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Everything posted by DirtyErnie

  1. The Multiple-Entry Horn has been another thought on how to do it. My thoughts there involve a box with about the same width/height as above (~16"w, ~3' high), with a full-range upper section, similar to the images I posted, to direct higher frequencies at ear level, and the lower portion of the box being kind of a 'trench' with the same side profile as the upper MEH, but containing more low-frequency drivers to load the whole mouth area down to 100hz or so. Upper section would probably only load down to maybe 700hz. Haven't put a whole lot of time into fleshing out the math on that version. That will probably be the next steps, since it would likely be a LOT simpler to build. I'm not even worrying about crossovers, since DSP Multi-amping has become (relatively) very cheap and powerful. And, yeah, maybe 'peanut gallery' wasn't the right term, but sometimes I like to poke...
  2. Like many of us, I've always had a soft spot for horn speakers. Unfortunately, their size formats are usually less than friendly for a typical house, and especially the rather compact one I have. So, I took to re-imagining what a living-room friendly 100Hz horn could look like and came up with this. ~100- ~800hz, 8" driver on top, driving the full bandwidth 10" driver below, rolling off around 400hz (low enough to keep from effecting directivity due to height of the unit. High-frequency horn TBD, will sit on top just fine. 16"w, 24"d, 33.5"h Thoughts from the peanut gallery?
  3. 1. No. I'm not going to show you my bench, because 2. Looking at this thread, I"m realizing I need a LOT more of the little drawer cabinets. Nice work(benches), guys!
  4. I have a 5-valve CC Miraphone, but you're talking about a speaker. 😄
  5. Friend had a '58 Bassman with a pair of mercury vapor recs in it. Those things would light up brighter the more current you pulled through them. Was a super-fun lightshow on stage, especially when he was doing punchy rhythm stuff.
  6. I could use spec for a 222c cabinet, please.
  7. Taking me back to some recording studio fun a few years ago.... The short version of this is the farther away from being mathematically related your room dimensions are to each other, the less issue you should have with room modes. The 'Golden Ratio' dimensions are pretty good at achieving this. There are a few other sets of 'pretty good' ratios out there with some searching. In our situation, we had a 16' x 16' x 8' room (1/2 of a cube) with a suspended ceiling. It was Gawd-Awful for attempting to record music. Then I remembered some tricks from practicing tuba in small rooms with suspended ceilings: Open up some of the ceiling tiles. We pulled tiles out of the corners, and a few in the center. Somehow, that got the volume in the ceiling above the tiles resonating out-of-phase with the main room and cleared up a LOT of the mud. Buddy had his head in a mix, trying to make it better, when I pulled the first corner tile out. He almost broke his neck, that head snapped around so fast "WHAT DID YOU DO!??!?" , it made that big of a difference. something for the forum to file away in their collective memory banks.
  8. What's the driver arrangement in those bookshelves? WTW type can get a bit 'beamy' on their sides and are better mounted vertically.
  9. My question is how would the AmbiSonic mic be better than an Omni-Directional mic? Once you're spherical, aren't you spherical?
  10. "If it measures good, and sounds good, it is good. If it measures good, but sounds bad, you've measured the wrong thing." H.H. Scott.
  11. What I would like to see, more than anything, is the whole recording and reproduction industry getting together and agreeing that all recordings will be full-range and not manipulated, and playback devices engineered to protect themselves if need be. If it could be agreed on for overall compression, loudness, dynamic range, and frequency response, and then the devices can add whatever emphasis they want, great. Home A/V receivers with room compensation routines & microphones can get most people close enough. And then there's "us"...
  12. 16 bit = 65.536 24 bit = 16,777,215 These are the available positions in a single sample. 24 bit has vastly more resolution than a 16 bit sample has. Bit Rate: Yes, someone mentioned that you need 2x sample rate of your highest audio frequency. The problem there is that digital sound forms a brickwall filter at that maximum audio frequency; sound just SHUTS OFF above that frequency. This is something that is abhorrent to nature, and the first octave or so below that brickwall filter has some pretty severe artifacts as far as phase response and frequency response go. I've played around with the variations between the sample depths above, and 48khz vs 96KHz in the recording studio. Every time we went up in either of those numbers, quality was noticibly better. 24 bit definitely sounded better than 16, but 24bit/48K still sounded like it was behind a scratchy wool blanket. 24b/96K was very very nice. I don't think we had the capability of going farther at the time... Metaphor, it's like going to Black-n-white at 12 frames/second to iMax HD at 60 frames/second. Big difference in quality. Now, can your ears hear it?
  13. Had you run a frequency sweep on your speakers before you started? Sometimes that can help narrow down problems. There's a few good ones on YouTube if you have that capability in your H/T setup. My standard advice applies; dont feed ported speakers any frequencies below their design low cut-off point. Run a sub and use a crossover to the mains.
  14. Yes, the capacitance has its fundamental roll-off breakpoint, but below that point it drops off at 6dB per octave. 400hz break? 200Hz is at -6db from that point. Even more fun, that break-point is at -3db already. Crossover capacitors are such a hot topic because of what happens above the breakpoint, and how the capacitor handles that. Like any other component in the audio chain, they have their own imprefections and distortions that will be colored over the top of the sound signals. The higher into the audible frequency band you go, the more important this seems to be, and the more difficult it is for some capacitors to pass. And the more subjective it all becomes. Ultimately, "Opinions and A$$holes".
