GoodSoundClub - Romy the Cat's Audio Site - Slighly mad suggestion! Ignore accordingly

04-06-2017

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Romy the Cat

Boston, MA
Posts 10,160
Joined on 05-28-2004

Post #:	152
Post ID:	23120
Reply to:	23094

It is very nice.

It is ended a very nice. Today I have calibrated the playback, fine the right phasing for the channels and figure out how to integrate them. The direct radiator midbass runs remarkably flat to the rest in the system. Juts 2 15 Vitavox drivers loaded in parallel against Milq bass channels give the absolutely same sensitivity as the rest of Macondo. There is absolutely no gain adjustment necessary. What a lucky thing! I do feel that I might very slightly tock the upper knee of the midbass chela with a 9mH coil at 150Hz. The ULF does very well and I think I have extra 3-4dB to spare, it is always nice to have extra gain in bass, and thankfully I have LPADs at the amp entrance. The overall result, even with slightly long tail at midbass is nice. I still not sure where to seat and how to listen it but overall the playback is officially back to the business.

"I wish I could score everything for horns." - Richard Wagner. "Our writing equipment takes part in the forming of our thoughts." - Friedrich Nietzsche

04-07-2017

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Romy the Cat

Boston, MA
Posts 10,160
Joined on 05-28-2004

Post #:	153
Post ID:	23124
Reply to:	23120

Great day

Today I spent quite a number of hours listening the new playback. As comfortable I am with playback response there are a few aspects that I do not like.

1)      I do not have enough gain and I would like the damn thing to be slightly louder
2)      The imaging is UGLY, this nice holographic effect that we all so love is there but in a quite unpleasant way, at least not in the way how I accustomed.
3)      There is some odd vertical vectoring that should not be there.
4)      I can’t figure out where is the listening spot. The better system setup the more distinctive advancements in sweat spot should be. I am sliding my listening chair back and forth for good 3 feet and I do not see the hot spot.
5)      The quantitative frequency response is there but the playback does not “breathe” on its own. The sound is labored and forced.
6)      The seductiveness of the sound is probably the worst I had for years…

So, I begun to move the speakers. I mean really move them, more than 3 feet forwards and I think Macondo read the back wall too much. Amy was screaming that room is becoming too small but I guess she need to deal with it. As the Macondo moved to the mid of the room the imaging begun to blossom. I changed the configuration and layout of midbass and cross it way more aggressive then I though at 85Hz. Keeping moving the Macondo I got a lot of things addressed. I do not have now that super acute ability to relate the spacer positioning with very fine aspects of imaging. I use to have it but during the last 2-3 year of kids journey some of my sensitively get weakened. It is OK, I will pick it up back, I juts need Thomas stop playing his damn xylophone while I am listening and Charley do not scream like a wounded in ass hyena. I know that the things I deal with take time to understand myself, but I did have a very good kicked off session today and I am very enthusiastic with the progress I did today.

"I wish I could score everything for horns." - Richard Wagner. "Our writing equipment takes part in the forming of our thoughts." - Friedrich Nietzsche

04-08-2017

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Romy the Cat

Boston, MA
Posts 10,160
Joined on 05-28-2004

Post #:	154
Post ID:	23126
Reply to:	23124

Macondo and wife satisfaction.

Amy last night delivered the most brutal insult of my playback I have heard for years. Usually I very much like when stupid internet audio with audio IQ leas size of own shoe to “criticize” my playback. This is real fun to hear them and it is a real fun to mock their uninformed stupidity. I also like when people I care criticize” my sound. It is always educational to hear another perspective. In case of my wife her very minor, not even criticism but a request, was absolutely devastating and hurt my ego a lot.

