So you don't like them then?
So you don't like them then?
https://goo.gl/images/QIodnmCan you please list the studios that use the Kii speakers Keith?
Which is the studio you picture?
PS I remain deeply skeptical about electronic room correction as it is inevitably different depending on where you place the measurement mic, and "correcting" for one location moves that speaker away from its natural (hopefully flat) response anywhere else in the room.
seen nothing like the Kii's, or for that matter any high end speaker with DSP! Most studios use custom designs built into each monitoring room as in the case here.
I asked Tom at Kii the effect of selecting low latency rather than 'normal'.
Quote,
Hey Keith,
Has the customer heard the difference himself already? It is really not that obvious.
Low Latency Mode only disables the phase correction of the whole spectrum to minimum phase.
Everything else what´s so special about the Kii Three stays completely intact.
The whole cardioid dispersion pattern remains untouched, the frequency response and time alignement remains perfectly corrected etc etc.
Basically no analog studio monitor on the market (PMC, ATC, Geithain, you name it...) has their phase response corrected at all!
Meaning that the phase coherence of the normal mode on the Kii is something that was simply not available before in this application anywhere else.
Because of the wavelengths involved, especially if we talk 20Hz to 20kHz, a phase correction is
a) only achievable by clever DSP programming and
b) never without latency
So to recap: the Kii Three offers a preciseness in "normal mode", that is not available from any of the current studio monitors.
The transient detail and very clear depth of field at all volumes is achieved by having a completely even frequency response, perfectly time aligned drivers and perfect phase coherence.
The phase response in "low latency mode" is comparable to any other monitor this size or bigger with analog crossovers,
yet the frequency response, step response and controlled radiation pattern are still vastly superior.'
Keith
Let's see the measurements Keith. The claim is flat from 19Hz to 20kHz +/- 0.5 dB. Just show us. At say 100dB. Mind the wee 6" cone does't poke your eye out.
What characterises the Kiis is that they use side and rear bass units plus DSP to create a cardiod bass response - i.e. they do electronically what the Getheins do mechanically.
Don't hold your breath we're still waiting for the list of studios that use them.Got those measurements to hand Keith? Can we see them?
In a room with severe standing wave resonance ,judicious use of electronic room correction can really help,indeed it is the only effective method of treating issues with low bass.Here is a technical description of Linn's Exakt technology for correcting phase and magnitude distortion in their and other loudspeakers. You should point this out to Kii so that they stop making false claims that they alone use DSP to correct phase anomalies in loudspeakers. I have no Linn equipment, and am not a particular fan of theirs. Their SPACE stuff, aiui, deliberately only corrects for the calculated modes in a room based on room dimensions, it does not by design use acoustic measurement. Linn are not fans of using measuring microphones to "correct" a room, nor is Bruno Putzey I believe. (see Page 9 here).
This is yet another paradox; Keith, the great advocate of DSP based room "correction" is making a big noise about a pair of speakers designed by a guy who thinks room correction is not much use!
Got those measurements to hand Keith? Can we see them?
The large 901 coax Geithains area good ,I had the opportunity to spend some time with them a few years back, they were easy to listen to , the top end perhaps not as extended as the other monitors we heard that day.
How do you mix or produce on speakers with 1/10 sec latency?
Latency doesn't matter when mastering. Where does your 1/10 s come from? What buffer length do you think is needed for proper DSP?