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Home : Audio Projects : Series Crossover

Series Crossover

Several years ago I began experimenting with Series Crossovers. My initial attraction to them was one of economics tinged with curiosity. I thought: "Since the parts count is nearly half that of a standard parallel crossover why doesn't everyone use them?" I needed to learn more.

Scanning the more commonly available resources yielded minimal results. Some authors thought the net impedance would be the summation of the particular drivers. None I found mentioned phase angle or transfer characteristics between the speakers.

So I experimented. I built a basic network and had a listen. The first thing I noticed was how quickly a stable image developed from two drivers. With parallel crossovers this is a most elusive quest and sometimes never achieved. Here it seemed to just pop into place. Only the grossest of errors was able to degrade the image, such as raising the filter Q to above 1, adjusting the physical offset to the point of non assimilation and/or reversing the polarity of one driver. The loudspeakers worked together right away. (A theory on why it works this way is eloquently expressed in this article: FRIED ON SERIES NETWORKS, by Irving Fried). I was then left with the simple task of refinement. By this I mean adjusting crossover points, filter slopes, Q*, and level matching* (*see below). These processes being similar to those of a parallel network.

Series crossovers have since become my first choice when designing loudspeaker systems. This schematic is one that I use as a basic starter:

Series Crossover schematic


Determine your capacitance and inductance values the same way you would for parallel networks and go from there. Sometimes I don't use a Zobel or C1*, depending on the drivers and what I want to achieve from them.




*Q is a function of resonance at the crossover point (2nd order). Crossover networks of a certain Q are named after those who developed them. Chebyshevs have a Q of 1, Butterworths a Q of .7, Linkwitz/Rileys a Q of .5 and there are others. To select a Q, determine a value ( C=1÷6.28FR or L=R÷6.28F ) at a given crossover frequency and then multiply (for capacitors) or divide (for inductors) by the desired Q. If the Q is lowered (less ringing) the inductors become larger and the capacitors smaller. A Q of 1 or higher can be necessary on occasion, such as with notch filters, or with bass frequencies where a little resonance can fill a hole. I have found series crossovers work best with a Q close to .5.

*Note: In the diagram above, with the absence of C1 the Zobel serves a second purpose; padding the HF driver. Also, C2 is a departure from a first order network, making this diagram a hybrid (HF is second order). So play with it.

Copyright © 2001/03 Anton Niedersteiner. All rights reserved.



P.S.

Much information about series crossover networks is now available on the net. The following links are just a few. I will add more as I find them.

A Different Approach to Series Networks by John Risch.

A Practical Primer on Series Crossover Design by Ken Perkins.

Series vs. Parallel Crossover Networks by Rod Elliott and Gene DellaSala.

How to measure a Series Crossover by John Kresovsky.

Series Crossover Designer Download FRD Consortium spreadsheet.

Elliott Sound Products. Design of Passive Crossovers.

Impedance Correction for a Valve Amplifier,. Iris Strassacker.



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Acoustic Sound Reinforcement, Kamloops B.C.

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