  15. MN Athiest society are pretty big sponsors of the St. Paul Saints, so that kinda explains some of that.
  16. Just because the computer thinks the woofers are able to dig 10Hz deeper, I wouldn't recommend going down there with crossovers if you can help it. Glad you're enjoying the new hardware! If you get bored, pop one of the old plastic diaphragms into one tweeter and compare with the new titanium one. The difference won't be as subtle as you've said.
  17. Bingo. Wow, this is an old thread, didn't realize that. I'd say the OP's problem was related to this: RB-41 Specs Lower cutoff on those is at 85hz, I wouldn't send them high-level signal below 100Hz. Crossing them over below even 80hz, which I think was mentioned, would unload the drivers and suck down massive current levels. I had this happen to me with a bass guitar cabinet, an old Kustom 4x12 with a pair of ports. (well, it was just a shell, we made a new back panel and my guitarist/patron put some cheap 12" subs in it). First few gigs as it stood, I was getting no bottom end and flashing the 'protect' lights on a 1,000w bass amp (700w into 8 ohms). Then I kludged some homebrew ports out of construction paper and duct tape. 8 1/2" ports lowered the cabinet frequency enough to keep the drivers loaded, suddenly I had bottom and never flashed the protect lights again. So, even if it's an anecdote, Word to the Wise: NEVER FEED PORTED CABINETS FREQUENCIES BELOW THEIR TUNING!! (Unless you like to smoke voice coils and/or hear them smacking into the stops)
  18. We would all like to think that, but it's extremely rare. Only a sealed box of the proper size is capable of doing that for a passive speaker. You could add high-pass capacitors before the speaker, but that can mess with other things. The reliable way is to multi-amp your setup and only feed a driver with the frequencies it can produce. Expanding on this: Ported enclosures UNLOAD the driver below their tuning frequency, and the farther below that frequency you go, the less power it takes to drive your woofer past it's mechanical limits. Sadly, and especially with cheaper boxes, that tuning frequency can be a lot higher than expected.
  19. Similar with my CF2's. placed parallel, firing out into the room, the sweet spot was lock-your-head-in-a-vice tiny. Then I crossed them over so both speaker's coverage pattern was covering all the seating positions. It's pretty even and nice in there now. They almost look silly, and are crossed waaay in front of the seating position. Sounds nice, though. Best balance is still right in the center of the main sofa, but it's much more even off to the sides.
  20. I did my KG 2.5's with Bob Crites' kit, substituting Erse PulseX for the high-value electrolytics to have all film caps in the crossovers. Did it one speaker at a time in stages, first step on one speaker, second step + first step on other speaker, third + second on first speaker, et.c... and listened to both speakers playing familiar music before moving on to the next stage, it was an eye-opener. Step: Replaced both electrolytics with the Erse film caps. Treble on that speaker opened up and became very clean and balanced. I was not expecting this, as both electrolytics were on the low-pass side of the crossovers. Maybe the 'shunt to ground' of high frequencies wasn't happening for the woofers, and all that energy made a mess of things... Replaced the film caps, 'full recap'. Vs Step 1, treble expanded and cleared up. The KG's would have been very listenable at this point but... Replaced stock tweeter diaphragms with Titanium. Treble cleaned up even more and became very extended and smooth. I'm using one of the 2.5's as a center channel speaker with my current CF2's. There's a very good 'family resemblance' between all the speakers, although the 2.5's definitely don't have the same sort of 'horn THAAAANG' that the Epics have. Also, I want more horns. Every step along the way was NOT subtle, it was smack-you-in-the-face obvious that something had been improved each time I did something. Maybe I should have taken the time and tried the new electrolytics from Bob's kit, just to see, but I kinda new where I was going to end up and just went for it. If you're curious about it, just get some components and go for it. It's pretty easy to put the original stuff back in if you're not satisfied and know which end of a soldering iron to hold.
  21. Is there any way you can post before/after/EQ curves for the 2.5's? I never really thought mine needed much help, in a 13' wide living room with 8' ceilings (room length? there's four different ones, between the closet, bathroom wall, hallway, and bedroom wall sections). They definitely needed a subwoofer crossed at 50Hz to support the lowest frequencies.
  22. I'm a big fan of subs if they're properly blended with the mains. no frequency overlap, no level difference. Also my preference is to cross to the mains a bit above their lowest frequency, I'm not really a fan of 'port' bass if the sub sounds better/quicker in that frequency range. I should add to this, there's often little energy in most music below 35-40Hz, most people are surprised to learn that the 'thump' of a kick drum is at about 80Hz, where the average human chest cavity resonates. About the only recording I know of that can get below that is 'Dare' by Gorillaz. There's a sub-harmonic in the ~20Hz range that you'll miss once you've heard it. (and I have 4 12's that need to get built into a floor joist infinite baffle....)
  23. If you don't get it, stop thinking about voltage and start thinking about current. Voltage doesn't make magnetic fields, current does. Magnetic fields cause cross-talk and modulation distortion. Stop the frequencies, stop the magnetic fields, stop the modulation distortion. Now your cables don't have to be full-range (think Lowther), with all the quality demands that requires.
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