e.g., a
1100:"Application of Digital Filters to Loudspeaker Crossover Networks"
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software and the results are predicted to excellent tolerances.
486:
470:
444:
372:
315:
220:
127:
80:
1070:
Application of digital filters to loudspeaker crossover networks
592:
frequencies. Cone profiles and materials can be modeled using
271:
filter. A 3-way crossover is constructed as a combination of
234:
or interact and which result in an output signal unchanged in
432:
components interact in complex ways. Crossover design expert
332:
splits up an audio signal after it is amplified by a single
932:"Analog, Active Crossover Circuit for Two-Way Loudspeakers"
503:, Butterworth, Linkwitz-Riley, etc.), relative levels, etc.
527:
Active crossovers can be implemented digitally using a
1085:
Digital FIR filters for loudspeaker crossover networks
1098:
Wilson, Rhonda; Adams, Glyn; Scott, Jonathan (1989).
1047:"Active Crossover Networks for Noncoincident Drivers"
258:
Classification based on the number of filter sections
1218:"Linkwitz-Riley Crossovers: A Primer (RaneNote 160)"
901:
899:
679:
is very good, the level sum being flat and in phase
1087:. Preprint 2702, AES 85th Convention, November 3–6.
844:
Electrical characteristics of a dynamic loudspeaker
662:It is commonly thought that there will always be a
320:A passive crossover circuit is often mounted in a
205:, bass enhancement, high frequency exciters, and
36:A passive 2-way crossover designed to operate at
1072:. Preprint 2600, AES 84th Convention, March 1–4.
27:Electronic filter circuitry used in loudspeakers
1250:"Loudspeaker Crossovers with Notched Responses"
1068:Wilson, R.J.; Adams, G.J.; Scott, J.B. (1988).
782:, a feature whose benefits are hotly disputed.
1040:
1038:
1036:
925:
923:
921:
412:Some passive networks include devices such as
405:steel cores, and most are wound with enameled
1295:
1293:
604:Classification based on filter order or slope
170:, or a woofer-midrange-tweeter combination).
8:
659:response, as do all even-order crossovers.
114:Crossovers are used because most individual
103:, bass and keyboard speaker enclosures and
1302:"Subtractive/'Derived' Crossover Networks"
348:combined with reactive components such as
225:Comparison of the magnitude response of 2
107:equipment (PA speakers, monitor speakers,
808:, i.e., their slopes are asymmetrical, or
702:Fourth-order crossover slopes shown on a
1280:Journal of the Audio Engineering Society
1254:Journal of the Audio Engineering Society
1199:Journal of the Audio Engineering Society
1180:Journal of the Audio Engineering Society
1161:Journal of the Audio Engineering Society
1142:Journal of the Audio Engineering Society
1123:Journal of the Audio Engineering Society
1104:Journal of the Audio Engineering Society
1051:Journal of the Audio Engineering Society
998:
996:
983:Journal of the Audio Engineering Society
964:Journal of the Audio Engineering Society
908:Journal of the Audio Engineering Society
762:
759:Classification based on circuit topology
697:
31:
1324:
1322:
1083:Schuck, Peter L.; Klowak, Greg (1988).
1009:". Excelsior Audio Design and Services.
895:
118:are incapable of covering the entire
7:
655:these crossovers have a symmetrical
1007:Using Crossovers in the Real World
304:Classification based on components
138:for low and mid frequencies and a
25:
621:First-order filters have a 20 dB/
363:products, such as budget-priced
1362:from the original on 2020-07-29
1308:from the original on 2020-01-21
1230:from the original on 2009-10-16
944:from the original on 2016-04-18
1045:Linkwitz, Siegfrid H. (1978).
706:transfer function measurement.
539:approximations to traditional
56:. They are often described as
1:
557:Finite Impulse Response (FIR)
146:or a live band's mix from an
1019:Linkwitz, Siegfried (2009).
344:effect. Passive filters use
1418:
510:distortion and overdriving
105:sound reinforcement system
1304:. Elliot Sound Products.
