Thomas,
100f !.... phew! At least you know you've had a summer. Over here we've been completely neglected.
Good to know that the Mamboni treatment did its job.What I find so fascinating about the treatment, is that it is able to extend the bandwidth of a driver.In your opinion would you believe it to work on most drivers or are some more suitable than others ? What I hope to find is a reversible method to apply the felt so as to allow for easy experiments.
Can't for the life of me make out what the "Fibonacci membrane" is.Looks very nice Tho'. Why is it that you fellows really go for Fibonacci and the golden ratio ? Would have thought that a Mandelbrot set or a Koch curve would be far more appropriate.However, me saying that is completely hot air!
Speaking of which I hope you have a nice shady grove, not too far away, that you can go to and cool down with your favourite tipple. Cheers!
Cilla
100f !.... phew! At least you know you've had a summer. Over here we've been completely neglected.
Good to know that the Mamboni treatment did its job.What I find so fascinating about the treatment, is that it is able to extend the bandwidth of a driver.In your opinion would you believe it to work on most drivers or are some more suitable than others ? What I hope to find is a reversible method to apply the felt so as to allow for easy experiments.
Can't for the life of me make out what the "Fibonacci membrane" is.Looks very nice Tho'.
Why is it that you fellows really go for Fibonacci and the golden ratio ? Would have thought that a Mandelbrot set or a Koch curve would be far more appropriate.However, me saying that is completely hot air! Speaking of which I hope you have a nice shady grove, not too far away, that you can go to and cool down with your favourite tipple. Cheers!
Cilla
soongsc said:
Just listened to the blue 127s for the 1st time today... measurements will be later. I have at least 3 more drivers to finish up.
Without some remedial attention both the 126 & 127 have a couple nasty peaks that can give a real edge to the music if you are sensitive to them. Once those are at least trimmed back a bit the drivers really start to show their potential. EnABLE takes it a step or 2 further.
dave
Hi Dave,
I been looking over a couple of Hi-Vi units as I have been reading about some fairly positive feedback about them and they won't break the budget. 94 db SPL's as well!
http://www.partsexpress.com/pe/showdetl.cfm?&Partnumber=297-406
The Mundorfs are very attractive but don't fit the budget line.
Cheers pdan!
I wouldn't say that the Mamboni treatment extends the bandwidth of a driver so much as it tends to smooth out a few of the rough edges. The Pioneers chosen by Mamboni for the Walsh 5 Remakes goes to 5 kHz but gets a bit ragged above 3 kHz and his treatment helps to smooth out the performance without damping the sound to much. There is a great deal of room to play around here depending upon speaker size, cone material, and Fr but I went with what had been already developed and played with by him. If you would like to muck about with things a bit you can purchase a bottle of low tack adhesive at most craft shops and use it to temporarily stick things down and then remove them if needed. It comes in a liquid that can be brushed on. 3M also makes some aerosols that work if you apply it to just one surface. So that info should help you play around a bit.
I use golden ratio numbers because they are easy to plot onto things as they are simply a series of squares that double in sequence to make the next larger set - and that makes things handy - that's my reasoning there.
The Fibonacci membrane shown is a version where I have used two golden ratio rectangles placed next to each other and divided by the centerline where the driver interfaces with the membrane (vertical "bar" attached to the membrane driven by a slot type VC similar to the ones used on hard drive seeker head motors). The rounded edges are there to help control reflections for the side mounted supports which are cork wrapped around lead cylinders and joined by a butyl rubber interface. The "V" shape on the top and bottom of the membrane is also shaped to prevent reflections back to the VC. I'm tempted to try a few other little tweaks and tricks but that will need to wait for version xxx.
BTW - I was an Air Force brat as a kid and lived in Ipswitch for 3 years while Pop's was stationed at Bentwaters AFB. Loved it and I love you Brits. As for the shady grove - I have 17 trees on the property so that helps a bit! You can see a few of them located around my "portable" work shop!
I been looking over a couple of Hi-Vi units as I have been reading about some fairly positive feedback about them and they won't break the budget. 94 db SPL's as well!
http://www.partsexpress.com/pe/showdetl.cfm?&Partnumber=297-406
The Mundorfs are very attractive but don't fit the budget line.
Cheers pdan!