So, here is what happened. Amy is playing with Boston Philharmonic this week, it is Mahler Second in Symphony Hall. Last night as I was moving Macondo around the room as I get more interesting result she came and we did some listening together. She asked me to play different Resurrection interpretations that I like, I picked a few and among then there was one Japanese recording that happened to have very little compression and relatively low recording volume. So, to play it Macondo/Milq were in max gain. As we start to listen the Scherzo Amy asked to get more volume. I was staying there, flipping my eyes and said that it is all that I have and I can’t do more. “it is shame”, Amy said. Fuck!!! I felt so bad. I am OK to lay down 1250 “audio professionals” and to convince them that they are idiot from birth but I can’t handle my Kitty dese to have a few dB more volume when a playback in unity gain.

It is kind of said and pathetic that I feel this way but it is what it is… With all humorlessness of the situation I think it does exposes a cretinism that for a large room a gain or two stager amplification might not be sufficient. Milq is perfectly made to have a balance between gain and power. I might get rid of my Active Placette (theoretically and I can’t go it in reality) and get a preamp with gain. As now I output max 4.5V to MIlq and I still have my driver stage and output stage in A1. If I pump much more voltage into Milq then the amp will go to class A2 and my indirect heated tubes will not handle well grid currents. So, I am kind of wondering where I stay with it. I think I can have up to 5.5V at Milq input. My PhonoStage can give I think 6V and it is always enough, kind of fuck the class A2:-)! I might have an additional active preamp and to activate it ONLY with low level recordings. This sounds like a good idea to have handy to stop wife wiling and me not able to…

"I wish I could score everything for horns." - Richard Wagner. "Our writing equipment takes part in the forming of our thoughts." - Friedrich Nietzsche

04-13-2017

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Romy the Cat

Boston, MA
Posts 10,160
Joined on 05-28-2004

Post #:	155
Post ID:	23145
Reply to:	23126

A truly peaceful feeling.

I pulled from a basement Dunleavy SCIII and plugged them as a Pilot speaker’s driver by Yamaha B2. They are so nice! I would not use them foe complex classical music as they are a bit shallow and confused but for TV repertoire they are just perfect. They are soft and palatable with small footprint, I like them. Also, decided to decrease the amount of ULF drivers per channel from 6 to 4. I think 8 drivers all together is fine for my room, concerning that I cross at 20 Hz and on transition slope. The idea to go for 12 driver was to see if it was enough and do not have a dedicated Midbass channel. Since the bass towers went back to be pure ULF then 8 drivers will do fine.

"I wish I could score everything for horns." - Richard Wagner. "Our writing equipment takes part in the forming of our thoughts." - Friedrich Nietzsche

07-06-2017

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Romy the Cat

Boston, MA
Posts 10,160
Joined on 05-28-2004

Post #:	156
Post ID:	23284
Reply to:	22459

Macondo listening distance.

On July 4 I had a good listening session for a few hours. Not frequently I have the luxury like this with 3 small kids. I was thinking critical about the sound I was getting, even though the playback was deal cold after a 3 weeks not playing. To thinking out the sonic result I was getting and extrapolating in my head the differences I would be getting if I move the speakers in different directions (I know very well how Macondo topology response to a room) I come to the very same strange conclusion that I has been telling to myself for years: the huge Macondo is a near field acoustic system.

My current room is very flexible and I might locate the right and left channels as wide as 18 feet apart. For sure it will dictate the listening distance and the toeing the speaker’s axis. I know all possible combinations available in there and I am telling you that the current 10-10 configuration (10 feet apart and 10 feet listening distance is too wide and too far. I will be moving to 8.5 -8.5 configuration as I feel it is more suitable. No matter how large the room is I feel more comfortable with shaping Sound in a small area.

"I wish I could score everything for horns." - Richard Wagner. "Our writing equipment takes part in the forming of our thoughts." - Friedrich Nietzsche

07-07-2017

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Romy the Cat

Boston, MA
Posts 10,160
Joined on 05-28-2004

Post #:	158
Post ID:	23286
Reply to:	23285

The Listening Room July 7

In my current configuration I have 11-11-3 measuring from tweeters. First number is the distance between speakers, second is listening distance and the third is the distance from the shudder where the horn axis are pointing out. This is not a good configuration in my view. The speakers use too much toeing and with the type of the horns I use (Tratrix) I think the last number should be around 1.

