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08-10-2009 Post does not mapped to Knowledge Tree
skushino
Seattle, WA
Posts 93
Joined on 07-07-2004

Post #: 51
Post ID: 11338
Reply to: 11336
Two Mouths
fiogf49gjkf0d
I think I understand better now.  It is difficult for me to find storage for the endless little audio things around my house.  Good luck on storing an extra pair of 20' mouths!

On a different note, there is the issue of materials, mass, and damping.  Hanging these giants from the ceiling or wall seems to point construction in a different direction from a floor location.  Instead of relying on mass to manage damping, I was thinking that in this application lighter wood construction with some type of damping material (like the sheets they use in cars) glued on would be an alternate to mass. 

Jessie said his big horns weigh around 900# a piece.  I would worry less about the roof collapsing from a ton of load with a lighter solution.

08-10-2009 Post does not mapped to Knowledge Tree
Saturntube
Posts 24
Joined on 07-08-2005

Post #: 52
Post ID: 11339
Reply to: 11338
More ideas and drawbacks
fiogf49gjkf0d
Just to answer a couple of question and post some more...

The Mouth changing sectors in the horn,  according to the preliminary data posted here, would be as follow:
For the 40 hz horn:  4¨ Throat to 6¨ = 53 cm                              6¨ Throat to 8¨= 40 cm                             8¨ Throat to 10¨= 30 cm
Yes big!
I doubt we can find a good 10" midbass driver that will go nicely down to 40 hz but if we try a Goto compresion driver we will need the 4¨ throat.
Now for 12" and 15" drivers; 8" and 10" throats would be a good testing ground.  Of course once it is properly tested and set, there should be no changes. I though tests could take place without the other channels just with the one huge horn laying on the floor and and me running back and forth 4 meters to readjust the back chamber!  And yes testing all the drivers I could get my hands on, maybe even fill with sand the chambers of the one test subject,  and drain the sand out before moving it to its final location. About time alignment, in this case with a straight horn the final location would be predetermined and macro-imbedding it would be left to chance. This would go on the top room of the house looking downwards into the listening room, time aligned according to the diagram previously posted, or side firing headphone style, with the ends "hanging" on top of the garden or inside the next room.
On a concrete house with concrete roof the weight should be no problem, with a wooden roof, other methods for damping should be used in order to keep it light.  Maybe sheet metal construction should only be used for round horns and, Wood, a more self damped lighter material is better for a square horn hanging from a wooden structure roof.

The drawback of a straight midbass horn would be the positioning,  with the J horn we can indeed move it around in a little cart,  but we do have the one bend drawback.  I have been going around on trying to use the same listening room area for the midbass horn, but having the 3-4 mts lengh of the horn and the 2m height of the mouth fit in one room is difficult geometrically, unless we do add the bend. Now, dont these look like the huge ventilation horns used on old boats?
A beautiful solution are the unluckily now extinct Carfrae horns, either the little horn which is a snail design, or the big horn which has one 180 degree bend and shoots into the corners of the room. These were back horns designed for a lowther driver, but a modification could be done simply enough to make a similar design for a front horn...

08-10-2009 Post does not mapped to Knowledge Tree
Saturntube
Posts 24
Joined on 07-08-2005

Post #: 53
Post ID: 11340
Reply to: 11339
How does 40 hz to 200 hz sound like
fiogf49gjkf0d
I am sorry there is a mistake in my previous post,  anyone who has played around with a dedicated channel for a 40 to 200 hz frequency know hat the only sound coming out  is a wooo, woo, woo... Not much to do listening test by, we can measure, but tests IMHO and IME should be done with the other channels active.
Now if we do have an upperbass horn going down to 140 - 120 hz the huge monster midbass horn will be used for +- 2 octaves.
If we try a 160 hz horn with a compression driver down to 300 hz, it would be great to have the monster midbass horn go all the way up to 300 hz.I guess only tests can tell.
08-10-2009 Post does not mapped to Knowledge Tree
Axel
South Africa
Posts 80
Joined on 07-18-2009

Post #: 54
Post ID: 11341
Reply to: 11340
40Hz - 200Hz and GLARE...
fiogf49gjkf0d

Hi Saturntube,
40 Hz - 200Hz = wooo, woo, wo, - hm...
Forgive me as I'm not talking about horns right now, but some sort of 4th order *acoustic* roll-off at 200Hz may apply with a horn as it would, e.g. with a second order cross-over in a box-speaker and an 8" woofer. (Woofer here rolls off naturally at ~ 2nd order due to it's construction).

