Great, thanks.
Yes, and I am on the way to find the Holy Grail of Hi-Fi, perfect, accurate reproduction
.
I still don't understand this effect fully. What you mean is that different parts of the woffer will be vibrating at different frequencies, and the woofer cone extension will produce a doppler effect higher frequencies, ok.
Can we say that music is reproduced by splicing different sine waves in the way that tapes used to be spliced together?
One way to settle this is to compare speaker excurstion against audio signal. We could then see how the cone is moving with the audio signal, it would be interesting.
Or maybe 'high speed video of wooofer cone movment'
Let's see what a search reveals. Anyone with information on this?
Update
https://www.youtube.com/watch?v=l0_cP9PqYvU
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As someone's said " I'm only listening to V translated to dB variations"
Which is how a speaker works. Indeed what flows is AC current; once you have understood how all the parts make the one that produces sound, it will encounter another part of the whole/ensemble which is air and if you build an enclosure for it you'll have the additional counter pressure on the diaphgram.
Having resolved its Q issues ( ideally thinking that the only sound that travels to your ears is the one produced by the speaker and not transmitted or passed through surfaces ) and mixed with room resonances & mode(s) ....
uh ?! where are the original sinusoid crests ?
Which is how a speaker works. Indeed what flows is AC current; once you have understood how all the parts make the one that produces sound, it will encounter another part of the whole/ensemble which is air and if you build an enclosure for it you'll have the additional counter pressure on the diaphgram.
Having resolved its Q issues ( ideally thinking that the only sound that travels to your ears is the one produced by the speaker and not transmitted or passed through surfaces ) and mixed with room resonances & mode(s) ....
uh ?! where are the original sinusoid crests ?
Here's another one: The sight of sound: Stunning video uses paint to reveal the movement of musical vibrations as they travel through the air | Daily Mail Online
I think I understand now. The vibration pattern of a microphone, speaker or eardrum is what is important. Each of these can only occupy one position at a given time.
For example if a sound clip will produce a speaker extension, say of the following:
0, 0.1, 0.2, 0.5, 0.4, 0.3, 0.1, - 0.1, -0.5, -0.4, -0.2. The speaker cone will travel back and forth within its range. A regular pattern will generate a sine wave, anything else will generate noise or music.
If the speaker excursion is plotted versus time, will it look like the wave of the audio signal shown on an oscilloscope, the plot of voltage versus time? Or is it current?
Then it might be useful to use a tool that allows you to draw a waveform and have it converted to an audio signal, just to get an idea.
I think I understand now. The vibration pattern of a microphone, speaker or eardrum is what is important. Each of these can only occupy one position at a given time.
For example if a sound clip will produce a speaker extension, say of the following:
0, 0.1, 0.2, 0.5, 0.4, 0.3, 0.1, - 0.1, -0.5, -0.4, -0.2. The speaker cone will travel back and forth within its range. A regular pattern will generate a sine wave, anything else will generate noise or music.
If the speaker excursion is plotted versus time, will it look like the wave of the audio signal shown on an oscilloscope, the plot of voltage versus time? Or is it current?
Then it might be useful to use a tool that allows you to draw a waveform and have it converted to an audio signal, just to get an idea.
Sound at the eardrum
So let me see if I understand you : we are trying to reproduce the original waveform heard by the microphone at the ear of the listener - a waveform including box, room acoustics, reflection effects rather than at the surface of the woofer/tweeter?
Sounds complicated to me.
So let me see if I understand you : we are trying to reproduce the original waveform heard by the microphone at the ear of the listener - a waveform including box, room acoustics, reflection effects rather than at the surface of the woofer/tweeter?
Sounds complicated to me.
Indeed you may fight all those except the original waveform ( the content of the disc )
This is interesting:
Harmonic Waveform Generator :: Electronic Measurements
Start out with a standard waveform. Moving the H8 control for example from zero up and down again simulates a note on an instrument. The other tones are constant.
We have now simulated music. A short duration repeated waveform makes up a note on a musical instrument.
Moving one slider generates a sine wave. Moving another silder creates a non-sine wave shaped wave. So then all complex sounds are made up of a single complex waveform. In this waveform is contained all the music of the world, bass, drums, trumpets, violins and harps.