In my case as you see in the image below I have 120” screen dropping between the speakers that made me to position the speakers too wide. I can’t toping them toward the X-X-1 configuration because then I have the center image become too deep and not realistic. So I need to move the speaker closer to each other and to sit closer. I need to reposition the screen that would let me to move the speakers closer and to set 9-9-1 configuration or slightly below.

Frankly I did not do a lot of critical positioning of my playback. We move in this hour in the very end of June last year. It took July to unpack and in August we got hit by twins. Honestly, I do not do too much listening since then. I keep waiting then the kids grow up a bit and I am sure I will be back with my listening session and with my higher demands to the sound I am getting.

"I wish I could score everything for horns." - Richard Wagner. "Our writing equipment takes part in the forming of our thoughts." - Friedrich Nietzsche

07-08-2017

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Romy the Cat

Boston, MA
Posts 10,160
Joined on 05-28-2004

Post #:	160
Post ID:	23288
Reply to:	23287

Some comments...

I think 8-8-1 will be very good configuration all together. Make sure it stays sufficiently far from back wall. Point the axis toward to your shoulder and I think it would be fine setting. Turn off tweeters and Fundamentals channel and set right balance between MF output and upper bass output. You might use RTA but it will not be very useful for you in beginning and you need calibrate RTA for your speakers and it will take for a while. It will be approximately 1 dB freedom for MF channel where it still be “flat” and you will need to find right configuration. Playing with axis targeting and MF attenuation you will need to find right balance all together and right amount of “strings bite”. You will initially most likely will go for a bit harder “strings bite” as it defines “quality” in most of audio. As time goes by you might want to get more lush and soft sound from you and to get harshness only when musicians and music is called to it. The subject of right “strings bite” is very complicated and I can write a whole book about it. In most of the systems it is also is contingent upon many factors. Macondo has some own factors as well. The acoustic treatment of the room, electricity quality, the axis direction and many other factors are common. In Macondo, specifically will be the selection and operation mode of the output tube for MF, the type of OPT, the inductance of the MF attenuator, the type of the MF tube loading, the type of the diaphragms is use with S2 driver, the listening distance and many other factors.

Regarding the dual 15" midbass boxes. They are $45 each, from eBay by the companies that do chip boxed for car audio. I ordered them when kid where small, did not sleep at night and I had no time to deal with it. The point of the experiment was to see if a pair of Vitavox 15 drivers per channel will be able to have a reference output to match the rest of Macondo. The experiment showed that it is truly perfect in dB sense. In term of overall sound, it is a bit more complicated. I very much like upper and lower region of my new midbass channels but I do not like the lower end. It is not bad lower bass but make the lower octave to sound the same in all music. It is not as bad as a typical subwoofer but it is not as different as I am accustomed. Also, it is very much not integrateable with my ULF channels. The ULF does add a lot to the sound but at the same time makes lover bass even worse.

Now, it is easy to blame undersized midbass boxed for the “tightness” that I experience and it is not dificalt to get larger boxes and better made. The reality is different and it might be many other factors screw with my lower bass, not only the boxes. To name a few: the Vitavox 15 drivers might not be a right choice foe sealed topology, the damping of the boxed was wrong type for the drivers I use, the Milq LF channel is not properly loaded by dual Vitavox etc etc etc…

To test everything and to find right solution need time and I just do not have it. For now, I use the car audio boozes for $45 and am glad that they give me right dB output. As time goes by I will experiment with it more and will find a better solution. I am not completely abandon the idea to have a midbass how made in there…

"I wish I could score everything for horns." - Richard Wagner. "Our writing equipment takes part in the forming of our thoughts." - Friedrich Nietzsche

07-10-2017

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Romy the Cat

Boston, MA
Posts 10,160
Joined on 05-28-2004

Post #:	161
Post ID:	23290
Reply to:	23288

I am looking for inspiration.

