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|Hersteller / Marke der Chassis||Dayton|
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... and then there was the keepsake that we tailor-made for the Midwest Audiofest.
We had successfully avoided taking part in the contest, but since we were still barely known as speaker builders in the United States, we wanted to make a positive impression. That meant we couldn’t be obnoxious show-offs, but at the same time we didn’t want to be dismissed with an “Oh, that’s nice…” It was the same danger that faced all of the large freestanding boxes and the medium-to-small shelf boxes, which couldn’t provide the necessary element of surprise that generates rapt attention. Understatement may be more of a British virtue, but even in America, people are more receptive when the format and the sound create an unexpected contrast.
SketchUp assembly plan for you to download. For the sake of completeness, we will also give you the technical data for the RS 100-8.
Dayton Audio RS 100-8
|Membrane:||aluminium, coated||air gap height:||4 mm|
|Surround:||rubber||linear movement:||4 mm|
|Basket:||die cast||magnet diameter:||68 mm|
|Pole piece hole:||yes||mounting holes:||6|
|Centering:||raised pot spider||outer diameter:||98 mm|
|Magnetic shielding:||no||installation opening:||78 mm|
|Voice coil:||26||milling depth:||3 mm|
|Voice coil former:||aluminium||installation depth:||61 mm|
Now it was time to build the boxes so we could use the reality to check the measurements of our earlier theories. One difference from the assembly plan was using 16-mm MDF, which was entirely mitered. We cut grooves for the inside boards, which gave us a good grip for gluing them in with joint glue. Clear packing tape also kept them from sliding around unexpectedly. The pictures of the assembly process should speak for themselves.
The constant increase in volume at high frequencies, and the small peak created by the baffle step, forced us to develop a small corrective circuit that didn’t push everything down to the lowest level right away. Under 15 degrees, at an almost consistent 83 dB, it gives us a smooth line between 150 and 10000 Hz except for a very narrow peak at 17 kHz. Around the bottom, the proximity to the wall quickly adds the missing 3 to 5 dB..
|Frequency curve under 0/ 30/ 60°°|
|Distortion for 90 dB||Step response||Waterfall|
The crossover was glued in above the terminal on the back and side walls of the box. A bit of caution is advised here, since hot glue can leave ugly blisters on your fingers.
In order to thread the wire through the narrow gaps, we pushed a string tied to a screw through the BB cutout and let it work its way down. Once they were attached to the string, arranging the two stranded wires was child’s play. Half a mat of Sonofil was enough to insulate the upper chamber. It is arranged in such a way that it left the pass-through free at the bottom. The HP/ BR 35 reflex tube was shortened to 5.6 cm. Thanks to its slats, it can be closed air-tight in the cutout. After a couple of days to let it warm up, I still wasn’t used to the color. So I took everything back out of the wooden boxes, down to the corrections, sanded them again, primed them with white wall paint and then sprayed on the final white stone-finish paint.
A day later, Andreas Wolf insisted that we get the Twins ready for their trip to America. When he came into the listening studio, Pink Floyd’s “The Wall” was playing, with the DTA-1 being used as an amplifier. The volume knob was at 12 o’clock. He was a little confused because he could see the two useless-looking toothpicks standing there in front of all the other boxes, but the music definitely had to be coming out of much larger speakers. We admit that the volume wouldn’t have been enough for a big party, but it wasn’t exactly quiet, either. The good resolution, proper dynamics and adequate bass reproduction meant that we didn’t hear a single four-incher in each box. With a good 40 m² in area and a 4-meter ceiling, the listening room was probably too big. Still, classical, jazz and rock all came across fine as long as there wasn’t too much more membrane surface counterbalancing it. Naturally, the strengths of the Bluestone Twins lie in the direction of a man with a piano or a woman with a guitar; they are tonally balanced, so they shine when the stage is relatively bare, which is usually considered the specialty of a wide-range speaker. Their very accentuated speech reproduction, without any annoying hissing, suggests that they would also be good for a flat-screen TV; there could hardly be a more cost-effective solution. Still, we should mention that very deep and extremely high-pressure basses are not the Bluestones’ thing. After all, as their name suggests, they prefer the blues tones.
At the Midwest Audiofest in Ohio, we set up the Bluestone Twins in a fairly unassuming spot in the hall that visitors had to walk through to get to the large listening room. A not especially high-quality portable player and the DTA-1 were switched on during programming breaks, and brought in a constant stream of listeners. They were always amazed that all of the sound was coming from these elegant sticks; a couple of visitors even checked the wiring on the devices. There must be a subwoofer playing somewhere, they often said. When they found none, many listeners just shook their heads. The general consensus on the Twins was that they sounded round and pleasant. That’s what we had been hoping for.
|Loudspeaker driver||Dayton RS 100-8||Wood list for 15 mm Multiplex|
|100,0 x 13,0 (2x) front/ back|
|100,0 x 10,0 (2x) sides|
|Function principle||ACL-Reflex||10,0 x 10,0 (2x) lid/ floor|
|Nominal impedance||6 Ohm||6,8 x 10,0 (3x) reinforcement|
|Connection terminal||T105 MS/ AU|
|Internal damping/insulation||1/2 mat Sonofil|
|Reflex port||HP 35 BR, shortend to 5,6cm||Approx. cost speaker kit: 60 EUR|