What actually happens: there is still PERCEIVABLE energy at ~ 3kHz, believe it or not - I've tested it.
Now why mention this?
In fact, the woo, woo, woo may contain some perceivable MF/HF energy that becomes an issue with e.g. cross-over components used.
When e.g. trying to "improve" some electrolytic capacitor power-factor, say 220uF in an RCL and using a by-pass cap of only 1uF you can very well throw out your whole midrange presentation! One more example: a 82uF electrolytic with a 0.1uF bypass in the signal path of the woofer cross-over.

Further, this woo, woo, woo, in fact contains MF/HF energy hardly noticeable on it's own, but actually contributing to GLARE (overly bright MF presenation)

This might be common knowledge, who knows - it was not to me and of course NEITHER to simulation programs such as SPICE.
Axel


 
 
08-11-2009 Post does not mapped to Knowledge Tree
Romy the Cat


Boston, MA
Posts 10,049
Joined on 05-28-2004

Post #: 55
Post ID: 11343
Reply to: 11190
The CNCing? Interesting…
fiogf49gjkf0d
I met today with guy who is local woodworker and who looks like a right person to render my Midbass horn. He proposed something that I did not consider. He felt that the horn like mine might to be sliced by 2 inches increment, cut on 3-dimensional CNC machine and the glued together.  I never considered this. The good part of it that he feels that a complexity of the curves, profiles and everything else that is hard to handle manually will not be a subject at all of I use this method. Can anybody to comment about it? I was under impression that CNC cutting is more applicable if I make 50 of those horns not a pair of them…

The Cat


"I wish I could score everything for horns." - Richard Wagner. "Our writing equipment takes part in the forming of our thoughts." - Friedrich Nietzsche
08-11-2009 Post does not mapped to Knowledge Tree
Axel
South Africa
Posts 80
Joined on 07-18-2009

Post #: 56
Post ID: 11345
Reply to: 11343
Layered construction horn
fiogf49gjkf0d

Romy,
there are box-speaker manufacturers that use exactly this approach, so nothing is so new about it. I think Karma and Evolution Acoustics speaker (also layered construction) come to mind, see below.




As to CNC routering, it needs a CNC cutting program written to produce the numerous layers. This would be a cost amortised over the number of cut. But today's CNC routers should make that a pretty quick task as all be different size circles, yes?
The ONLY thing I can see to be an issue, are the ever changing angles / degrees of each 'slice's' in- and outsides. I would imagine your man would still have to smooth them over on a wood-lathe after all is glued up --- it still would be a lot easier since he has the already existing edges to work from.

If you look at the speaker above you can see, there are no curves in the vertical but only in the horizontal, which is no problem for the CNC router. (Your horn when compared to the speaker in this picture would fire upward, if this makes sense)
Axel
08-11-2009 Post does not mapped to Knowledge Tree
Saturntube
Posts 24
Joined on 07-08-2005

Post #: 57
Post ID: 11355
Reply to: 11345
CNC Snail Horn
fiogf49gjkf0d
This is a good example of a CNC horn.  This is the Carfrae I was talking about.  MDF Upperbass horns are made in sort of the same way, but you do have to cut the angles on the Lathe. (or leave the steps like a The thing is it is not really tridimensional,  in a horn like way,  or Like Axel says "the ever changing angles" of a horn.
Axel. "there is still PERCEIVABLE energy at ~ 3kHz" and this Glares the mid range.... If I understand correctly.
I tested my upperbass horns with no low pass and the freq. that went up to 3.5kHz also did mud up the midrange,  so I had to put add a low pass at 700hz.
But the 1st order Xover fixed things pretty well IME.  I expect the same would happen with the Midbass horns.
There are some similar Nagaoka BLH kits in Japan mainly  for Fostex speakers.