I had a good listening session this Sunday. The Tchaikovsky 5 and Mahler 3^rd. I shut down my ULF and was listening just with the rest of the system. I was thinking what the hell I can do with lower knee of my midbass. I absolutely adore what Vitavox dove in upper and mid region. Now I need to think about the lower end and it is not so good and it even screws up my ULF. This is very problematic thinking as a pair of VItavox per channel (in parallel) does a perfect much to my system in term of acoustic output with a fully opened Milq and I for sure would like do not lose it.

The idea it build a larger box that is kind of sound rational does not attracts me. The Vitavox 15” that I use has QTS of 0.202 AND IT IS very problematic for sealed enclosure. The only way how it might be “worked” is to have smallish box and overly damped wall. Something that I have done and it worked very fine as experiment but not going to be good enough as a perm solution. I knew it and this is why I did not invest a lot on the interim midbass project. Now is the question is: what to do next.

With the Vitavox 15” the QTS is begged to be make is ported box but I do not like any ported sound. I might smudge QTS by using a narrow horn with front porting but I never like how this topology sound. To change drivers is kind of problematic as I need a pair of 100db woofers, hard to get with good sound. So, I am not sure what to do and I am looking for inspirations.

"I wish I could score everything for horns." - Richard Wagner. "Our writing equipment takes part in the forming of our thoughts." - Friedrich Nietzsche

07-10-2017

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Romy the Cat

Boston, MA
Posts 10,160
Joined on 05-28-2004

Post #:	163
Post ID:	23292
Reply to:	23291

I do not know yet what to do.

I was thinking about it. The low QTS of the driver does make is a good candidate for ported enclosure. It hypothetically it might be possible to experiment with it but it might be gone only after I build the enclosure as it is impossible to predict how it will sound, at least I have no experience to do it. The low QTS driver roll of bass uselessly very rapidly and they need to be placed in a horn with horn equalization and trout reaction make the fast bass loll of more controlled and smooth. The port does it the same to a degree but with own puss that I have no knowledge how to control. I am accustomed to very slow decaying midbass, I do not need it to go low but I need it to go very sluggish almost euphoric. I love when MF and HF are supported but super soft midbass pedal point, not even the pedal point note but rather the pedal point softness. I do not know how to get this softness from ported box, I am not saying it is impossible, I just do not know what virtual knob to turn in order to get there. In my past I had time to experiment, learn for mistake and do it again differently. Not today…. I am a bit at lost now. I have a view ideas but none of them guaranteed that I get what I want. With bass it is different than MF. With MF you can change the things and to get different result but with bass you got it or you do not got it and the changes the things need to be made mostly by strategic then tactical means.

"I wish I could score everything for horns." - Richard Wagner. "Our writing equipment takes part in the forming of our thoughts." - Friedrich Nietzsche

07-11-2017

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Paul S
San Diego, California, USA
Posts 2,658
Joined on 10-12-2006

Post #:	164
Post ID:	23293
Reply to:	23292

Port vs. Not Sealed

I agree that the right 15" is a nice size for mid-upper bass. I suppose yours are the 15" Vitavoxes that were made to go in boxes? Of course, the usual reason for ports is to "extend" LF, and most modern LF drivers are used in something like this, since the idea these days always seems to be to get all the LF a driver will do. On the other hand, if you just want an old driver with a thinner membrane to "breathe" and sound "alive", you might lose some LF extension. In fact, it's likely. There is the open back box, of course, and the open back with the "curtain" behind the driver. I have experimented with many holes of different sizes in the back of a lower MF (12" driver) cabinet, and I will soon try 15" driver in similar but larger boxes, hoping to preserve the good upper bass I've gotten from 15" in large open baffles, and just crossing my fingers about LF extension. Some of the old "factory" boxes had several slots around the front, but to date I've only heard sound suitable for theaters from these. Anyway, if you are decided on a box size, just messing with stuffing and the back might be a fairly easy way to learn more about your Vitavox, like how low you can get it without choking it. One advantage you have, of course, is to equalize at line level.

