What is the best crossover frequency for a two-way speaker?

Most two-way speakers cross over between 1.5 and 3 kHz, depending on the woofer size and tweeter capabilities. Larger woofers (15-inch) typically cross at 1.2 to 1.5 kHz, while smaller woofers (6-inch) can extend higher to 3 kHz or above. Follow the manufacturer recommendation as a starting point.

What slope should I use for crossovers?

Linkwitz-Riley 24 dB/octave (LR24) is the most common professional choice because it sums to flat magnitude when drivers are time-aligned. LR48 provides steeper isolation for greater driver protection. LR12 is gentler but allows more overlap. The steeper the slope, the less critical exact time alignment becomes.

Why does my crossover region sound hollow?

A hollow sound at the crossover frequency usually indicates phase cancellation between the two drivers. Check polarity: try inverting one driver. Check time alignment: the acoustic centers of both drivers should be equidistant from the listener. Even a 1 ms offset causes significant cancellation at typical crossover frequencies.

Can I hear the crossover frequency?

A well-designed crossover should be completely inaudible. If you can hear a change in character or a dip/peak at a specific frequency, the crossover is not optimized. Common audible crossover artifacts include a hollow or scooped sound, a nasal or honky coloration, or a sudden change in spatial character.

Should subwoofer crossover be different from main speaker crossover?

Yes, the sub-to-main crossover is separate from the internal crossover of the main speaker. It is set based on where the subwoofer and main speaker overlap in output capability, typically 60 to 120 Hz. The main speaker's internal crossover between woofer and tweeter is set much higher, typically 1 to 3 kHz.

What is the best crossover frequency for a two-way speaker?

Most two-way speakers cross over between 1.5 and 3 kHz, depending on the woofer size and tweeter capabilities. Larger woofers (15-inch) typically cross at 1.2 to 1.5 kHz, while smaller woofers (6-inch) can extend higher to 3 kHz or above. Follow the manufacturer recommendation as a starting point.

What slope should I use for crossovers?

Linkwitz-Riley 24 dB/octave (LR24) is the most common professional choice because it sums to flat magnitude when drivers are time-aligned. LR48 provides steeper isolation for greater driver protection. LR12 is gentler but allows more overlap. The steeper the slope, the less critical exact time alignment becomes.

Why does my crossover region sound hollow?

A hollow sound at the crossover frequency usually indicates phase cancellation between the two drivers. Check polarity: try inverting one driver. Check time alignment: the acoustic centers of both drivers should be equidistant from the listener. Even a 1 ms offset causes significant cancellation at typical crossover frequencies.

Can I hear the crossover frequency?

A well-designed crossover should be completely inaudible. If you can hear a change in character or a dip/peak at a specific frequency, the crossover is not optimized. Common audible crossover artifacts include a hollow or scooped sound, a nasal or honky coloration, or a sudden change in spatial character.

Should subwoofer crossover be different from main speaker crossover?

Yes, the sub-to-main crossover is separate from the internal crossover of the main speaker. It is set based on where the subwoofer and main speaker overlap in output capability, typically 60 to 120 Hz. The main speaker's internal crossover between woofer and tweeter is set much higher, typically 1 to 3 kHz.

How to Set Crossover Frequencies

6 steps15-20 min readUpdated 2026-03-20

Quick Answer

Setting crossover frequencies means selecting the dividing points where audio content transitions from one driver or speaker to another, choosing appropriate filter slopes, and verifying that the combined output of all bands sums to a smooth, flat frequency response. Correct crossover settings are essential for protecting drivers from damage and achieving seamless tonal balance across the full audio spectrum.

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Equipment Needed

✓SonaVyx Transfer Function measurement tool
✓System processor or active crossover with configurable filters
✓Measurement microphone
✓Audio interface for dual-channel measurement
✓Driver and speaker manufacturer specifications

Step-by-Step Guide

Review Driver Specifications

Consult the manufacturer specifications for each driver in the system: woofer, midrange, and tweeter (or in pro audio, subwoofer, low-mid, and high-frequency). Note each driver's usable frequency range, power handling, and recommended crossover point. The crossover frequency should be set within the overlapping frequency range where both adjacent drivers can produce adequate output. Never set the crossover where one driver is at the extreme edge of its range, as distortion and power compression increase near the limits.