I wouldn't say that the Mamboni treatment extends the bandwidth of a driver so much as it tends to smooth out a few of the rough edges. The Pioneers chosen by Mamboni for the Walsh 5 Remakes goes to 5 kHz but gets a bit ragged above 3 kHz and his treatment helps to smooth out the performance without damping the sound to much. There is a great deal of room to play around here depending upon speaker size, cone material, and Fr but I went with what had been already developed and played with by him. If you would like to muck about with things a bit you can purchase a bottle of low tack adhesive at most craft shops and use it to temporarily stick things down and then remove them if needed. It comes in a liquid that can be brushed on. 3M also makes some aerosols that work if you apply it to just one surface. So that info should help you play around a bit.
I use golden ratio numbers because they are easy to plot onto things as they are simply a series of squares that double in sequence to make the next larger set - and that makes things handy - that's my reasoning there.
The Fibonacci membrane shown is a version where I have used two golden ratio rectangles placed next to each other and divided by the centerline where the driver interfaces with the membrane (vertical "bar" attached to the membrane driven by a slot type VC similar to the ones used on hard drive seeker head motors). The rounded edges are there to help control reflections for the side mounted supports which are cork wrapped around lead cylinders and joined by a butyl rubber interface. The "V" shape on the top and bottom of the membrane is also shaped to prevent reflections back to the VC. I'm tempted to try a few other little tweaks and tricks but that will need to wait for version xxx.
BTW - I was an Air Force brat as a kid and lived in Ipswitch for 3 years while Pop's was stationed at Bentwaters AFB. Loved it and I love you Brits. As for the shady grove - I have 17 trees on the property so that helps a bit! You can see a few of them located around my "portable" work shop!
Attachments
c2cthomas said:
There are lots of similar electrodynamic planars. The Mark & Daniels are heils. Like the ones in these speakers
An externally hosted image should be here but it was not working when we last tested it.
data for a variation...
http://www.mark-daniel.com/Dir_En.asp?Proid=11
dave
Hi Dave,
I have admired their work and drivers from afar! Sigh - Nice stuff but they went and put it a box - sigh.
I'm hooked on omni and OB!!!
Now when I get back around enclosures I have to put 'em up next to my ears like headphones 'cause I hear the "box"!!
Then and again my hearing never was the same after a Grateful Dead concert at the Cow Palace back in '74!!
I have admired their work and drivers from afar! Sigh - Nice stuff but they went and put it a box - sigh.
I'm hooked on omni and OB!!!
Now when I get back around enclosures I have to put 'em up next to my ears like headphones 'cause I hear the "box"!!
Then and again my hearing never was the same after a Grateful Dead concert at the Cow Palace back in '74!!
pdan said:
Can't for the life of me make out what the "Fibonacci membrane" is.Looks very nice Tho'.
Cilla
fractal pattern takes forever. Especially once you have to start using individual molecules of pigment. After that I can never decide which half of the atoms to use.
atom splitting hammer --->
(chisel invisible at this scale)
OzMikeH,
I got this fractal stuff from Gleick's "Chaos" book. There's a photo of a Koch Curve section; looks to me as tho' a Mamboni triangle could easily be adapted.Also, there's Cantor's Dust, which looks very like Bud's EnABL pattern !
Nice chisel ! I've a similar set. Any sharpening tips !
Thomas,
5 khz........would you say that Dr Mamboni was somewhat optimistic with his 8 khz cross over?
Cilla
I got this fractal stuff from Gleick's "Chaos" book. There's a photo of a Koch Curve section; looks to me as tho' a Mamboni triangle could easily be adapted.Also, there's Cantor's Dust, which looks very like Bud's EnABL pattern !
Nice chisel ! I've a similar set. Any sharpening tips !
Thomas,
5 khz........would you say that Dr Mamboni was somewhat optimistic with his 8 khz cross over?
Cilla
Hi all,
This is just a bump. to get the thread up to the front of the pile for a day or two, to allow the folks from the Central audio show a hope of finding the thing, so they can read it.
Lot of speakers there and most were single driver, full range and went from amazing to staggering in capabilities, without EnABL or Mamaboni.
There will be a post on a smaller Lowther towards the end of the week.
Bud
This is just a bump. to get the thread up to the front of the pile for a day or two, to allow the folks from the Central audio show a hope of finding the thing, so they can read it.
Lot of speakers there and most were single driver, full range and went from amazing to staggering in capabilities, without EnABL or Mamaboni.
There will be a post on a smaller Lowther towards the end of the week.
Bud
Over here http://www.diyaudio.com/forums/showthread.php?postid=1287112#post1287112
We got the 1st of our 3 FE127 variations finished (pattern + 1 coat puzzlecoat, EnABLE on top of that with a single full-strength coat of gloss + a PVA nipple) and the 1st test of these came last night.