162:and a very low frequency
18:Audio crossover capacitor
1346:"Build a Room Equalizer"
1248:Thiele, Neville (2000).
713:Linkwitz-Riley crossover
529:digital signal processor
416:, PTC devices, bulbs or
930:Caldwell, John (2013).
594:finite element analysis
461:and in some cases high
238:, relative levels, and
211:Dolby A noise reduction
1397:Loudspeaker technology
769:
707:
492:
450:
367:packages and low-cost
325:
230:
41:
1344:Crawford, D. (1972).
1216:Bohn, Dennis (2005).
937:. Texas Instruments.
854:Loudspeaker enclosure
820:Models and simulation
766:
701:
490:
455:operational amplifier
448:
365:Home theater in a box
319:
224:
191:multiband compression
35:
1355:(September): 18–22.
1300:Elliot, Rod (2017).
717:multiband compressor
361:consumer electronics
166:, or a woofer and a
77:consumer electronics
1402:Tone, EQ and filter
575:full-range speakers
555:etc.), or they use
543:circuits, known as
116:loudspeaker drivers
101:keyboard amplifiers
849:Full-range speaker
770:
708:
535:. They either use
493:
451:
434:Siegfried Linkwitz
342:Butterworth filter
326:
231:
179:5.1 surround sound
42:
1392:Audio electronics
330:passive crossover
322:speaker enclosure
111:systems, etc.).
54:active or passive
49:electronic filter
16:(Redirected from
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1335:
1334:
1329:Bohn, D. (Ed.).
1326:
1317:
1316:
1314:
1313:
1297:
1288:
1287:
1275:
1269:
1268:
1266:
1265:
1245:
1239:
1238:
1236:
1235:
1229:
1222:
1213:
1207:
1206:
1194:
1188:
1187:
1175:
1169:
1168:
1156:
1150:
1149:
1137:
1131:
1130:
1118:
1112:
1111:
1095:
1089:
1088:
1080:
1074:
1073:
1065:
1059:
1058:
1042:
1031:
1030:
1028:
1027:
1016:
1010:
1000:
991:
990:
978:
972:
971:
959:
953:
952:
950:
949:
943:
936:
927:
916:
915:
903:
864:Powered speakers
859:Midrange speaker
480:and one for the
418:circuit breakers
393:foil, paper and
73:power amplifiers
45:Audio crossovers
21:
1417:
1416:
1412:
1411:
1410:
1408:
1407:
1406:
1387:Analog circuits
1377:
1376:
1375:
1374:
1365:
1363:
1359:
1348:
1343:
1342:
1338:
1328:
1327:
1320:
1311:
1309:
1299:
1298:
1291:
1286:(7/8): 556–559.
1277:
1276:
1272:
1263:
1261:
1247:
1246:
1242:
1233:
1231:
1227:
1220:
1215:
1214:
1210:
1196:
1195:
1191:
1177:
1176:
1172:
1167:(7/8): 496–503.
1158:
1157:
1153:
1139:
1138:
1134:
1120:
1119:
1115:
1097:
1096:
1092:
1082:
1081:
1077:
1067:
1066:
1062:
1044:
1043:
1034:
1025:
1023:
1018:
1017:
1013:
1003:Hughes, Charles
1001:
994:
980:
979:
975:
970:(7/8): 585–594.
961:
960:
956:
947:
945:
941:
934:
929:
928:
919:
905:
904:
897:
892:
839:Bass management
835:
822:
797:
788:
775:
761:
752:
743:
734:
696:
688:MTM arrangement
673:
644:
619:
606:
571:
551:, Butterworth,
525:
508:intermodulation
443:
401:, or laminated
334:power amplifier
314:
306:
289:bandpass filter
260:
255:
219:
207:noise reduction
156:power amplifier
97:bass amplifiers
28:
23:
22:
15:
12:
11:
5:
1415:
1413:
1405:
1404:
1399:
1394:
1389:
1379:
1378:
1373:
1372:
1353:Audio Magazine
1336:
1331:Audio Handbook
1318:
1289:
1270:
1240:
1208:
1189:
1170:
1151:
1132:
1113:
1090:
1075:
1060:
1032:
1011:
992:
989:(10): 770–782.