It would not be intsructive to view the waveforms created by actual instruments.
Harmonic Waveform Generator :: Electronic Measurements
Start out with a standard waveform. Moving the H8 control for example from zero up and down again simulates a note on an instrument. The other tones are constant.
We have now simulated music. A short duration repeated waveform makes up a note on a musical instrument.
Moving one slider generates a sine wave. Moving another silder creates a non-sine wave shaped wave. So then all complex sounds are made up of a single complex waveform. In this waveform is contained all the music of the world, bass, drums, trumpets, violins and harps.
It would not be intsructive to view the waveforms created by actual instruments.
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If you like waveforms and (sampled) instruments you might like Propellerhead's Reason 
That link is so silly ! It mixes the two mono tracks!
And...Mp3 might be a good way of knowing how a compressed ( and how: it uses blabla bla etc. psycho
) file transformed & conveyed to your ears might resemble or sound similar to the original .
That link is so silly ! It mixes the two mono tracks!
And...Mp3 might be a good way of knowing how a compressed ( and how: it uses blabla bla etc. psycho
) file transformed & conveyed to your ears might resemble or sound similar to the original .
Audacity was linked previously, it is a nice and free audio editing program, you can use it to record and rip analog signal to digital eg. wav,flac, mp3 etc. Editing/mixing is easy too. It can show you the waveform of music simply just by extending time scale.
Audacity®
Category:Tutorial - Audacity Wiki
Audacity®
Category:Tutorial - Audacity Wiki
Attachments
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"you" was to BasicHIFI...
but yes https://www.propellerheads.se/reason looks like a nice program for those who make recordings. Audacity is ok for ripping and eg. click and rumble removal, and it is used widely in basic education and even in thunderstorm research.
but yes https://www.propellerheads.se/reason looks like a nice program for those who make recordings. Audacity is ok for ripping and eg. click and rumble removal, and it is used widely in basic education and even in thunderstorm research.
As far as illustrating what is happening, not a very good video.
I did? Maybe i should see that again.
dave
Now that i've read the thread: The basic concept of how a speaker works is quite simple, but as you dig in you find that there are more & more things to consider. And many of those things are contradictory. While there is a whole lot of engineering involved in designing & building a speaker, the art comes in choosing which compromises make the most sense in your world.
For instance, an ideal would be a single speaker driver producing the full-range needed. But at our current level of tech, with a single driver you typically compromise ultimate levels, bass & treble extension and often FR anomalies. One way to get around those problems is to do a multiway where different frequencies are produced by different frequency specific drivers. But then one introduces problems with drivers being physically located in different places in space (unless a coax which have a different set of problems) and having to use a crossover to split the frequencies. For instance all too often with the XO one ends up compromising time response to get the different drivers to blend.
Learning to design speakers is as much about learning what the results of compromises one has to make are.
When one gets into building speakers, it is very hard to just have one. What you learn about yourself with the 1st build usually leads to another & another…
My suggestion is to bite the bullet & build something simple to get some experience points under your belt. My suggestion would be a single driver full-range or a well-sorted 2-way. Keep it simple & don't spend too much money. What you learn is very likely to save you at least the cost of that effort down the road.
dave
For instance, an ideal would be a single speaker driver producing the full-range needed. But at our current level of tech, with a single driver you typically compromise ultimate levels, bass & treble extension and often FR anomalies. One way to get around those problems is to do a multiway where different frequencies are produced by different frequency specific drivers. But then one introduces problems with drivers being physically located in different places in space (unless a coax which have a different set of problems) and having to use a crossover to split the frequencies. For instance all too often with the XO one ends up compromising time response to get the different drivers to blend.
Learning to design speakers is as much about learning what the results of compromises one has to make are.
When one gets into building speakers, it is very hard to just have one. What you learn about yourself with the 1st build usually leads to another & another…
My suggestion is to bite the bullet & build something simple to get some experience points under your belt. My suggestion would be a single driver full-range or a well-sorted 2-way. Keep it simple & don't spend too much money. What you learn is very likely to save you at least the cost of that effort down the road.
dave
AN illustration from the Phonograph diaphragm
How speakers work can related to the operation of the original phonograph.
The phonograph needle follows the undulations on the record surface, in this case a tin-encased cylinder, and transmits these sounds to the air using a diaphragm attached to the needle.
