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About ARX

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  1. The closer a slot, or any discontinuity, is located near the entrance, the more undesired reflections/diffraction (primarily) affect high frequencies. This is probably also reason for Tom Danley to leave the throat in a rather rough state in some of his products. Apparently, ultra smooth throat-horn transitions are not deemed necessary, or important (enough). This looks like a case of: "just drill a hole". (the sharp edge between the throat/entrance and the horn will cause diffraction, intentional or not):
  2. Technically, every deviation from a perfect, gradual round to whatever shape transition is a diffraction aperture. Perhaps 'slot' is not appropriate in this case, but I guess E. Geddes would qualify it as such. In essence, his own OS throat is also a diffraction aperture. Even though it's smooth, it's still an abrupt discontinuity, hence the use of foam. The round to square transition at the throat of the K402 will undoubtedly cause diffraction, whether it's bothersome is another discussion. This horn would suffer very little throat diffraction, other than diffraction caused by the driver's conical exit section to the horn entrance (throat angle mismatch):
  3. If you look closely to the K402's throat area, you'll notice some sort of slot, even though it's very small.
  4. If you compare Bjorn's horns to the others, there's one glaring difference: the length and size of the slot. It's probably (less than) 1/10th of the size of the slots in the other horns. Theoretically, the other slots are primarily effective in the midrange, where our hearing is most sensitive to diffraction artefacts. The length of the slot also contributes to the perceived 'cuppy' sound, because it's essentially a fairly long tube expanding in one plane and narrowing/pinching in the other. I guess, of the old diffractions horns, the JBL 2360 would probably sound best, because the hornpath (from throat to mouth) is relatively smooth. The mouth of Bjorn's horns is extremely smooth with huge flares that minimize reflections.
  5. And Klipsch own KPT-941-HF Tractrix® horn :
  6. The BIG difference between Bjorn's custom horns and the 'Elephant Cheeks' and other large format 'classic' diffraction horns is the slot itself. Some examples:
  7. On 5/26/2019 at 5:05 PM, ClaudeJ1 said: Well I just wanted to point that out, since you only showed curves and didn't mention the Female Vocals Test. Looks like your slots are small anyhow, as compared to the big slots in my JBL 2360 Horns, which, of course, my K-402's outperform easily with no slot. Don Keele did a good enough job on those JBL's to win him an Academy Award presented to him by Charlize Theron, however, even though he had to work around his own patents at Electro Voice to do it. This quote is from JBL's PT-waveguide technical note: "Earlier designs consider the throat, the diffractionslot, and the bell of the horn to be separate. This produces a discontinuity at the diffraction slot, where a roughly exponential loading suddenly becomes a rapid final flare (or bell) intended to provide constant beamwidth. While this approach yields uniform beamwidth and DI, the downside is high distortion, rough electrical and acoustical impedance, and often irregular frequency response. These factors may combine to produce the typical “horn sound”. By applying advanced 3-dimensional surface modeling, it was possible to create a waveguide surface that eliminates the diffraction slot discontinuity. This allows the expanding acoustic wavefront to remain perpendicular to, and attached to, the horn side-wall at all times" So, what would happen if you improve upon said 'classical diffraction slot/horn arrangement'?
  8. Yes, but the (4) buttocks of the M2 WG serve a slightly different purpose, namely wide dispersion. It's basically a reinterpretation of the old 2344. The mumps in the K510 improve pattern control as well as loading of the driver. The M2 waveguide doesn't load the driver well, because it's very shallow: If you want to manipulate the wavefront in a similar way, but at higher frequencies, you'll end up with something like this:
  9. Sure, here's a link to the later version of this product line. Don't forget to check their loudspeaker processing technology, called NEWTON, which is undoubtedly the most advanced on the market. So far, it's only available for MacOS. This is an earlier version of the same horn top, which is loaded with B&C drivers:
  10. Mumps... Klipsch isn't the only manufacturer to integrate those in horn designs. This is an Italian 2 way hornloaded cabinet from the mid 2000s:
  11. I own the DE-75s as well, but you cannot use these with LTH142, because the throat is too small. You could use a JBL 1.5 exit driver with some sanding of the horn throat > use a drill press with a tapered plug wrapped in fine grid sandpaper. For those interested: This is a clone of the LTH142 for a fraction of the price. The LTH142 is not a constant directivity horn, but it's less 'beamy' compared to a round Tractrix.
  12. There's no denying the merits of multiple subs. Unfortunately, in Europe we often have to deal with neighbours. Even at moderate listening levels, sub bass would literally shake the walls and (wooden) floors, unless your room is acoustically decoupled (a room in a room). While in-room bass response could be optimized, this doesn't necessarily eliminate or reduce vibration of structures.
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