Влияние магнитного потока в разделительном фильтре. Как поставить катушки без искажения звука?

Everyone knows that when creating a separation filter for acoustic systems, it is necessary to correctly position the inductors relative to each other, this is due to the direction of the magnetic flux. I will not read the theory here, regular viewers remember that the main goal of our channel is to demonstrate on concrete examples using high-class equipment. Of course, we will come to a format for confirming our hearing with all kinds of graphs, but at the moment there is no equipment for measurements, so we share our practice. And for those who did not manage to hear the difference themselves, I will try to briefly describe what you need to pay attention to in each option. So, specifically for our case and our filter, I propose to listen to three options for the location of the inductance coil of a high-frequency link in a three-way system. First option: the air core is parallel to the floor Second option: the air core is parallel to the back of the acoustics Third option: the air core is perpendicular to the back of the acoustics The main criterion for the assessment for you should be the articulation of the plates, their beginning and end in each stroke. All this is a consequence of the presence or absence of interference. Let's disassemble: (1 option). We left this option constant. It has the softest timbre and clear articulation due to the minimum amount of dirt around each tone, you can hear the beginning of the blow and its attenuation, a clear attack in the absence of excessive poison. (Option 2). The articulation is clearly blurred here, every beat is a rather crude sound, but do not rush to consider it the clearest on the attack: after all, it just clutters the noise in every sound, making it deceptively brighter and louder. This is a common mistake of our rumors. The rule in this case is one: they lost macrodynamics and articulation - it means wrong. Remember, a musician would hardly like to hear after recording that half of his part is not articulated and with a lubricated attack ... And not a robot at all a musician, his every hit is individual, one is a little softer, the other a little louder ... (Option 3). It seems that there is a little less dirt than in the second, but the idea constantly arises that after every second beat the drummer is afraid to tear the cymbals and does not finish off them slightly, which makes the rhythmic pattern erased and the sounds become torn. The line between quiet and loud sounds is also erased. Dear viewer, if you did not immediately manage to hear what I described, do not rush to despair and immediately write in the comments what kind of bad person I am, try to return to listening through time. This is a fairly difficult level that requires some preparation. Live is much easier to hear the difference, but the microphone reduces it. As always, I tirelessly wish you a clean sound, detail and tonal authenticity in the sound of your tract, as well as the desire to dig deeper and learn more in our favorite hobby with you! Bye everyone! Download links: First option: the air core is parallel to the floor - https://drive.google.com/file/d/1n8Wv... Second option: the air core is parallel to the back of the acoustics - https://drive.google.com/file/d/1giSc... Third option: the air core is perpendicular to the back of the acoustics - https://drive.google.com/file/d/16kN3...