Switching polarity of tweeter in two-way design


In order to align the time&phase of the tweeter to the woofer in a two-way design, is it a common practice to switch the polarity of the tweeter so that it is slightly delay in time? It would be similar to having the baffle slanted at a small angle.

I think it is done on the ProAc 2.5 and probably on some of the DIY two way speakers
andy2
The tweeter is wired 'backwards' not to time-align anything but to 'offset' the response spike that occurs in most 2-ways if the tweeter is not reverse-wired. I don't pretend to understand it, but the result is to NONtime-align the system.
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Agree with Jbehr. I always figured the reason for putting the tweeter out of phase was to cancel its response overlap with the woofer. Time aligned designs usually have some slant or tilt thing happening to place the tweeter farther away than the woofer.
I have seen frequency response plots of two way speaker systems with the tweeter hooked up each way. One shows a dramatic downward spike at crossover. Almost complete cancellation. In fact, this is the best way to determine the exact crossover frequency.

However, this effect is probably seen because the microphone is located at a small fixed spot in space, so that the distance to the two drivers is fixed. For real-world listening, polarity of the tweeter does not seem to make a lot of difference. Best idea is to try it both ways.
As for tilting the baffle to align time and phase of the tweeter to the woofer, does the degree of tilting depends on the x-over only or only on the acoustic characteristic of tweeter itself?
"For real-world listening, polarity of the tweeter does not seem to make a lot of difference. Best idea is to try it both ways."

I don't disagree with that, but understand the effect of reversing the tweeter leads from their original backwards orientation. Reversing the tweeter will create a small up-peak in response in the midrange/tweeter crossover region, this ocurring usually around 2.5KHz. I suppose you'd hear that occasionally as added presence or brightness (or maybe 'detail').

What I don't understand is why the designers don't simply pull the crossover frequencies apart to eliminate the spike. But I guess that simply shows how much I don't know.
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