The other 2 variations are close to done, the shoot-out between the 3 versions will likely be a bit closer.
dave
We got the 1st of our 3 FE127 variations finished (pattern + 1 coat puzzlecoat, EnABLE on top of that with a single full-strength coat of gloss + a PVA nipple) and the 1st test of these came last night.
The other 2 variations are close to done, the shoot-out between the 3 versions will likely be a bit closer.
dave
Hemp Acoustics
Hi Bud,
I've tried to run a thread over at Audiocircle about this driver, but it seems to have fizzled out.
I hope you can spend a little of your valuable time to respond to a few observations I have made concerning the EnABL treatment vis-a-vis the Hemp 6.5 driver and a generic Monacor 15" woofer mounted open baffle.
Let me start with the 15" woofer. At first I applied the EnABL pattern to area bordering the dust cap and to the area bordering the surround. I used TAMIYA masking tape instead of acrylic model paint as I figured it would make the process reversable. This masking tape has a glue that quite strong compared to regular masking tape. Then I proceeded to listen to the treated driver crossed at 150 hz to a unmodified Hemp 6.5 full ranger (mono - one speaker).
The initial impression was that a resonance in the upper bas had receeded which was good, making acoustic bass seem less bloated. At this point I made a mistake in judgement and went on to coat the 15" driver with a decoupage glue/varnish similar to ModPodge and then repeating the pattern/coating on the other woofer. Time to audition in stereo: The result was a bit disappointing. Let me explain - the driver sounded smoother than before but also a bit, how shall I put it, dull sounding. It lacked excitement or more precisely, it homogenized the bass instruments, flattening their individual character. I then decided to remove the masking tape and instead apply the EnABL pattern using clear flat acrylic paint which bonds much tighter to the cone. The sound was more 'alive' and perhaps even better than the uncoated but masking-tape-patterned version. The combination of tape and coating was not successful IMO.
Even though me testing proceedure was flawed, it leads me to believe that masking tape is NOT the way to go.
I wonder if my experience here sounds familiar...
Next step was EnABLing the Hemp 6.5 FR. I completed the whizzer cone on both drivers first (NO COATING! only acrylic paint) and listened. The highhat and cymbals seemed to move a few inches away from the microphone - which I liked - and each percussive strike became a tad more individualized - which I liked even better. Later I switched caps in the high pass filter (Wicon). A HUGE improvement.
Overall, I liked the Hemp driver, but I felt there was a boxiness or hollowness to female voices most notable on altos like for instance Aimee Mann.
Next on the operating table was the main cone. The whizzer prevented me from applying the pattern close to the voice coil so it's a third up on the cone (I'll post pictures tomorrow). Again no coating. Second pattern ring is bordering the surround as it should.
The result after a few days listening:
- The highhat and cymbals moved right into my livingroom. Very forward and precent. A bit too much for my likeing.
- Sibilant sounds on vocals (T and S sounds) are very noticable on most pop/rock recordings. They draw attention to themselves. On other recordings they are not a problem.
- The boxy colouration I detected before is largely gone.
Now I want to ask what will change when I apply the conformal coating? (I'm trying to find the Microscale Gloss product)
Do you recommend applying an additional set of pattern rings on the main cone near the voice coil?
********************
CAVEAT
1. I recently consulted a very competent amplifier engineer who told me to be patient with the caps in the x-over since they need some time to settle ("burn in"). This obviously can change the speaker's behavior in the near future.
2. An audiofile aquaintance if my (who I trust and who is very good and analytical listener) recently auditioned my speakers and said that the 'sibilant problem' was not nesessarily an error in presentation... He actually liked the extra "accuracy" for lack of a better word. I still hold to my initial reaction; its a bit too much.
3. This is the final and most important caveat - My phonostage is in for repair which means I'm listening through a cheap CD player (aouch). This is why neither my aquaintance nor I can pass any final judgement on the speakers and consequently the EnABL treatment.
I know these caveats are potentially big enough to disqualify any valid observation, but please bear with me.
Sincerely
Kris
PS. I'll post some pics tomorrow.
Hi Bud,
I've tried to run a thread over at Audiocircle about this driver, but it seems to have fizzled out.
I hope you can spend a little of your valuable time to respond to a few observations I have made concerning the EnABL treatment vis-a-vis the Hemp 6.5 driver and a generic Monacor 15" woofer mounted open baffle.