Best regards,
Paul S

07-11-2017

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kodomo
Posts 69
Joined on 06-20-2015

Post #:	165
Post ID:	23294
Reply to:	23290

Ported

Maybe you remember, even though I liked sealed enclosures I chose the ported bass boxes for my system. The reason was the TAD 1601b's in my situation. They just work and sound better with ported enclosures as they were designed to be used that way.

Maybe sealed is better, maybe ported that is not the subject here. The thing is to make the correct implementation for the correct components for the chosen compromises. I was always weary of the port noise. I had so many studio monitors pass before my ears Smile

in the recording studio and I can always hear the ports! So it was a big problem for me to choose this way. Then I found out, with correct way to do it and over-engineering you can overcome the port noise. So, simulate before building, check the port air speed in the simulation. I have dual Tad 1601b's in 298lt boxes with dual flared ports. You can even be a few cm's in front of it, still you would not hear anything and I sit 5 meters away...

So for the time being, I think you can use ported enclosures, just build the correct box and build it good!

07-11-2017

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Romy the Cat

Boston, MA
Posts 10,160
Joined on 05-28-2004

Post #:	166
Post ID:	23295
Reply to:	23294

No port for me, if possible...

Kodomo, I do not like ported sound, it always have a problem with the way how ported enclosures present vowels. You can tune them in this way or in that way but all of the ported systems I heard have the own characteristic coloring vowel at the very bottom. Each system might have own vowel but the system put the very same lower octave vowels to all music. As the result, listening the playback with ported bass, the cello of the Russian Borodin String Quarter, the bassoon of London Symphony, the Wagner tubas of the Czech Philharmonic and the bass claret of MET orchestra, all have the same constant vowels that acts as a common denominator in all music. I do not like and I do not know how to make a ported box that will not have this effect.

"I wish I could score everything for horns." - Richard Wagner. "Our writing equipment takes part in the forming of our thoughts." - Friedrich Nietzsche

07-11-2017

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Romy the Cat

Boston, MA
Posts 10,160
Joined on 05-28-2004

Post #:	167
Post ID:	23296
Reply to:	23292

Might...... be....

I was thinking and thinking last couple days what to do with my lower midbass situation. I do need to use 2 drivers per channel with 100dB efficiency to get the dBs I need to match Macondo and Milq’s bass channel gain. I do want to use Vitavox 15” for their stunning upper bass. I do not want to go for ported topology and the Vitavox15 need room to gasp. So, I might go two china’s midbass. I can get a pair of Altec 151G let say and make two of them to run lower midbass and then let Vitavox to run a higher midbass, making let say 50Hz as divider point. With low order filtration the filter will be irrelevant and I am afraid that with higher order filtration I will lose the entire “space”. I do have room for more enclosures in there…. However, it does not sound elegant to me…

The only option that I feel is on the table that is cleans and would not have too many unknown would be to take advantage of my listening room profile and implant a midbass horn in there. The idea looks very elegant. It will not hard to build. I will use a pair of Vitavox 15” in 10” hole per driver, not the 8” as I use to do before. I think the Vitavox 15” needs to have less compression and to be more “freestanding”. With such a large whole the horn will not have a long neck in beginning. I will have 7 feet before the first bend and pretty much unlimited length to the horn mouth. I can’t show it on the picture but I will have the 3 ways mouth opening that should be more visual appealing. If I go this direction then I need to circulate where will be the mode in the bend and where the mode will be in proportion to the room and the rest of the speakers. It I possible that will be able to spread it or to use it somehow. The interesting thing is that even it will be a relatively large horn but it will be not a huge time delay, just 1-2 msec.