08-11-2009 Post does not mapped to Knowledge Tree
Romy the Cat


Boston, MA
Posts 10,049
Joined on 05-28-2004

Post #: 58
Post ID: 11357
Reply to: 11355
The construction techniques – that will be the last.
fiogf49gjkf0d
I see, thanks. Now I understand why the guy I spoke with was so "not afraid” the complexity of curved profiles. In fact he made a stand that it does not matter for him if it was rectangular or spherical parabolic profile. I kind of was taken back with that statement but now I see that he was right – the curved complexity with 3-D CNC cutter is not a subject anymore.
I think at this point I need to stop to think further about contraction methods and wait until I have a strategic design ready. I have people who will help me with conversion of strategic design into detail functional specifications and I have a person why can help be to convert data into a conventional design format. I think then I would need to approach a few woodshops to get from them proposals for implementation method, cost easements to access what I might end up with and to make my pick with the direction to go.
I think I get a basic grip for now what my options are. If I have the specifics of my new living rooms then I might be more definite about what and how I want to do in there…

The Cat


"I wish I could score everything for horns." - Richard Wagner. "Our writing equipment takes part in the forming of our thoughts." - Friedrich Nietzsche
08-15-2009 Post does not mapped to Knowledge Tree
mjloudspeaker
Posts 40
Joined on 08-07-2009

Post #: 59
Post ID: 11414
Reply to: 11337
Time alignment how?
fiogf49gjkf0d

How could you figure this out? Even if vertical horn is saving space, the other channels would be so far back that space is a problem again?

No wonder I hate horns. Been avoiding them all my life, but now is the time in my life for Horns.

j.

08-20-2009 Post does not mapped to Knowledge Tree
Romy the Cat


Boston, MA
Posts 10,049
Joined on 05-28-2004

Post #: 60
Post ID: 11508
Reply to: 11190
The ceilings height
fiogf49gjkf0d
I was visiting recently a few properties with large living rooms:  900-1000sq feet and 30 feet ceilings. Hm… I do not feel comfortable with it. I would rather prefer to have 12-15 feet ceilings. Those high 30 feet ceilings – I kind of feel unfriendly with it….

The Cat


"I wish I could score everything for horns." - Richard Wagner. "Our writing equipment takes part in the forming of our thoughts." - Friedrich Nietzsche
08-20-2009 Post does not mapped to Knowledge Tree
cv
Derby, United Kingdom
Posts 173
Joined on 09-15-2004

Post #: 61
Post ID: 11509
Reply to: 11508
High ceilings
fiogf49gjkf0d
Hi Romy,
How about building a mezanine floor (or two), with a nice wrought iron spiral staircase - surely koshka would enjoy that?
Best,
cv
08-20-2009 Post does not mapped to Knowledge Tree
Lbjefferies7
Southern California
Posts 49
Joined on 01-11-2008

Post #: 62
Post ID: 11510
Reply to: 11508
Shortening a High Room
fiogf49gjkf0d
http://www.flickr.com/photos/11441631@N00/2976547917/

Perhaps you could pull off something like this.  Of course, it depends in which way you were not comfortable with the 30 ft. ceilings.  The added tunability of the room would be a good thing and, theoretically, there may be benefits to low bass in a room of higher volume.  You could probably do some sexy lighting with them too.

Has the possibility of putting the mid-bass horns in something like an orchestra pit been considered?  There would be ways of making the mid-bass horns "disappear" that way.  How much are you willing to compromise near-field listening? 

LBJ


I'm not interested in having an orchestra sound like itself. I want it to sound like the composer. Leonard Bernstein
08-21-2009 Post does not mapped to Knowledge Tree
Romy the Cat


Boston, MA
Posts 10,049
Joined on 05-28-2004

Post #: 63
Post ID: 11512
Reply to: 11510
Using of the “High ceilings”
fiogf49gjkf0d
Yes, I was thinking of take advantage of high ceilings, feeling the space above with midbass horns. A few days back I found a very interesting building. It is big factory from the beginning of the century converted into many lofts. The building has heavy concrete between the floors and it looks very good. 

 I do not think that I would consider living in there (because multiple reasons) but I was attracted to the idea and I asked the real-estate girl to show me a few more lofts in the building, even if they are not “exactly” on the market. She did and I saw perhaps ten lofts. All of them had one separate bedroom and one room of 800-1200sq feet and 30-35 feet ceilings. What I detected was that for 800-1200sq feet rooms the 35 feet ceiling is too high. The room does not feel right as I had a feeling that I am in airport not in a home.  I think if a room has 35 feet ceiling then in order to get more sensible feel of a room the room had to be 1500-1700sq. I do not know if I am willing to go for over 1500sq of single room. It is VERY difficult to load this space with proper sound. Regardless the room sixe I will end up I still be using Macondo in nearfiled from 9-10 feet. However, in over 1500sq of single room the fundamental frequencies in order to load the room with proper pressure would demand tremendous amount of power and perhaps different topologies.  I think the 700-800sq   feet room are way more manageable. I might go for 1000sq to accommodate the midbass horns but it would demand to pay toll for other aspects of sound.