Let me start with the 15" woofer. At first I applied the EnABL pattern to area bordering the dust cap and to the area bordering the surround. I used TAMIYA masking tape instead of acrylic model paint as I figured it would make the process reversable. This masking tape has a glue that quite strong compared to regular masking tape. Then I proceeded to listen to the treated driver crossed at 150 hz to a unmodified Hemp 6.5 full ranger (mono - one speaker).
The initial impression was that a resonance in the upper bas had receeded which was good, making acoustic bass seem less bloated. At this point I made a mistake in judgement and went on to coat the 15" driver with a decoupage glue/varnish similar to ModPodge and then repeating the pattern/coating on the other woofer. Time to audition in stereo: The result was a bit disappointing. Let me explain - the driver sounded smoother than before but also a bit, how shall I put it, dull sounding. It lacked excitement or more precisely, it homogenized the bass instruments, flattening their individual character. I then decided to remove the masking tape and instead apply the EnABL pattern using clear flat acrylic paint which bonds much tighter to the cone. The sound was more 'alive' and perhaps even better than the uncoated but masking-tape-patterned version. The combination of tape and coating was not successful IMO.
Even though me testing proceedure was flawed, it leads me to believe that masking tape is NOT the way to go.
I wonder if my experience here sounds familiar...
Next step was EnABLing the Hemp 6.5 FR. I completed the whizzer cone on both drivers first (NO COATING! only acrylic paint) and listened. The highhat and cymbals seemed to move a few inches away from the microphone - which I liked - and each percussive strike became a tad more individualized - which I liked even better. Later I switched caps in the high pass filter (Wicon). A HUGE improvement.
Overall, I liked the Hemp driver, but I felt there was a boxiness or hollowness to female voices most notable on altos like for instance Aimee Mann.
Next on the operating table was the main cone. The whizzer prevented me from applying the pattern close to the voice coil so it's a third up on the cone (I'll post pictures tomorrow). Again no coating. Second pattern ring is bordering the surround as it should.
The result after a few days listening:
- The highhat and cymbals moved right into my livingroom. Very forward and precent. A bit too much for my likeing.
- Sibilant sounds on vocals (T and S sounds) are very noticable on most pop/rock recordings. They draw attention to themselves. On other recordings they are not a problem.
- The boxy colouration I detected before is largely gone.
Now I want to ask what will change when I apply the conformal coating? (I'm trying to find the Microscale Gloss product)
Do you recommend applying an additional set of pattern rings on the main cone near the voice coil?
********************
CAVEAT
1. I recently consulted a very competent amplifier engineer who told me to be patient with the caps in the x-over since they need some time to settle ("burn in"). This obviously can change the speaker's behavior in the near future.
2. An audiofile aquaintance if my (who I trust and who is very good and analytical listener) recently auditioned my speakers and said that the 'sibilant problem' was not nesessarily an error in presentation... He actually liked the extra "accuracy" for lack of a better word. I still hold to my initial reaction; its a bit too much.
3. This is the final and most important caveat - My phonostage is in for repair which means I'm listening through a cheap CD player (aouch). This is why neither my aquaintance nor I can pass any final judgement on the speakers and consequently the EnABL treatment.
I know these caveats are potentially big enough to disqualify any valid observation, but please bear with me.
Sincerely
Kris
PS. I'll post some pics tomorrow.
Hi Kris,
15 inch first. Did you also apply an outer ring pattern? If not, then please do so. Then, once you have found the Micro Scale gloss, apply one coat over the whole thing and that coat could be a 50% cut with water coating. This will aid with the blandness that the other material provided. Also a pair of rings at the center of the dust cap dome, done like the Hemp cone FR 4.5 further back in this thread, will help with articulation and spreading out the dispersion of crossover rolled off response.
Hemp 6. You will also need to put the center dome pattern of 6 block pairs in two rings on this driver, in fact especially on this driver. The center of the dome now has less impedance than all of the other "edges" and you are going to get an unnatural peak that is quite directional from this. You must also put a center dot of paint here and a 0.05 or so diameter drop of PVA here, that is then allowed to dry upside down, to form a nipple. When done like this there will be NO HOT SPOT or excruciating high frequencies.
Then put one coat of un cut micro gloss on the cone and one coat 50% cut micro gloss on the dome.
At this point, after 24 hours of cure, you should have excellent dispersion of everything without anything more than a slight addition of "color" within the included angle of the whizzer.
