DiAural X-over

Discussion in 'Archived Threads 2001-2004' started by Scott Simonian, Mar 18, 2002.

  1. Scott Simonian

    Scott Simonian Screenwriter

    Jun 20, 2001
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    I was looking back at one of my earlier WSR magazines and read an article on Kimber Kable. In this article, he mentioned and described a different type of crossover; or the DiAural crossover.
    I dont know a whole lot about it. Basically, the crossover uses zero capacitors and by doing this, it keeps a very linear phase. (I dont think that was the right wording.)
    ***In a regular crossover, the inductors and capacitors will alter the phase of that particular frequency and alter the sound slightly.***
    Im not going to go much further because, I dont really know my stuff yet on X-overs and I dont want to give out incorrect information.
    Anyway, does anyone know anything about how to build a DiAural crossover. I went to the website
    This website had nothing on it whatsoever. If you can pick up this issue of WSR, (I forgot the month, it has Pearl Harbor on the cover). EDIT - January 2002
    I really would like to build this kind of crossover. Maybe it will bring me back to music too. [​IMG]
  2. Scott Simonian

    Scott Simonian Screenwriter

    Jun 20, 2001
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    Heres the article
    ************************************************** ********
    The DiAural Crossover
    I’ve decided to save the best for last.
    visited Kimber Kable with the expectation
    learning more about their cables. What ultimately
    got was much more than what
    expected. Not only was I impressed with
    their cable designs and manufacturing,
    what absolutely caught my aural attention
    was Kimber’s DiAural circuit (www.diaural.com)
    , implemented in a series of prototype
    loudspeakers (yes, Kimber does have
    capability to design and build loudspeakers),
    as well as a set of Aperion Audio satellites.
    The patented DiAural circuit is so simplelooking
    in design, consisting of just wiring,
    resistors, and inductors, yet functions
    manner that you experience sonic imaging
    in ways you very likely would never have
    According to Kimber, in theory, such
    circuit design should not have worked.
    what Ray and his team discovered was
    only did it work, but it functioned amazingly
    well, delivering sonic images that seemed
    to be a dramatic improvement over those
    resulting from conventional crossovers.
    why did such a perceived refinement
    sonic imaging quality occur, rather than
    predicted setback? Again, Kimber’s team
    set out to justify, in a quantifiable manner,
    their listening observations. What they discovered
    was that the DiAural circuit,
    conventional crossover, appropriately distributes
    power to each of the drivers.
    the DiAural goes much further. And to
    understand this, I need to explain, based
    Kimber’s rationalizing of how and why
    DiAural design works.
    A recorded sonic signal is typically
    amalgamation of sounds of various frequencies. Let’s take the simple case, for which
    you have a high frequency sound, and a
    low frequency sound, both of which are
    being recorded at the same time. The
    recorded signal is neither the high nor the
    low frequency sound per se, but really is the
    result of combining these two frequencies.
    And so what you hear isn’t the two native
    frequencies in the recording, but rather the
    net effect of combining/mixing them.
    In the context of this simple scenario, with
    a conventional crossover, what happens is
    that you don’t hear, for example, the high
    frequency signal coming out of the tweeter
    as a pure waveform. Rather, you’re hearing
    the high frequency component, with the
    effect of having combined with the low frequency
    waveform. Conceptually, this should
    compromise the capability to listen to the
    native pitch and phase of this frequency
    component, just as they were before the
    recording. Theoretically, the only way to be
    able to do so, is to subtract out the effect of
    the low frequency signal on the high frequency
    component, and not just attenuate
    the low frequency signal.
    And, in fact, this is what Kimber says is
    accomplished with the DiAural circuit. As a
    series circuit, power cannot reach the low
    frequency driver without being a part of the
    path-of-power for the other drivers. Kimber
    believes that as a result of the interactivity
    within this path-of-power, the output is a
    restoration of each instrument’s (or voice’s)
    original waveform shape, as they existed
    before being mixed during the recording.
    Kimber is further investigating whether part
    of this interactivity is the subtraction of the
    effect of the low frequencies from the signal
    sent to the tweeter (and midrange, if a
    three-way system), due to the interaction with the inherent back EMF from the woofer.
    Kimber also claims that the DiAural circuit
    offers a number of other advantages over
    conventional crossovers. Capacitors enable
    crossover designs with desired roll-offs, but
    also can alter phase relationships between
    spectral components. Kimber asserts that
    with no capacitors in the DiAural design,
    such phase relationships are much better
    preserved in the recording. Additionally, the
    low and high frequency drivers are wired in
    series, as opposed to the more common
    parallel crossover designs, again helping to
    maintain the tight phase relationship throughout
    the sonic spectrum. A common reaction
    from observers, when the circuit is first
    described to them, is that the tweeter will
    suffer damage without a protecting capacitor.
    However, the DiAural circuit uses an
    inductor of low DC resistance, shunted with
    the tweeter. This, along with the back EMF
    of the woofer, combines to yield a system
    wherein the tweeter is nearly burnout-proof.
    Ray Kimber and I spent nearly four hours
    in an evening, listening to a variety of twochannel
    music from CD, through his prototype
    two- and three-way loudspeakers that
    use the DiAural circuit. Electronics and
    amplification were from Krell, and, of course,
    Kimber’s high-end audio cables were used.
    What I heard was both breathtaking and
    awesome with the resolution of sonic imaging.
    With just two loudspeakers, I was able
    to discern sounds that imaged far beyond
    the physical locations of the loudspeakers,
    and sometimes all the way out to the sides
    of my head (the loudspeakers were placed
    at a 70-80-degree included angle relative to
    the listening position). The spatial placement
    of sonic images was so distinct, so
    easy to detect, both between and beyond
    the loudspeakers. We also experienced
    some movie soundtracks through an Aperion
    Audio (www.aperionaudio.com, formerly
    EdgeAudio) 5.1 setup, consisting of five
    identical satellites using and a subwoofer.
    With this seemingly modest setup, the rendering
    of three dimensional soundstages
    was remarkably wide and deep, and also
    very impressively seamless. I look forward
    to future evaluation of loudspeaker systems
    using the DiAural circuit. Kimber has said
    that loudspeakers that use his design have
    restored his joy of listening to music.
    ************************************************** ******
    Since that website didnt tell a lot, maybe you can get some REAL information from this talk from WSR.
    P.S. Sorry for the skinny column, I had to rip it off the .pdf from the WSR website. Thank gawd I subscribe! [​IMG]
  3. Go to madisound and ask about Friends (normal vs. capacitorless) series XO. His XO was a big topic a month ago
  4. Patrick Sun

