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Reply with quote  #16 
Could I dream of it having a midrange control as well 😉
Bruce Rozenblit
Reply with quote  #17 
Well, the way I designed it, a mid range control is not necessary.  The bass and treble work outside of the mids.  So if the mids are too hot, boost the bass and treble.  If they are too low, cut the bass and treble.  You end up in the same place.
Reply with quote  #18 

This is indeed how it should be done for adjusting the sweet spot, less is more in this case. If the listening  room doesn’t suffer from really bad acoustic problems which can only be corrected by changing speaker/sweet spot positions and using  PEQs, simple filtering like the Fixer offers can give very good results.

In most cases it is more natural sounding if we lower the opposite frequency band in order to boost some frequencies on the other side  plus increasing the listening volume  to make up for it. For example in order  to lower the upper to mid bass (about 60Hz-250Hz)while increasing the volume a bit, which will be a natural reaction of our listening experience, will give more dominant high-mids/treble (compared to the bass) and - maybe - a wonderful blooming midrange (between 300Hz-2k) with some new and pleasing sound elements in some cases. Very interesting and new combinations might be experienced keeping this mechanism in mind.

If we would simply increase the high-mids and  treble – which seems at first of course more logical if we miss this range and want to boost it – we will achieve rather the opposite results in many cases  and cover the low-mids (250Hz-2k) and make the bass appear out of balance compared to the high-mids/treble the more the louder we listen. The reason is that bass and mids/treble don’t react with the room acoustics in a linear way if we increase the volume and if the room is not acoustically treated.

There are of course no final and fix rules in this game but as a general start I would always reduce something before I would try boosting it.  The midrange is a very sensitive area and rather difficult to adjust without PEQs and some background knowledge. Our experience of "timbre" and "color" of sound events comes from this very important frequency range. Lowering the bass can do miracles as we don’t only affect the bass frequencies which we want to tackle but also their harmonics which can appear still very audible in the upper bass/lower midrange. Often the first harmonic is more present than the fundamental. If we think we hear a 40Hz low bass of a bass guitar for example we normally hear in our room rather the  80Hz harmonic which is considered as in the range of mid bass where we start to perceive "tonality". With a problem in the room acoustics it could then appear too loud also at 160Hz in the upper bass range. 

The  Fixer with its corner points of 300Hz and 2k starts to work at the low end of the low-mids and the beginning of the high-mids which seems to be a good compromise for not offering specific mid-range control.

geary mizuno
Reply with quote  #19 
I agree, I personally cut bass and treble if I want to raise midrange and vice versa. I also support the designer's choice of setting the treble corner frequency at 2K.

If The Fixer is to be built in a "Hammond style" chassis, then I would like to ensure that it is in a size that allows one to fit a Hammond vented cage.

I have been plagued by off-center sources and recorded material, that a balance control would be nice (but not essential). 

Reply with quote  #20 
Originally Posted by Bruce Rozenblit
I'm gong to investigate making an enclosure of some type for an extra charge.  It might just be just a lid or maybe something to drop the whole chassis into.        

I'm confused by this statement and the image from the newsletter.  

When do pre-orders open?
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