Now, does this particular driver have a vertical walled ring, mounted on the surround at the glue joint of the surround to basket? Does it also have a flattened dust cover dome? Is there a visible amount of tube material between the cone and dust cap bottom edge?
If these conditions exist, this will be the major cause of the hollowness and a sort of twisting sensation when at a particular frequency, like a single note from alto horns, you get a "break out" from controlled reproduction and a pretty nasty screech is heard.
Look again at the FR 4.5 page and find the pictures mounted up on Google under my name. That weird pattern, out on the ring beyond the surround, will control that ring on yours also. Note that one ring of EnABL blocks is on the vertical wall, right at the top edge of the ring and the second EnaBL block ring is on the horizontal surface of the ring.
If the voice coil is extended, as I described, this will place the high frequencies in a leading phase relationship to the rest of the signal from the cone. Adding EnABL to this situation just sticks it out further. That center dot of PVA may become two dots to get the phase lead stuffed back where it belongs.
Hemp did this to provide "highs" in the hi fi sense and musical reproduction is not aided by this. What I have posted here is exactly what I would do for treatment and if I found what I have described it is the course I would follow. Others have cut this outer ring off and you can do this too. However, you must do it before you treat the center dome and then you may have quite a problem getting the phase of the high frequencies shoved back far enough.
Ask more questions, please, but read the Hemp FR 4.5 pages carefully and study the pics also.
Bud
15 inch first. Did you also apply an outer ring pattern? If not, then please do so. Then, once you have found the Micro Scale gloss, apply one coat over the whole thing and that coat could be a 50% cut with water coating. This will aid with the blandness that the other material provided. Also a pair of rings at the center of the dust cap dome, done like the Hemp cone FR 4.5 further back in this thread, will help with articulation and spreading out the dispersion of crossover rolled off response.
Hemp 6. You will also need to put the center dome pattern of 6 block pairs in two rings on this driver, in fact especially on this driver. The center of the dome now has less impedance than all of the other "edges" and you are going to get an unnatural peak that is quite directional from this. You must also put a center dot of paint here and a 0.05 or so diameter drop of PVA here, that is then allowed to dry upside down, to form a nipple. When done like this there will be NO HOT SPOT or excruciating high frequencies.
Then put one coat of un cut micro gloss on the cone and one coat 50% cut micro gloss on the dome.
At this point, after 24 hours of cure, you should have excellent dispersion of everything without anything more than a slight addition of "color" within the included angle of the whizzer.
Now, does this particular driver have a vertical walled ring, mounted on the surround at the glue joint of the surround to basket? Does it also have a flattened dust cover dome? Is there a visible amount of tube material between the cone and dust cap bottom edge?
If these conditions exist, this will be the major cause of the hollowness and a sort of twisting sensation when at a particular frequency, like a single note from alto horns, you get a "break out" from controlled reproduction and a pretty nasty screech is heard.
Look again at the FR 4.5 page and find the pictures mounted up on Google under my name. That weird pattern, out on the ring beyond the surround, will control that ring on yours also. Note that one ring of EnABL blocks is on the vertical wall, right at the top edge of the ring and the second EnaBL block ring is on the horizontal surface of the ring.
If the voice coil is extended, as I described, this will place the high frequencies in a leading phase relationship to the rest of the signal from the cone. Adding EnABL to this situation just sticks it out further. That center dot of PVA may become two dots to get the phase lead stuffed back where it belongs.
Hemp did this to provide "highs" in the hi fi sense and musical reproduction is not aided by this. What I have posted here is exactly what I would do for treatment and if I found what I have described it is the course I would follow. Others have cut this outer ring off and you can do this too. However, you must do it before you treat the center dome and then you may have quite a problem getting the phase of the high frequencies shoved back far enough.
Ask more questions, please, but read the Hemp FR 4.5 pages carefully and study the pics also.
Bud
Dave,
I have tried alcohol, but the results, with differing paper types, were even more unpredictable than when using water. I do use a filtered water, as that is what our drinking water is, but nothing else special. I have yet to have a cone material "buckle" due to the water. Had some trouble with alcohol. Plus, it was just a b***h to keep in solution and keep from out gassing. The water will separate out too, but just a gentle swirl of the bottle will remix it.
And, you DO NOT WANT TO SHAKE THIS MIXTURE, EVER. The ensuing foaming could take 24 hours to break up and further stirring, after shaking, will just make it worse!.
Now, if we were air brushing the Gloss coat on, alcohol would be absolutely the only choice, as water cut material foams so badly, that it is more an air splatter than a brush.
