Fyne has a supertweeter now, the S-Trax, trickled down from their flagship SuperTrax. $1,299 per pair, a 25mm magnesium dome on a neodymium motor, a machined 360 degree Tractrix cone for dispersion, and a third order high pass at 16kHz. Quoted response is 16kHz to 50kHz at -6dB typical in room, 8 ohm nominal, level adjustable by plus or minus 4.5dB, suited to speakers up to around 98dB sensitivity, 400W max, 1kg each, black only.
I want to be fair because the engineering here is clearly real, but let us be honest about that crossover point. A third order filter at 16kHz puts most of the added energy above where the majority of adults hear anything at all, and past 40 the case for the top of that range is basically theoretical. What is not theoretical is everything else the box does. A third order slope still passes real output below 16k, you are adding a second radiating source next to the main tweeter, and there is a level control, which means you can voice the top end by ear. Any of that changes what you hear without a single ultrasonic photon being involved.
For home cinema I would not bother at all. Streaming and disc audio is band limited well below this, lossy codecs shave the top octave first, and film mixes are not where anyone chases air. The system where this makes sense is a horn or a single driver that rolls off early and sounds closed in, and Fyne quoting suitability up to 98dB tells you they know exactly who is buying.
Has anyone level matched a supertweeter and had someone else switch it in and out on them? Sighted impressions on this are worth nothing.
I want to be fair because the engineering here is clearly real, but let us be honest about that crossover point. A third order filter at 16kHz puts most of the added energy above where the majority of adults hear anything at all, and past 40 the case for the top of that range is basically theoretical. What is not theoretical is everything else the box does. A third order slope still passes real output below 16k, you are adding a second radiating source next to the main tweeter, and there is a level control, which means you can voice the top end by ear. Any of that changes what you hear without a single ultrasonic photon being involved.
For home cinema I would not bother at all. Streaming and disc audio is band limited well below this, lossy codecs shave the top octave first, and film mixes are not where anyone chases air. The system where this makes sense is a horn or a single driver that rolls off early and sounds closed in, and Fyne quoting suitability up to 98dB tells you they know exactly who is buying.
Has anyone level matched a supertweeter and had someone else switch it in and out on them? Sighted impressions on this are worth nothing.