BTW, in the building that I sow there was an interesting thing. I asked if the ceilings would support a hanging 1000 pounds contraction. They told me that one of their tenants hanged… a large concert piano from the ceilings. He is a pianist and he took old large piano, removed the external wooden cover and kept the internal “exploded” version. Then he released the strings, making them to hang erratically; twisted actions and bridges; loaded the piano with lights and converted it into a large sculptural chandelier. It is around 800 pounds and he hanged it 25 feet in air. If you asked me then it is VERY cool.

The caT


"I wish I could score everything for horns." - Richard Wagner. "Our writing equipment takes part in the forming of our thoughts." - Friedrich Nietzsche
08-21-2009 Post does not mapped to Knowledge Tree
Romy the Cat


Boston, MA
Posts 10,049
Joined on 05-28-2004

Post #: 64
Post ID: 11517
Reply to: 11190
Some roomy links
fiogf49gjkf0d

http://www.ultraaudio.com/twbas/twbas_20050915.htm

http://www.ultraaudio.com/twbas/twbas_20051215.htm

http://www.ultraaudio.com/twbas/twbas_20060215.htm

I do not know if they are relevant as they look like made a room to control problems with their relatively tedious (in my prediction) acoustic system.

http://www.ultraaudio.com/twbas/twbas_20090401.htm

My entire concept of “a room” diametrical oppose – in my case room is not foe but tool, a canvas upon which an acoustic system does its job. Still, it is somebody thinking about the rooms, so I think it worth post it.

The Cat


"I wish I could score everything for horns." - Richard Wagner. "Our writing equipment takes part in the forming of our thoughts." - Friedrich Nietzsche
08-22-2009 Post does not mapped to Knowledge Tree
Romy the Cat


Boston, MA
Posts 10,049
Joined on 05-28-2004

Post #: 65
Post ID: 11521
Reply to: 11190
Sand damping topologies.
fiogf49gjkf0d
I site visitor, whose midbass horns I heard and liked, sent me email describing how he made his 50Hz horns:

“The horn’s walls having an inner layer of 3/4 inch high density compress board and outer wall of 3/4 inch high density plywood with a 1 inch layer of sand in between to kill vibration.”

I is unquestionably that sand- damping is the best way to go. It not just damps the horn but it also helps if the floor is not stern enough. The problem is that doable-wall horns are expensive to make, larger and if they are loaded with send then they are pretty much shall stay there for good. So, I wonder if any interesting design idea might be adopted that would make use of sand- damping more “ adoptable”?

I was thinking about the pneumatic wave between the inner and outer layers that would hypothetically allow to blow off the sand but I think it will blow out the outer layer first. What might be interesting is to make the horns from thin layers but to supplement it with sand harnesses. I mean to have adjustable belts with fabric-closed sand that will be pressed to the horns. Something like this:

SandHorn.JPG

TheCat


"I wish I could score everything for horns." - Richard Wagner. "Our writing equipment takes part in the forming of our thoughts." - Friedrich Nietzsche
08-22-2009 Post does not mapped to Knowledge Tree
decoud
United Kingdom
Posts 247
Joined on 03-01-2008

Post #: 66
Post ID: 11522
Reply to: 11521
Tubed sand
fiogf49gjkf0d
I thought of filling with sand braided multifilament nylon cable sleeving (http://cableorganizer.com/nylon-multifilament/) which comes in 2 inch diameter and does not expand enough to allow coarse sand to come out. It can be wrapped around as densely or sparsely as required. The problem is that it offers little structural support, though the tension of the fabric may convert some of the weight into compression. So the underlying structure has to be very rigid, it seems to me.
08-22-2009 Post does not mapped to Knowledge Tree
Lbjefferies7
Southern California
Posts 49
Joined on 01-11-2008

Post #: 67
Post ID: 11523
Reply to: 11521
Sandbag damping
fiogf49gjkf0d

You could bond (either completely or strategically) "hook-end" velcro to the horn and then have some custom sandbags made with "loop-end" velcro on one side.  http://www.uline.com/Product/ProductDetail.aspx?model=S-14556&ref=6426

If I were to have such horns (and in the future it is quite possible) I would be tempted to make them with two walls separated with sand or at least at the full weight.  For mobility/positioning I would mount them on robust castors for floor use.  I would be most tempted to fly them over the other channels, in which case I would love to use a jib crane.  https://www.gorbel.com/Products/Jibcranes/Ibeamjibcranes/wallcantileverjibcrane.aspx  They look quite reasonably priced...so much so that I would probably go for these even if floor positioning was the objective.

