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In the Forum: Horn-Loaded Speakers
In the Thread: If you were to start from scratch, what horn system would you build?

Post Subject: Violin pianississimoPosted by rowuk on: 7/14/2012

Actually, when the string section has to play ultra softly, they use a mute or damper on the bridge. This is a device that limits the ability of the bridge to pass the string vibration to the resonant body of the instrument. http://www.youtube.com/watch?v=Uqwbj0S5FKg

Actually, there is a lot of study of transmission and damping in string instrument construction even today. The height, mass and shape of the bridge (as well as string type) actually controlls how "present" the instrument sounds and how well it reacts to the players "style".http://dunwellguitar.com/SolidBridge/00Violin-Bridges75.jpg

Like in the development of speakers, there is a process to match the instrument, strings, bridge to the sonic expectations of the player and then of the player to the audience.

So, depending on the message that the player conveys, it is possible that they gently caress the strings keeping tonal pressure and "richness" reduced or at the other end use great energy and approach the mechanical limit with the corresponding increase of overtone strength.

As far as acoustic instruments go, I am not sure that the boundary effect applies except for something like a pipe organ or french horn. Flutes, violins and violas radiate primarily vertically, trumpets are very directional forwards, Celli and basses have a peg on the bottom to mechanically couple them to the floor, saxophones, bassoons, clarinets and oboes have a very complicated pattern of sound as each hole has a unique function and its own radiation pattern.
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If I were to start from scratch, I would choose a modular approach and NOT do everything at once. Even when I buy a new trumpet, I need 6-12 months to become comfortable. At first, a 12" or 15" direct radiator closed box or transmission line (also a form of horn) to completely damp the back wave (no LF output from port, just controlled pressure in the cabinet) from 50Hz to perhaps 400Hz, horns to cover 400-2000Hz and 2000-8000Hz and a planar or ribbon above that. That would probably keep me busy for a year or two. If I were then successful, I would add a horn from 100-400Hz and spend the next year integrating that.

I think the primary joy in this adventure would be to rediscover my music collection. I can imagine great frustration though until the sound becomes tolerable. Lack of Patience always seems to be my major enemy, especially if I do not have medium term results. A big horn system would cause big expectations after coming home from a concert. I have so much still to learn.

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