Paul S wrote:

Again, it may be parallax (or, it may be late...), but the following do not appear to me to be "smooth progressions", whether simple or exponential: 1) Section 2, vertically 2) Section 4, horizontally 3) Section 4, vertically Of course I don't know what the thing is supposed to look like, in the first place, but this is where large, plotted paper (or cardboard) templates are useful as gauges. Maybe plot and gauge the inside of the curve, so differences would be easier to spot (if it matters...). It's very easy to cross a line with a hand-held power saw, and a snapped line can be fairly wide (relatively speaking, here), to begin with. If this proves to be an issue, Japanese-type ink lines are quite narrow and visually sharp. If/when the line is critical, one can always "leave the line", then plane or sand back to it with a disk sander (experts only...), for greater control.

Thinking about the integration scenarios of my midbass horn I come to a realization that it highly possible that the horn in THIS room will do something very unique. I have wrote before that I was successful to set channels delayed but the delay was masking but the fact that echo frequency channels was delays in respect to a neighboring one and offset by frequency range. This way delays was not as single hit but speeded across the bandwidth and was much less annoying, if annoying at all. What I think is possible is that in my new room with my new midbass horn I might have a model where the exchange between frequency and delay will be super gradual and absolutely natural. I do not know how it will affect sound but it shall be very interesting. Let look at the proposed mechanic of the process:

Let pretend that wide bandwidth come from main speakers and from midbass horns. On the picture is the side view of my room with more or less right proportion. The LF do not propagate like light but they obey the pressure wave pattern, so the pressure fill all space at the same time and pressure rises at the shortest distance. So, at LF the L1 distance and L2 distance are identical – the horns are in perfect time alignment.

Now the frequency rises. The more it raises then more and more sound losing pressure wave pattern distribution and get directivity, like light. The sound at HF shots out of the horn but the horn very much not pointed to listener but sits way above. So, the HF are shooting in the opening of cathedral ceiling and then descend to listening spot as reflections (whatever were not killed by my sails). This HF sound will be delayed in regard to the reference arriving time but here is an interesting kink: the HF will be delay proportionally to bandwidth and he most important this dependency will be self-regulated. So, in my drawing the L3 will be never equal to L4, however the LF will be longer then L3 very smoothly in respect to the acting frequencies.

I guess it might be very interesting effect. The L4 will be of close way attenuated but I think they will be in play somehow. How effective will it be the time will show but if the impact of FH from my midbass horns will be not the same as amount FH from the horns. I am very confident in it.

The mouth of the left channel is done.  Now it has the corners are glued in - you can see in the joins between the pans are chorded – you can see it on the first image.  It is left just to finks beefing up the frame – you can see on the second image that I started to do it with one side and to clean/finish the horn inside. In the third image you can see the complete one side of the horn. I use my idea of random beefinization – this is how the whole horn will be done. The concept implies a random combination of 7 elements:

1)      ¾ Baltic Birch +  3x4 studs
2)      ¾ Baltic Birch +  3x2 studs
3)      ¾ Baltic Birch +  3x2 studs that are not shimmed to the frame but buffered by polyurethane foam
4)      ¾ Baltic Birch + ¾ Baltic Birch
5)      ¾ Baltic Birch + roof cement
6)      Small open sells of ¾ Baltic Birch
7)      ¾ Baltic Birch + sand (atop of the horn)

All together the surface sound much heavier then 1.5” of Baltic Birch. It is a lot of labor to do this but I do like the result VERY much. It does look ugly but it was exactly how I warn it to be. My carpenter feels the I am crazy as he things that we will never lift it up. Well, fuck it, I do this horn once in my life and I would like it to be done “seriously”.

This is a quandary that I am thinking about now; feel free to bring your views.

The big two mouths on the top of my room – to cover them with fabric or not?

Here are some coned and pros that are spinning in my mind.

FOR fabric cover:

1)      Less demands or no deans at all for the in-horn finishing (that is HUGE)
2)      Better thermo control
3)      A sheet of fabric will act a very MINOR  low pass filter
4)      More convention décor of the room
5)      Fabric  over mouth will act as a consumer of HF that will hit the large Triangular wall (that is important)
6)      No need to clear dust inside of the horn from time to time (some horn practitioners know what I mean)

Against fabric cover:

1)      The horns inside must be well sanded, finished, pained or covered with something (a LOT of work).
2)      Two open mouths going deep to the attic will provide VERY sexy addition to the room décor in a geeky way.
3)      I might play with lights inside the mouths
4)      It “might” sound better
5)      I will be able to see if any structural damage begin to take place
6)      The absence of the “fabric wall” in place of the mouths will create no reflective surface.

I am still thinking and have no ruling on the subject.

Romy the Cat wrote:

I am more and more inclining to finish my horn in the textured paint of the color of my room. However, lately I have another “idee fixe”. My listening room has a very pleasant light pattern, something that was here before and something that I added. As a former photographer I like the light accents and as current Cat I like darn rooms with light spots…. In addition to all mishigas ideas that I put in construction of my midbass horn I am considering to but in a light sources into the horn bells.  I wonder what kind light sole I might build-in in order to be affected but do not compromise the structural integrity of the horn. I am considering putting in two 15W (perhaps red( lights that would in level with surface of second section – right in beginning of the horn… The Cat

zako wrote:

Red lights would make it look like the red light whore house districk in Amsterdam....

Zako wrote:

"...Red lights would make it look like the red light whore house district in Amsterdam..."

Zako, take a look at the following definition for "Cathouse" (Cat-House):
http://www.google.fr/search?hl=en&safe=off&q=define%3A+cathouse&aq=f&aqi=&aql=&oq=&gs_rfai=

Red light would be perfect.

jd*

zako wrote:

Red lights would make it look like the red light whore house districk in Amsterdam....

jessie.dazzle wrote:

When doing the final assembly, you might want to use Nylock type self-locking nuts: http://www.nylocknut.com/ Looking at the images, this might require that you use slightly longer bolts (the few threads exposed beyond the existing nuts are those that start to taper to a smaller diameter and may not offer enough interference with the nylon ring of a self-locking nut). This type of self-locking nut can be re-used. Available at Lowes and Home Depot.