Did I ever mention that I am not married?  I guess it's obvious enough.
LBJ




I'm not interested in having an orchestra sound like itself. I want it to sound like the composer. Leonard Bernstein
08-22-2009 Post does not mapped to Knowledge Tree
Romy the Cat


Boston, MA
Posts 10,049
Joined on 05-28-2004

Post #: 68
Post ID: 11524
Reply to: 11522
A considerable amount of sand pressure.
fiogf49gjkf0d
 decoud wrote:
I thought of filling with sand braided multifilament nylon cable sleeving (http://cableorganizer.com/nylon-multifilament/) which comes in 2 inch diameter and does not expand enough to allow coarse sand to come out. It can be wrapped around as densely or sparsely as required. The problem is that it offers little structural support, though the tension of the fabric may convert some of the weight into compression. So the underlying structure has to be very rigid, it seems to me.
I thought about it already and do not think the tubing will work. I think to key in made sand dimpling to work is force considerable amount of sand pressure to the frame of the horn. In case belts used I thought (if I go this route) to use tension adjustable joins on the belts.  This way the sand bags might be positioned, fixed with the belts and then the belts hard pressed to the horn, something like this.

Horn_sand_dimpling.JPG




"I wish I could score everything for horns." - Richard Wagner. "Our writing equipment takes part in the forming of our thoughts." - Friedrich Nietzsche
08-22-2009 Post does not mapped to Knowledge Tree
scooter
Posts 161
Joined on 07-17-2008

Post #: 69
Post ID: 11525
Reply to: 11524
Automobile solutions
fiogf49gjkf0d
Hi Romy,

In 1990 the heater on one of my cars blew up (a VW). The rug was soaked with antifreeze and the dealer did not care, so I pulled out the rug and took it to the local laundromat for cleaning. Under the rug, the car had 4 clear, heavy and flexible polyethylene mats for sound dampening. Each mat had a bunch of 1"x2"x0.5" pockets filled with sand, much like that illustrated in your diagram.

I think these types of mats would be very easy to staple together and wrap around the horns and could be a potential solution. I am no auto guru but did a quick internet search and it seems like the auto industry has moved from sand to higher tech solutions, like composite wraps. Given the ease of wrapping the horns with the composite wraps,you might consider incorporating them into future applications.
08-23-2009 Post does not mapped to Knowledge Tree
Paul S
San Diego, California, USA
Posts 2,571
Joined on 10-12-2006

Post #: 70
Post ID: 11529
Reply to: 11525
Auto Former
fiogf49gjkf0d
Modern automotive sound damping is typically focused on "shaping" a targeted range of frequencies, based on how engineers want the cabin to sound and feel to the driver and passengers.  No reason why audio damping should not also be targeted, for the sake of efficiency, if nothing else, but with home hi-fi there are additional factors to consider.  At higher frequencies there are more damping options.  Things get tricky as the frequency drops, however, with primary and secondary waves and sub-sets, along with the possibility of differential motion of an entire assembly (horn) in some cases, if the "damping" lacks sufficient mass to quell sympathetic or reactive vibration at low frequencies.  Sand is nice because it effectively damps or thwarts a very wide range of frequencies -  if there is enough of it.  Many of the "lite solutions" I see would be suspect at lower frequencies, where sympathetic and/or reactive resonance means attenuation and/or cancellation rather than the rising response such resonance might cause at higher frequencies.  In any case, although resonances are fairly easy to predict in theory, they are very difficult to model and allow for in fact apart from trial and error.

I am very interested to see paper mock-ups of resonance for lightweight horns for lower frequencies, to see how people plan to get around resonance.   It would sure be great if someone actually came up with a "managable" lower-frequency horn that could take some of the pain and expense out of developing horns for lower frequencies.