Bud
I have tried alcohol, but the results, with differing paper types, were even more unpredictable than when using water. I do use a filtered water, as that is what our drinking water is, but nothing else special. I have yet to have a cone material "buckle" due to the water. Had some trouble with alcohol. Plus, it was just a b***h to keep in solution and keep from out gassing. The water will separate out too, but just a gentle swirl of the bottle will remix it.
And, you DO NOT WANT TO SHAKE THIS MIXTURE, EVER. The ensuing foaming could take 24 hours to break up and further stirring, after shaking, will just make it worse!.
Now, if we were air brushing the Gloss coat on, alcohol would be absolutely the only choice, as water cut material foams so badly, that it is more an air splatter than a brush.
Bud
Hi Bud. Thanks for your swift reply.
Yes I did apply the outer ring pattern to the 15" driver.
The Hemp 6.5 does not have a vertical walled ring as the FR 4.5, but it does have an almost flat dust cap (See pic).
Would you recommend an additional set of rings on the main cone near the voice coil former?
Best regards
Kris
Yes I did apply the outer ring pattern to the 15" driver.
The Hemp 6.5 does not have a vertical walled ring as the FR 4.5, but it does have an almost flat dust cap (See pic).
Would you recommend an additional set of rings on the main cone near the voice coil former?
Best regards
Kris
An externally hosted image should be here but it was not working when we last tested it.
An externally hosted image should be here but it was not working when we last tested it.
Hi Kris,
Impressive work! Everything looks good.
You will need a set of rings on the dust cap, just slightly in from the whizzer joint. Also the center of dome 6 block set of two rings, a dot of paint and a dot of PVA.
Good possibility you will also need a single row of rings on the whizzer shelf, offset to alternate with the top ring on the whizzer cone. Wait and see.
When you find the Gloss coat, and it can be sent to you from the states, paint the face of the cone with a 50 % mix, the face of the whizzer the same and the dome also, but leave the whizzer shelf dry.
Allow everything to cure out for a few days, while listening to the speakers. If you want a more dynamic sound do the following.
Paint the underside of the whizzer shelf, put a pattern ring on that shelf top surface and a single coat of gloss. Both top and bottom coats should be a 50% mix.
The underside of Lowther whizzer cone top shelf controls the dynamic color available in upper registers, 2k or so and up. No idea how the hemp cone will respond, but the physics should be similar.
Look at the Lowther DX 4 pics to see how to modify a brush to paint just the shelf backside.
These should sound pretty fine with the dome patterns on and you may want to listen for quite a while before putting on the gloss coat material.
I would not put another ring on the main cone. What you have will suffice and while it might sound slightly better with that inner ring moved down to the inner diameter of the cone, I am certain you would be hard pressed to tell the difference, in an A/B comparison.
Bud
Impressive work! Everything looks good.
You will need a set of rings on the dust cap, just slightly in from the whizzer joint. Also the center of dome 6 block set of two rings, a dot of paint and a dot of PVA.
Good possibility you will also need a single row of rings on the whizzer shelf, offset to alternate with the top ring on the whizzer cone. Wait and see.
When you find the Gloss coat, and it can be sent to you from the states, paint the face of the cone with a 50 % mix, the face of the whizzer the same and the dome also, but leave the whizzer shelf dry.
Allow everything to cure out for a few days, while listening to the speakers. If you want a more dynamic sound do the following.
Paint the underside of the whizzer shelf, put a pattern ring on that shelf top surface and a single coat of gloss. Both top and bottom coats should be a 50% mix.
The underside of Lowther whizzer cone top shelf controls the dynamic color available in upper registers, 2k or so and up. No idea how the hemp cone will respond, but the physics should be similar.
Look at the Lowther DX 4 pics to see how to modify a brush to paint just the shelf backside.
These should sound pretty fine with the dome patterns on and you may want to listen for quite a while before putting on the gloss coat material.
I would not put another ring on the main cone. What you have will suffice and while it might sound slightly better with that inner ring moved down to the inner diameter of the cone, I am certain you would be hard pressed to tell the difference, in an A/B comparison.
Bud
Detail work in progress... i actually posted detail over here http://www.diyaudio.com/forums/showthread.php?postid=1288883#post1288883, and the posted pics are linked below (but don't seem to show up as pictures)
These represent 3 slightly different treatments (+ a set of FF125 that needed some tweaking and came along for the ride)
dave
These represent 3 slightly different treatments (+ a set of FF125 that needed some tweaking and came along for the ride)
dave
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