I need to measure everything and to plan everything if I go this route. For sure it will be the best use of my Vitavox drivers and I am pretty sure I will be to get the SPL I need. I wonder, would it be worth for me to take a week off and to render this project?

"I wish I could score everything for horns." - Richard Wagner. "Our writing equipment takes part in the forming of our thoughts." - Friedrich Nietzsche

07-11-2017

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Romy the Cat

Boston, MA
Posts 10,160
Joined on 05-28-2004

Post #:	169
Post ID:	23298
Reply to:	23297

K-Horns… hmmm very interesting…

I do have platy of space and the LF section for K-Horns might be a very interesting idea to try. The Vitavos was dese to use in the UK replica of K-Horn. I never liked the K-Horn too much as they always project imaging that is “flat” in the wall. In my case if I do use the K-Horn the will be caring juts one octave and the rest will be coming for my horns. I would need to agree to live with Midbass time misalignment however… Still, it would be a good direction to experiment as I think that would make my ultra-low QTS driver to decal much slower at the bottom knee. I do not mind to try. Do you know if people sell empty cabinets for the LF section only?

"I wish I could score everything for horns." - Richard Wagner. "Our writing equipment takes part in the forming of our thoughts." - Friedrich Nietzsche

07-11-2017

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Romy the Cat

Boston, MA
Posts 10,160
Joined on 05-28-2004

Post #:	172
Post ID:	23301
Reply to:	23300

The memory lane.

I very much do not mind to try the biggest Khorn bass section with my setup. I am trying to figure out how to do it with buying the damn thing…

I need to say that the best midbass I hear in my life was from Khorn, well not from Khorn itself but from Vitavox CN-191, which was UK replica of Khorn. It was back in 2001-2002, if I am not mistaken. David Karmeli from Damoka Audio brought to Vegas a par of vintage Germans Klangfilms that made everybody pee with steam. I never had any warm feeling about David’s Klangfilms, however David also brought to Vegas a pair of Vitavox CN-191 with 151 drivers. He did not show the Vitavox and there was no room for them, so he dumped then it a corner of some kind of secondary room and did not even connect them. One day, at evening, when the Morons are gone he decided to plug them in. I was hanging around and did not care too much what he was doing, and he was doing something for a while and the Vitavox sound like shit. Then David informed us that he confused the polarity of the speakers and now it “should be better”. The sound suddenly turned to “holly shit” status. All of the sudden the speakers went alive and it was absolutely stunning. There was problems that I would comment in that sound BUT the midbass was truly beyond believe. Exactly after that events I went and bought a few very same drivers as I did feel that it was absolutely the best midbass I even heard. They were driven by Lamms ML2.0 I need to note that I heard CN-191 in a few other settings, including the very same David’s Vitavox CN-191. Any other time they sound like shit. I think David was bringing the same CN-191during consecutive years into different rooms with pretty much unsuccessful results. In THAT Las Vegas however, in THAT very lucky room, the stars were aligned and it was truly midbass firework. So, taking about the corner loading idea I do have a kind spot in my hard and the hope that I with the same drivers will be able to get the same sound. How will it work in context of my specific corners/ room I have no idea.

"I wish I could score everything for horns." - Richard Wagner. "Our writing equipment takes part in the forming of our thoughts." - Friedrich Nietzsche

07-11-2017

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martinshorn
Germany
Posts 114
Joined on 04-14-2017