Best regards,
Paul S
08-24-2009 Post does not mapped to Knowledge Tree
Romy the Cat


Boston, MA
Posts 10,049
Joined on 05-28-2004

Post #: 71
Post ID: 11543
Reply to: 11190
The corner loading.
fiogf49gjkf0d
Sometimes it works

Here is a guy undertook the Klipsh corner-loading project

http://myjubs.com/

With whole cons and pros of the corner-loading method in this situation is it possible IN SOME CASES to get VERY interesting bass. Unfortunately this architecture of bass is not compatible with ideology of acoustic system that I am proponent of but still it is a viable way to load a room. I just wish it were more practical and more predictable…. The Cat



"I wish I could score everything for horns." - Richard Wagner. "Our writing equipment takes part in the forming of our thoughts." - Friedrich Nietzsche
08-26-2009 Post does not mapped to Knowledge Tree
Romy the Cat


Boston, MA
Posts 10,049
Joined on 05-28-2004

Post #: 72
Post ID: 11552
Reply to: 11190
A sort of ridicules bass idea but let see…
fiogf49gjkf0d

Once again, there is nothing specific in this post just some further thinking on the subject, as I keep discovering new idea.

A couple weeks back I was looking at a house that gave in inspiration to think about it. The house was 3 bedrooms California Ranch with very nice for my purposes layout of the rooms. The Living Room was around 15x20, so called Family Room was about the same and the dining aria of kitchen was around the same. The have no caring walls between then, at least at my own first inspection, and were positioned in a way the turning de a few not solid walls it would be possible to convert it into a wade open plane and to have my 900 sq feet (preserving the bedrooms). I am not going to proceed with THAT house (because a multitude of reasons) but I just give a conceptual view – you will understand why. The house had marginally acceptable high of ceilings and as most of the Ranches it had a basement.   It was a full basement with a typical appliances room, and a large 35-40x25 empty-space room with low 8 feet-tall ceiling. The floor between Living Room and basement was horrible. I mean it was wonderful from a perspective of normal people but from the perspective of my objectives the floor was crap. I would rather much prefer do not have any basement at all and have a house sitting on a concrete slab (good luck to find it). This suspended, very not-solidly made, almost breathing flooring is the subject of my attention.

Let look at this farther. Installing the playback at the first floor of a ranch with a basement and cheap floor (all of them are cheap – I never seen then to be solid enough) I think I would never have proper bass. (BTW, in my current room I do have a concrete slab as my floor me and the bass I get is very nice in my view). The lower bass will be just passing through the floor like a hot knife through the butter.  However, then I begin to think about the content of bass in my playback.

It will be presumably 40Hz horns but it will not be the lowest bass. The folks who read my site know that I advocate the open-bottom lowest bass channels and in my case it will be 30-40Hz crossed truly LF channels, let call it ULF channel. So, for the ULF channel the light-suspended floor like I described would virtually not existed. If so, then I wonder if it is possible to put the ULF channel… in the basement, letting it from there to supplement sound in the room above. I never thought about this option before I wonder of anyone experimented with it.

The Cat


"I wish I could score everything for horns." - Richard Wagner. "Our writing equipment takes part in the forming of our thoughts." - Friedrich Nietzsche
08-26-2009 Post does not mapped to Knowledge Tree
Dominik
Poland
Posts 48
Joined on 09-14-2008

Post #: 73
Post ID: 11553
Reply to: 11552
6m Basshorn
fiogf49gjkf0d
...
08-26-2009 Post does not mapped to Knowledge Tree
tuga


Posts 174
Joined on 12-26-2007

Post #: 74
Post ID: 11555
Reply to: 11553
Another basement horn.
fiogf49gjkf0d
This was taken from a crazy article by a mad brazilian, an original Hi Fi News (March'80) drawing of Britain's largest cinema horn (~5,20m2 mouth).
Could such a design solve your time-alignment problem?


Cheers,Ric


"Science draws the wave, poetry fills it with water" Teixeira Pascoaes
08-26-2009 Post does not mapped to Knowledge Tree
Saturntube
Posts 24
Joined on 07-08-2005

Post #: 75
Post ID: 11557
Reply to: 11555
Early firing Midbass horn
fiogf49gjkf0d


This is very interesting, I was thinking of such an option given the existence of a basement, (I do not have that luxury, but I have a concrete slab).
The idea that the driver is actually closer to the listener than the mouth could help over come the time alignment  problems we have been discussing,
that way the driver would "shoot" or "fire", closer to the listener and still have time to travel through the horn...
I personally dont like the sharp 90 degree bend, maybe a loop or curve could be implemented to give it a better geometry, 
now maybe if I can invert it to travel through the roof, instead of the floor I could implement something similar.


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