the good in OB are the bass !
Depends on your design. Like with every loudspeaker the bassresponse is tricky bussiness.
The OB makes reflection more predictable and that is a big advantage.
I must agree.
I find excellent results with small wattage and efficient (96db/watt +)drivers for 300 hertz and up, satellited to an efficient,(98db/watt) 1000 watt driven 18" driver, heavily eq'd , in an H frame variant.
Regarding sub 300 hertz performance, this system is very good at tracking acoustic bass guitar, deep male voice, hall "space", and humiliates my 7.1 Tannoy/Polk system - from Sauron's post finger partum detonation, to Dino rumbles, and Godzilla's newest roars, boxless bass is as loud, and deep as required, with more power tossed at the transducers.
I found the best sound resulted in my room by choosing to roll the lowpass filter off at 40 hertz, and use the amp's parametric eq to apply a 14db cut to 80 hertz.
I have one experiment left to try, since I already own 2 RSS265HF-4 drivers, this will be a push pull tapped horn, with one driver outside rear mounted, as I'm hoping this may ameliorate the one noting thump in a previous ml qwtl effort.
I've seen (but not heard) similar arrays from Legacy speakers.
So the 4 barrel mids really work?
Good to know!
Are they w4-1337's?
That's a really nice finish.
They are the w4-1337,s. I really love these drivers. They are capable of remarkable performance but need the support equipment that can deliver. they dont sugar coat anything.I experimented with the mid drivers in a square configuration like the legacy,s. The configuration I chose works far better. The toe in is critical to get the time alignment of the horizontal drivers correct.Once they are angled right its like night and day. The imaging becomes very accurate with a huge sound stage. No matter how many instruments are being played you can follow each one easily.The combination of bass drivers make for a very musical bass as well. I am still Playing with the voicing and need to do some measurements and possible room correction but as they are at this point they will be my last speaker.
I guess I don't understand. I thought the velocity of sound was 1128ft./sec at about 20 degees C regardless of frequency or waveshape complexity. Does that change somehow in a way we perceive?
Looking at the frequency response of the Tangbang w4-1337 I notice that the FR jumps up about 10dB at 10kHZ, with a peak at about 15kHZ. I wonder if the crossover attenuates that huge peak enough to not interact negatively with the output of the ribbon tweeter (?). With four mid drivers I imagine the FR averages out at most angles, but may have significantly greater upper mid and treble output on axis, than off. Personally I don't mind a rolloff when off axis, as long as it happens gradually. Very nice though.
The TB,s are rolled of way before that nasty 10k peak. I run the tweeters passively and the mids and bass active. The mids are crossed at 3khz -12dbs/octave. I dont count these drivers as FR. They are midrange drivers for sure and any attempt to use them at FR would result in less than great results. But as midrange drivers they are truly fantastic.
Thanks for your comment.
Thanks for your comment.
Few comments been made about pressure sound source and velocity ones. John K. (Music & Design), creator of Nao/Nao Note project mentions it quite a lot in his research as well as few others.
Frankly I'm not exactly sure of the physics/math of the process BUT it definitely feels different. Perhaps monopole bass source, particularly sealed, increases overall sound pressure in the room during oscillations whilst dipole only increase pressure on the wavefront. And since eardrum is not the only part of our body sensitive to low frequencies that's where the difference comes from.
Frankly I'm not exactly sure of the physics/math of the process BUT it definitely feels different. Perhaps monopole bass source, particularly sealed, increases overall sound pressure in the room during oscillations whilst dipole only increase pressure on the wavefront. And since eardrum is not the only part of our body sensitive to low frequencies that's where the difference comes from.
I have been told that room pressurization can (theoretically) happen only at very low F, typically below 30hz (When wave length is much longer than room dimensions). An acoustic transducer sends sound waves, which can be described as local changes in air pressure. Sound - Wikipedia, the free encyclopedia
Dipoles are sometimes said to be velocity sources unlike closed speakers, but that is a misconception. Rooms are not hermetically closed small chambers and with typical listening levels leakage and wall+windows/ceiling absorption/resonation prevent compression of air. Inside a closed bass speaker box pressure can be very high.
Animations http://www.acs.psu.edu/drussell/demos.html
Dipoles are sometimes said to be velocity sources unlike closed speakers, but that is a misconception. Rooms are not hermetically closed small chambers and with typical listening levels leakage and wall+windows/ceiling absorption/resonation prevent compression of air. Inside a closed bass speaker box pressure can be very high.
Animations http://www.acs.psu.edu/drussell/demos.html
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Dipoles pushes the air forward and backward, monopoles changes the pressure in the room.
There's definately a different "feel" to them. It's not easy, or even possible(?), to get this ht room chaking bass from dipoles. IMHO
This is pretty much how I've always thought of it as well.
When I imagine it in my head, the pressurization isn't either a 1 or a 0, every room will have some pressure resistance, varying in how fast the pressure decays. Leakage is a thing, yeah, but I would still expect real pressure to behave more like when there's an air balance issue in a large building, and one door stands open 2 inches, while the opposite door is difficult to open.
Maybe we should come up with some sort of pressure decay time as a mathematical expression. I wonder what would happen if you scoped a microphone while playing a 16hz sine wave, and made note of what happens to the output waveform when things like doors are opened / closed.
Ah well, back to our regularly scheduled gallery thread
...Sorry Gainphile!Oooh, interesting speaker. More details coming soon I hope?
Found these.
http://www.dnaudio.com/DNA Speaker.html
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An externally hosted image should be here but it was not working when we last tested it.
Stratobaffle speakers made by me just for the 60th anniversary of the famous Fender Statocaster guitar. A single full-range driver (in this case Visaton B200) in a medium-sized baffle needs a lot of equalization, and the most convenient way is to apply a DSP in front of the power amplifier. More pictures, descriptions and measurement results can be found at Here comes the Stratobaffle - redelectron
Yup I have seen those. Ive always wondered how well the sealed back would work. I will provide more info as I have it. I just tried a change in xover point and it did make a another minor improvement. I decided to try the xover used in the "statements" and I think i do prefer it.I really would like to get the nanodigi so i,m not converting the signal twice. I am not sure though if i've got the knowledge to use it right.(no understanding of s/pdif at this point)
The one thing these speakers do better than any speaker i,ve ever heard is put the vocals so "in the room". I can swear there are songs where I can see their adams apple moving...lol. Its incredible how real and alive the vocals sound.