    Patrick Sun Moderator

    Jun 30, 1999
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    So...how about giving us the Cliff's Notes version of the discussion? [​IMG]
  5. go to
    enter the site and click on AR-SXO (link is on the top right)
    scroll down 1/3 of the way for a review/simulations by John Kreskovsky (super big wig at madisound). It will be one of the red CLICK HERE links
  6. Mark Hayenga

    Mark Hayenga Supporting Actor

    Jun 11, 1999
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    DiAural, and most series networks, are silly and a waste of time. I also wouldn't trust the word of any boutique cable manufacturer if I really wanted to know how anything in audio worked. There's getting to be way too much of the high-end hype in DIY these days.
  7. Scott Simonian

    Scott Simonian Screenwriter

    Jun 20, 2001
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    Mark, what makes you say such things? Have you heard a DiAural or series crossover in a speaker before? No good? I havent heard it yet. Looked promising.

    What was wrong?
  8. Mark Hayenga

    Mark Hayenga Supporting Actor

    Jun 11, 1999
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    I've never heard a "DiAural", but I've heard (and designed a few) series crossovers before. The problems implementations such as the DiAural have are due to low rolloff slopes (esp first order series xo's) resulting in a lot of driver overlap and increased tweeter distortion since the tweeter is usually only down 10-15dB by its resonance. Parallel networks are also much easier to design since you can treat each driver independently. Just poke around a bit on DIY forums such as the Madisound board, if you can ignore all the hype and look at what these type of xo's actually accomplish you'll wonder why most people ever fool with them.
  9. Scott Simonian

    Scott Simonian Screenwriter

    Jun 20, 2001
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    Yeah, I had an idea that those were some of the cons for a "series XO". I just thought that the problems would magically disappear with it.
    Hey, Im just looking for something that sounds good and I know that is possible with a regular XO. [​IMG]
    Plus, capacitors are cool. [​IMG] [​IMG]
  10. Alexis

    Alexis Stunt Coordinator

    Feb 18, 2002
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  11. Mark Krawiec

    Mark Krawiec Agent

    Jan 9, 2002
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    Anthony's link is a good one.
    Here's an easier way to get there.
    the moral of the story is that, while good series design works, there's nothing at all superior to the series xover and in fact, they have drawbacks as noted.
    mark is right here-too much hype.

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