Theatre Design & Technology - Spring 1988 - 9

I

n compression drivers, less
distortion equals more
accurate sound. Theoretically,
transducer sound outputs are
an exact copy of their electrical
inputs. In real-world
compression drivers, distortion
must be minimized to satisfy the
critical listener. Careful design
of the magnetic circuit, voice
coil and suspension components
helps to reduce non-linearities
which cause production of upper
harmonics, multiples of the
fundamental frequency.
Manufacturers' data sheets
typically show the level of second
and third harmonic components
relative to the fundamental.

equal in acoustic output to large
format compression drivers
using titanium diaphragms, while
minimizing the problem of
subharmonic distortion.
Pascalire'u Technology:
A Toral Solurion

* High Strength Aluminum Alloy
* Aramid Fiber Voice Coil Support
2.8" Diamerer Voice Coil and

Diaphragm Assembled with STareOf-The-Art Adhesive in CutOlray
One-Half Vie,,' MoulI/ed in Driver

However, other types of
distortions can have greater
significance in speech and
especially in music. 5ubharmonic
distortion components at one
half, one third, etc., of the
fundamental frequency are of
particular concern in the output
ofa compression driver. Although
the second and third harmonics
of the frequency range may be
outside the audible spectrum,
the second or third subharmonies
are in the middle of the passband
where the ear is most sensitive.

This graph, based on extensive
Altec Lansing research with TEP
analysis, shows the output of a
competitor's compression driver
with a four-inch diameter titanium
diaphragm when driven at 15.5
kHz with a modest input power
level ofone watt. It also shows the
output of the Altec Lansing 299
Pascaliten., diaphragm driver at the
same power level. The horizontal
axis is frequency, while the
vertical axis shows the relative
amplitude of the output. At one
half the fundamental frequency,
the output of the competitor's
driver is louder than any of
its upper harmonics. This kind
of spurious midband tone makes
"5" sound like "5HH" and
blurs musical definition. The

No compression driver diaphragm
behaves as an ideal simple
piston at all frequencies; some
types of "break up" produce
subharmonic distortion. At
Allee Lansing we solved this
problem in the 288 series of
compression drivers. This
knowledge was applied in making
the careful choices of diaphragm
size and material for the Pascaliteā„¢
diaphragm assembly in the new
model 299 compression driver.
The resulting engineering
achievement makes the 299

graph sho\lls rhe subharmonie
eOllTellT oflhe Allee Lansing
model 299 driver to be virtually
unmeasurable.

*

The benefit of lower total
distortion in a compression driver
is more accurate sound, and more
satisfied customers and audiences.

In Compression Drivers,
Less Distortion = More Accurate Sound
P.O. Box 26105 . OKlahoma Cily. OKlahoma 73126-0105 USA' 405-324-531 1 . Telex 160-369
, 1987 Allee Lansing Corporation



Table of Contents for the Digital Edition of Theatre Design & Technology - Spring 1988

Contents
Theatre Design & Technology - Spring 1988 - 1
Theatre Design & Technology - Spring 1988 - 2
Theatre Design & Technology - Spring 1988 - 3
Theatre Design & Technology - Spring 1988 - Contents
Theatre Design & Technology - Spring 1988 - 5
Theatre Design & Technology - Spring 1988 - 6
Theatre Design & Technology - Spring 1988 - 7
Theatre Design & Technology - Spring 1988 - 8
Theatre Design & Technology - Spring 1988 - 9
Theatre Design & Technology - Spring 1988 - 10
Theatre Design & Technology - Spring 1988 - 11
Theatre Design & Technology - Spring 1988 - 12
Theatre Design & Technology - Spring 1988 - 13
Theatre Design & Technology - Spring 1988 - 14
Theatre Design & Technology - Spring 1988 - 15
Theatre Design & Technology - Spring 1988 - 16
Theatre Design & Technology - Spring 1988 - 17
Theatre Design & Technology - Spring 1988 - 18
Theatre Design & Technology - Spring 1988 - 19
Theatre Design & Technology - Spring 1988 - 20
Theatre Design & Technology - Spring 1988 - 21
Theatre Design & Technology - Spring 1988 - 22
Theatre Design & Technology - Spring 1988 - 23
Theatre Design & Technology - Spring 1988 - 24
Theatre Design & Technology - Spring 1988 - 25
Theatre Design & Technology - Spring 1988 - 26
Theatre Design & Technology - Spring 1988 - 27
Theatre Design & Technology - Spring 1988 - 28
Theatre Design & Technology - Spring 1988 - 29
Theatre Design & Technology - Spring 1988 - 30
Theatre Design & Technology - Spring 1988 - 31
Theatre Design & Technology - Spring 1988 - 32
Theatre Design & Technology - Spring 1988 - 33
Theatre Design & Technology - Spring 1988 - 34
Theatre Design & Technology - Spring 1988 - 35
Theatre Design & Technology - Spring 1988 - 36
Theatre Design & Technology - Spring 1988 - 37
Theatre Design & Technology - Spring 1988 - 38
Theatre Design & Technology - Spring 1988 - 39
Theatre Design & Technology - Spring 1988 - 40
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Theatre Design & Technology - Spring 1988 - 66
Theatre Design & Technology - Spring 1988 - 67
Theatre Design & Technology - Spring 1988 - 68
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