Choose Filter Slope

Select the crossover filter order: 12 dB/octave (2nd order), 18 dB/octave (3rd order), 24 dB/octave (4th order), or 48 dB/octave (8th order). Higher slopes provide sharper separation between drivers, reducing the overlap region where both contribute. Linkwitz-Riley (LR) filters are preferred for loudspeaker crossovers because LR2 and LR4 sum to flat magnitude when properly aligned. Butterworth filters create a +3 dB bump at crossover. Bessel filters offer flat group delay but do not sum flat. Set the same filter type and slope on both sides of the crossover.

Configure in System Processor

Enter the crossover frequency and filter type into the system processor or active crossover. Apply high-pass to the upper driver and low-pass to the lower driver at the same frequency. For a two-way system with crossover at 1.2 kHz LR24, the woofer receives a 24 dB/octave low-pass at 1.2 kHz and the tweeter receives a 24 dB/octave high-pass at 1.2 kHz. Verify the settings by measuring each driver individually with SonaVyx's Transfer Function tool.

Measure Individual Bands

Mute all bands except one and measure its transfer function at the primary listening position. Repeat for each band. Verify that each driver's response rolls off at the expected rate near the crossover frequency. The -6 dB point of each band should coincide at the crossover frequency for LR filters (or -3 dB for Butterworth). If the rolloff does not match the filter specification, check for driver behavior or processor configuration errors. Store each band's trace for comparison.

Verify Combined Summation

Unmute all bands and measure the combined transfer function. At the crossover frequency, the combined output should be within 1 to 2 dB of the passband level. If there is a peak, the drivers may be summing with too much overlap or constructive interference from reflected energy. If there is a dip, check polarity and timing alignment. With LR24 crossovers and correct polarity, the summation should be flat. Butterworth crossovers require polarity inversion on one band for flat summation with even-order slopes.

Fine-Tune and Document

If the crossover region is not smooth, try adjusting the crossover frequency up or down by 10 to 20 percent to find a point where both drivers sum cleanly. Alternatively, adjust the relative delay between bands to optimize time alignment at the crossover frequency. Once satisfied, document the final crossover frequency, filter type, slope, polarity, and delay settings for each band. Store the combined and individual transfer function traces in SonaVyx as reference for future maintenance.

Crossover Theory and Practice

A crossover filter divides the audio spectrum into frequency bands, directing each band to the driver best suited to reproduce it. Without crossovers, a tweeter receiving low-frequency content would distort and potentially burn out, while a woofer trying to reproduce high frequencies would suffer from breakup distortion. The crossover protects drivers and optimizes each one's contribution to the overall sound.

Linkwitz-Riley vs Butterworth

Linkwitz-Riley crossovers are designed so that the combined output of adjacent bands sums to unity gain (0 dB) at the crossover frequency. An LR24 filter has -6 dB at the crossover point, and two -6 dB signals sum to 0 dB (voltage sum). Butterworth filters have -3 dB at the crossover point, and two -3 dB signals produce a +3 dB bump. To achieve flat summation with Butterworth, you must either accept the bump, use odd-order slopes with polarity inversion on one band, or apply level adjustment. Most professional system processors default to Linkwitz-Riley for this reason.

Driver Protection

Beyond tonal considerations, crossovers protect drivers from damage. A tweeter rated down to 1.5 kHz should not receive significant energy below that frequency. Setting the high-pass at 1.2 kHz with a 24 dB/octave slope means the tweeter receives -24 dB at 600 Hz and -48 dB at 300 Hz, providing effective protection. Using a steeper 48 dB/octave slope provides even more protection for critical applications. The crossover frequency should never be set below the driver's rated frequency range.

Common Mistakes to Avoid

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Setting the crossover frequency below the tweeter's minimum rated frequency, risking driver damage from excursion

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Using different filter types on the high-pass and low-pass sides, which prevents proper phase alignment at crossover

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Ignoring polarity requirements for certain crossover topologies, causing a deep null at the crossover frequency

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Setting the crossover at a room resonance frequency, which amplifies modal problems in the crossover region

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Not measuring the combined response after setting crossover, relying on calculator values that do not account for real-world behavior

Applicable Standards

Standard	Clause	Relevance
IEC 60268-5	Clause 18	Directivity and crossover performance requirements for multi-way loudspeakers
AES-2id:2023	Clause 5	Measurement methodology for verifying crossover summation

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