I started the two main Paraline threads here ("square pegs" and "sunshine") and even I've given up on trying to get those to work. A Paraline is a phase plug, and I'm starting to think that the best phase plug is no phase plug, at least for tweeters.
You can see this in the measurements too; the response curve and polars of the SH50 is superior to the VTC paraline boxes.
Now if you want narrow vertical dispersion, ribbon tweeters work quite nicely in a Synergy horn...
Didn't you nuke a Neo3 on a Synergy horn? Ribbons are typically tall, and I would think the area in the horn where the mids tap would get too large at the point where they would physically fit.
First time I did a ribbon I blew it up. Basically I was highpassing it with a single capacitor and the cap was too small.
The one above worked great, and I really wish I could find the polars? But I lost a bunch of measurements a few years back, the polars on this may have been one of them. I do recall that a ribbon worked dandy on a horn. Worked better than a dome really.
That horn is from this thread, iirc : Anyone Want Some HLCDs? - Page 3 - Car Audio | DiyMobileAudio.com | Car Stereo Forum
It's the horn loaded ribbon from Madisound, super cheap, about $45
The reason that ribbons works so well on horns and waveguides is because the diaphragm is equidistant from the mouth.
For instance, if you put a dome tweeter on a waveguide, the 'tip' of the dome is a fraction of an inch closer to the mouth then the edge of the dome. That difference doesn't sound like much - just a fraction of an inch. But at 20khz or even 10khz, a fraction of an inch makes a measurable difference.
Behringer is using ribbons on waveguides, and a few other companies also.
Give it a try, they're cheap and they work. They're very fragile though.
Is this because of the midrange ports/taps?
If so, what if the driver was instead flush mounted?......other than the obvious high frequency ripples caused by the irregular surfaces introduced to the horn throat.
Here's some polars of a ribbon on a waveguide, courtesy of Dave Pellegrine
https://picasaweb.google.com/101632266659473725850/OpenBackSpeaker#
I thought we went over this before? If you eliminate the mid bandpass chamber than you also do away with the acoustic lp which is part of what makes the Synergy a Synergy.
In order to get that gorgeous phase response that makes the Synergy horn so special, you need to get the tweeter and woofer within one quarter wavelength at the crossover frequency. For instance, with a crossover point of 1350hz, the midranges need to be no further than 2.5" away from the tweeter.
That's what the taps are for; they shrink the apparent size of the midranges so that all the highs and the mids emanate from a point in space that's the size of a baseball. You can't get those crazy looking polars and the eerie phase curve any other way. Speakers like the big Dynaudios can do it at one point in the room, but do it *all over the room* you gotta go the synergy route. Or use a single full range driver. That's why speakers like the JBL M2 have a single driver covering something like five or six octaves.
Not sure how the patents work but Paul Spencer is in Australia I believe and I don't know if the u.s. Patent office has much control there.
Using ribbons sounds interesting.
PAralines are not just phase plugs as explained by Darnley to help shape the vertical response but it does seem to limit upper response. I am willing to give this up because I can't hear to 20khz anyway.
Using ribbons sounds interesting.
PAralines are not just phase plugs as explained by Darnley to help shape the vertical response but it does seem to limit upper response. I am willing to give this up because I can't hear to 20khz anyway.
It would be fun to build some VDOSCs.
One of the first thing when I got a 3D printer was I made a Paraline and I made a VDOSC.
I'd expected the VDOSC to perform better than the Paraline, but they were basically equal.
A few weeks after building it, I discovered that 3D waveguides are very porous. Due to this, you absolutely MUST seal them. So the performance of the ones I made in 3D could probably be improved quite a bit if I made another one and sealed it properly. Basically if you don't seal a 3D waveguide, a significant amount of energy goes right *through* the waveguide, because it's not airtight.
Porosity is a variable and in some software you can specify and airtight skin 3 filaments deep etc.
I thought there was more to it than that. Sorry. If that's all of it, I can achieve a 2nd order LP with two passive components. Using a 1" fullrange, I could also meet the minimum spacing requirements as well.
There is something else I believe. If you had 4 bared faced mids looking at each other near the apex, you will get cancellation between those drivers. When they are buried behind a smaller aperture with a bandpass chamber - that cancellation view factor goes down significantly. Only a guess that this may be a problem. but someone can confirm - it would be no different than a four driver square array with intendent 2D comb filter cancellations. With bandpass apertures I have never even heard this discussed.
I used a coax at the throat of a Synergy Horn and it sounded REALLY nice. Main reason I trashed it was because it was ugly as sin.
Now that 3D printing is A Thing, something like this Genelec starts looking like a good bet. Probably sounds a bit like the Kefs (very good.)
SM100
So, Danley makes the SM100 coax, but it's not really in the Synergy line. The entire cone of the coax is visible in the horn. Is there a coax available with a high enough Qes where the cone portion of the coax could be loaded like the Synegy with its contribution venting thru the frustum into the main horn?
So, Danley makes the SM100 coax, but it's not really in the Synergy line. The entire cone of the coax is visible in the horn. Is there a coax available with a high enough Qes where the cone portion of the coax could be loaded like the Synegy with its contribution venting thru the frustum into the main horn?
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