973:
954:
917:
894:
893:
891:
888:
887:
886:
881:
876:
871:
866:
861:
856:
851:
846:
841:
834:
831:
821:
818:
813:
812:
809:
796:
793:
787:
784:
774:
771:
760:
757:
751:
748:
742:
739:
733:
730:
725:power handling
695:
692:
677:phase response
672:
669:
652:Linkwitz-Riley
643:
640:
618:
615:
605:
602:
570:
567:
553:Linkwitz-Riley
533:microprocessor
524:
521:
520:
519:
515:
511:
504:
497:
442:
439:
422:Zobel networks
338:Cauer topology
313:
310:
305:
302:
259:
256:
254:
253:Classification
251:
240:phase response
218:
215:
132:frequency band
120:audio spectrum
47:are a type of
26:
24:
14:
13:
10:
9:
6:
4:
3:
2:
1414:
1403:
1400:
1398:
1395:
1393:
1390:
1388:
1385:
1384:
1382:
1358:
1354:
1347:
1340:
1337:
1332:
1325:
1323:
1319:
1307:
1303:
1296:
1294:
1290:
1285:
1281:
1274:
1271:
1259:
1255:
1251:
1244:
1241:
1226:
1219:
1212:
1209:
1205:(9): 651–663.
1204:
1200:
1193:
1190:
1186:(3): 124–142.
1185:
1181:
1174:
1171:
1166:
1162:
1155:
1152:
1148:(3): 241–244.
1147:
1143:
1136:
1133:
1128:
1124:
1117:
1114:
1110:(6): 455–464.
1109:
1105:
1101:
1094:
1091:
1086:
1079:
1076:
1071:
1064:
1061:
1056:
1052:
1048:
1041:
1039:
1037:
1033:
1022:
1015:
1012:
1008:
1004:
999:
997:
993:
988:
984:
977:
974:
969:
965:
958:
955:
940:
933:
926:
924:
922:
918:
914:(6): 494–502.
913:
909:
902:
900:
896:
889:
885:
882:
880:
877:
875:
874:Super tweeter
872:
870:
867:
865:
862:
860:
857:
855:
852:
850:
847:
845:
842:
840:
837:
836:
832:
830:
826:
819:
817:
810:
807:
803:
802:
801:
794:
792:
785:
783:
781:
772:
765:
758:
756:
749:
747:
740:
738:
731:
729:
726:
720:
718:
714:
705:
700:
693:
691:
689:
686:
682:
678:
670:
668:
665:
660:
658:
653:
649:
641:
639:
635:
632:
628:
624:
616:
614:
610:
603:
601:
597:
595:
590:
584:
581:
576:
568:
566:
563:
558:
554:
550:
546:
542:
538:
534:
530:
522:
516:
512:
509:
505:
502:
498:
495:
494:
489:
485:
483:
479:
474:
472:
468:
464:
460:
456:
447:
440:
438:
435:
430:
425:
423:
419:
415:
410:
408:
404:
400:
399:ferrite cores
396:
392:
388:
387:polypropylene
383:
379:
378:stage monitor
374:
370:
366:
362:
357:
355:
351:
347:
343:
340:to achieve a
339:
335:
331:
323:
318:
311:
309:
303:
301:
300:
296:
292:
290:
285:
282:
278:
274:
270:
266:
257:
252:
250:
247:
245:
241:
237:
228:
223:
216:
214:
212:
208:
204:
200:
196:
192:
186:
184:
180:
177:
171:
169:
165:
161:
157:
151:
149:
148:audio console
145:
141:
137:
133:
129:
125:
121:
117:
112:
110:
106:
102:
98:
94:
90:
86:
82:
78:
74:
70:
67:
63:
59:
55:
50:
46:
39:
34:
30:
19:
1364:. Retrieved
1352:
1339:
1330:
1310:. Retrieved
1283:
1279:
1273:
1262:. Retrieved
1260:(9): 786–799
1257:
1253:
1243:
1232:. Retrieved
1211:
1202:
1198:
1192:
1183:
1179:
1173:
1164:
1160:
1154:
1145:
1141:
1135:
1126:
1122:
1116:
1107:
1103:
1093:
1084:
1078:
1069:
1063:
1054:
1050:
1024:. Retrieved
1021:"Crossovers"
1014:
986:
982:
976:
967:
963:
957:
946:. Retrieved
911:
907:
827:
823:
814:
798:
789:
776:
753:
744:
735:
732:Higher order
721:
709:
694:Fourth order
674:
661:
645:
642:Second order
636:
620:
611:
607:
598:
585:
579:
572:
562:linear phase
526:
475:
452:
426:
411:
395:electrolytic
389:, metalized
359:Inexpensive
358:
329:
327:
307:
298:
297:
293:
286:
261:
248:
243:
232:
201:, multiband
187:
172:
152:
113:
61:
57:
44:
43:
29:
1129:(1): 11–17.
741:Mixed order
671:Third order
631:audiophiles
617:First order
176:Home cinema
85:home cinema
66:loudspeaker
38:loudspeaker
1381:Categories
1366:2021-07-24
1312:2021-06-25
1264:2024-09-19
1234:2023-09-21
1026:2021-07-24
948:2021-07-24
890:References
685:D'Appolito
681:quadrature
589:dispersion
569:Mechanical
469:introduce
382:PA speaker
369:boom boxes
350:capacitors
203:distortion
124:distortion
87:sound and
1057:(1): 2–8.
869:Subwoofer
806:stopbands
625:(or 6 dB/
547:filters (
531:or other
429:impedance
391:polyester
354:inductors
346:resistors
281:high-pass
277:band-pass
269:high-pass
236:frequency
199:de-essing
183:subwoofer
164:subwoofer
144:CD player
109:subwoofer
93:pro audio
89:car audio
62:three-way
40:voltages.
1357:Archived
1306:Archived
1225:Archived
1223:. Rane.
939:Archived
833:See also
780:bi-wired
773:Parallel
768:drivers.
518:quality.
273:low-pass
265:low-pass
217:Overview
209:such as
195:limiting
69:cabinets
879:Tweeter
795:Derived
750:Notched
580:whizzer
537:digital
523:Digital
482:tweeter
463:voltage
459:current
409:wire.
403:silicon
312:Passive
168:tweeter
140:tweeter
126:. Most
58:two-way
884:Woofer
786:Series
704:Smaart
648:Bessel
627:octave
623:decade
549:Bessel
541:analog
514:system
501:Bessel
478:woofer
441:Active
407:copper
267:and a
160:woofer
136:woofer
91:) and
1360:(PDF)
1349:(PDF)
1228:(PDF)
1221:(PDF)
942:(PDF)
935:(PDF)
664:phase
657:polar
471:noise
414:fuses
373:hi-fi
263:of a
128:hi-fi
81:hi-fi
467:gain
352:and
279:and
227:pole
1005:. "
545:IIR
244:and
75:in
60:or
1383::
1351:.
1321:^
1292:^
1284:34
1282:.
1258:48
1256:.
1252:.
1203:36
1201:.
1184:34
1182:.
1165:30
1163:.
1146:10
1144:.
1125:.
1108:37
1106:.
1102:.
1055:24
1053:.
1049:.
1035:^
995:^
987:22
985:.
968:45
966:.
920:^
912:19
910:.
898:^
650:,
380:,
328:A
275:,
213:.
197:,
193:,
99:,
83:,
71:,
1369:.
1315:.
1267:.
1237:.
1127:5
1029:.
951:.
79:(
20:)
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