Post #:	174
Post ID:	23303
Reply to:	23302

KHorn facts and truth

Some wrong oppinions here Smile

As a fan I studiet it very precise. I mean very down to each inch.
The path length is 1.68 Meters, Throat 250 square centimeter (7.5x33), mouth 2x25 / 50 x 97 cm = 5000sqcmThat makes a compression of almost 4:1Gives a cutoff freq. of 50Hz (with half efficiency). Below the 50 the third harmonic dramatically increases.At about 90Hz it peaks to good efficiency, below drops with 2nd order, below cutoff with 4th.From 90 to 180 the native Horn efficiency is 111dB SPL *Above 150 to 340 the efficiency increases to 118dB SPL ** due to compression ratio.Above 340 a smooth rolloff can be achieved ***Dramatic efficiency and lower distortion can be easily achieved by stacking 2 on top of each other, connected parallel if resistance is ok.Last option makes it a brutal real-estate-tear-down machine Big Smile

footnotes:* important to avoid combfilter effects above 100Hz by using a lid (never skip it like some do!)** same rule applies to tight connection to the corner without airgaps including (ideally even lift above the baseboard from the floor) and apply a proper reflector on the edge (i use a 12cm square timber put in the edge, works as 2x45° splitter)*** 340Hz approx 3rd order rolloff is due to 7 liters driver-membrane volume working as a lopass. You can extend that 1 or even 2 octaves using a DIY-phaseplug to reduce the volume
The incredible advantage is the edge which cuts the mouth to an 8th of the size.But something more important happens:
Each normal speaker placed certain distance in front of a wall has a big problem: the alisson effect.With a quarter lambda distance to the wall, the usual speaker with 3 foot distance has a steep notch nockout around 80-90Hz.Using the Khorn will prevent ANY reflections from floor or walls. You get a really neat smooth response over many octaves.The alissons work like a notch, and such resonate very long time after. Not having such on the K's is in my believe one of the keys to the dry crisp sound. Apart from low intermodulation distortion. Read this (german translation) from Klipsch himself:
http://allabout-hifi.magnetofon.de/index.php?topic=490.0
Different chapter is the timealignment. You can actually only overcome that via DSP delay.I also skipped that one some passive XOs and you can hear that even crossing quiet low.On drums especially, instead of a crisp punch, you get a soft bouncy rolling "tock-flummmm" drum.Its subtle, good ears will notice, its a coloration yes, but one of the very pleasant ones! As it takes the harshness without getting boomy at all.I must say i love the fact not having wall reflections, so i use 2 stacked left and right, stereo, 90-340Hz.Due to the hi crossover @ 340 it pulls the lows a slight note wider and deeper into the stage. Which makes it actually more realistic and live-alike (considering the technical problems of stereophonic phantom-source location of low tones getting more monaural in human perception).
My 2 cents Smile

07-11-2017

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martinshorn
Germany
Posts 114
Joined on 04-14-2017

Post #:	175
Post ID:	23304
Reply to:	23303

Khorn extension

A buddy tried for fun something that came to our mind. Extending the front. He put a quartersqare on the flat face. By that you smoothly extend and connect both mouth ends left and right. You can also use a half circle with 80cm diameter.In combination with a longer lid, it almost triples the mouth size.The listening result blew me away, literally. It even blew the curtains, hanging 4 meters far, moving 20cm back n forth when the subsonics of an e-bass guitar was playing super dry and clean with 120 decibel... i could feel it in my lungs.And that was with 1 single KHorn, 1 single 15inch average PA driver on a 80 watts standard amp. Mind blowing! Ull never forget Smile

But just for fun. Due to distortion i would always cut the khorn latest at 50, ideally even 90 cycles and get another subwoofer in a closed box. Just cleaner.

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»	New	Romy The Cat's new Listening Room..	Won't be the last time he makes that trip!...	Audio Discussions Forum	478	2929791	03-28-2010
»	New	Midbass Horns and Real Estate...	Just a youtube video......	Horn-Loaded Speakers Forum	247	2146972	07-26-2009

	Target	Threads for related reading	Most recent post in related threads	Forum	Replies	Views	Started
»	New	Romy The Cat's new Listening Room..	Won't be the last time he makes that trip!...	Audio Discussions Forum	478	2929791	03-28-2010
»	New	Midbass Horns and Real Estate...	Just a youtube video......	Horn-Loaded Speakers Forum	247	2146972	07-26-2009