The surface of the record will be etched with a single track of varying depth. When the needle vibrates according to the pattern etched on the record, when the record is set in motion, sound is produced.
I have been at odds to understand how a single waveform can represent many different instruments. The point is that it can, and given sufficient playing speed, the sound will be produced in a recognizable form.
Proof of this fact is here in one of the early phonograph recordings, complete with characteristic needle noise.
See "I Am The Edison Phonograph" 1/3 of the way down the page.
https://en.wikipedia.org/wiki/Phonograph
The modern speaker takes the place of the diaphragm, where the movement of the speaker cone is effected through electromagnets and current rather than mechanical movement.
How speakers work can related to the operation of the original phonograph.
The phonograph needle follows the undulations on the record surface, in this case a tin-encased cylinder, and transmits these sounds to the air using a diaphragm attached to the needle.
The surface of the record will be etched with a single track of varying depth. When the needle vibrates according to the pattern etched on the record, when the record is set in motion, sound is produced.
I have been at odds to understand how a single waveform can represent many different instruments. The point is that it can, and given sufficient playing speed, the sound will be produced in a recognizable form.
Proof of this fact is here in one of the early phonograph recordings, complete with characteristic needle noise.
See "I Am The Edison Phonograph" 1/3 of the way down the page.
https://en.wikipedia.org/wiki/Phonograph
The modern speaker takes the place of the diaphragm, where the movement of the speaker cone is effected through electromagnets and current rather than mechanical movement.
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Dave
I have built three sets of speakers over the last 25 years. Never satisfied with each one. Since the mini-stereo packed up I have been searching for a low cost alternative.
My speakers are on the way to completion:
Is it my imagination or is there a large gap between the simplest DIY and the plastic speakers of the mini-hifi and the the ludicrous 'sound bar'?
I have built three sets of speakers over the last 25 years. Never satisfied with each one. Since the mini-stereo packed up I have been searching for a low cost alternative.
My speakers are on the way to completion:
Is it my imagination or is there a large gap between the simplest DIY and the plastic speakers of the mini-hifi and the the ludicrous 'sound bar'?
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Frequency response - an illustration from the kick drum.
Frequency response - an illustration from the kick drum.
Speakers will usually be able to produced only a portion of the audible human range. Let's take a real world example:
The frequencies provided by the kick drum are shown here:
Moulton Laboratories :: Principles of Multitrack Mixing: The Kick Drum/Bass Relationship
If we take the frequencies where most of the power is generated, we have the ranges 31Hz, 63 and 125 Hz.
Using this online tone generator Online Tone Generator - 432Hz Frequency Generator
We try the following tones out:
Laptop Speaker
21 Hz - no sound
63Hz - no sound
125HZ - low hum
In-ear smartphone headphones
21 Hz - no sound
63Hz - low hum
125HZ - low hum
The simple experiment illustrates the fact that some speaker systems are severely limited in the sound that they can reproduce. Choosing the correct speakers is important to obtain the full frequency response from the speaker system.
Frequency response - an illustration from the kick drum.
Speakers will usually be able to produced only a portion of the audible human range. Let's take a real world example:
The frequencies provided by the kick drum are shown here:
Moulton Laboratories :: Principles of Multitrack Mixing: The Kick Drum/Bass Relationship
If we take the frequencies where most of the power is generated, we have the ranges 31Hz, 63 and 125 Hz.
Using this online tone generator Online Tone Generator - 432Hz Frequency Generator
We try the following tones out:
Laptop Speaker
21 Hz - no sound
63Hz - no sound
125HZ - low hum
In-ear smartphone headphones
21 Hz - no sound
63Hz - low hum
125HZ - low hum
The simple experiment illustrates the fact that some speaker systems are severely limited in the sound that they can reproduce. Choosing the correct speakers is important to obtain the full frequency response from the speaker system.
Create music by drawing squiggly lines?
I have to ask though, if one can trace out the waveforms shown above and then somehow convert them to an audi file, would that produce music?
Could we 'write' music using waveforms and is there software to do it?
I have to ask though, if one can trace out the waveforms shown above and then somehow convert them to an audi file, would that produce music?
Could we 'write' music using waveforms and is there software to do it?
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