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Old 12th July 2012, 01:38 PM   #31
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Quote:
Originally Posted by hm View Post
Hi,
may this helps for understanding horns:
Horns
Since you like his explanations, did you look at the "excessively truncated" curve for the bass horn?

Also, the "3 octave rule" is not a rule.

Take the Altec 1003 for example.
It works fine from 300Hz to above 10kHz.
That is more than 5 octaves. Flat. Have measurements that show this - but in case you want me to post, they are not current and I do not have them on hand.

Also the WE555 goes form ~100Hz. to >5kHz on several WE horns. Again more than 5 octaves.

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Old 12th July 2012, 06:51 PM   #32
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[Since you like his explanations, did you look at the "excessively truncated" curve for the bass horn?

yes, but do you understand the membran moving interlacing
and the effect of basshorn mouth distance of my double horns?
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Old 15th July 2012, 03:55 PM   #33
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late as always...

I think that the mouth size has been one of his points, historically. Horst's experiments in his spaces have led him to believe length and flare to be more important.

I didn't know about that project, either, but it seems that what's different from Horst's previous efforts is that the mouths aren't separate so it's not just electrical "interlacing". My artist's rendition looks like a really bad phase plug (I know, don't quit my day job).
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Old 15th July 2012, 11:41 PM   #34
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Look, I don't want to be adversarial at all. The idea that Horst seems to have is to take two "imperfect" horns, each having the usual "comb filter" response in the output, and select them so that the nulls and peaks interlace, filling in the response.

At least I think that is what is being suggested?

I suppose this is successful in the frequency domain to some extent. And, as I said before if it produces reasonably flat response lower than is usual for the driver type and box volume, then it has merit if for that alone.

@grindstone, I get your diagram, but I think there is a truncation more like before the mouth flare you show... seems that way.

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Old 16th July 2012, 08:20 AM   #35
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thanks bear
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Old 16th July 2012, 01:48 PM   #36
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actually it's a slick, smart idea.

one of those, "DOH! I shoulda thought of that!"

But that is not to say there are no issues to consider, and that is probably why I personally did not think in those terms and looked to solve similar problems using different methods. Still clever way to get around a number of design roadblocks!

I look forward to having an opportunity to hear it someday.

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Old 16th July 2012, 02:33 PM   #37
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Indeed.

For the sake of interest the basic concept has actually been around for decades in various forms; Voigt gave some examples in his patents back in the early 1930s, and around the turn of the century there was some interest for differentially tuned TQWT (otherwise known as 'conical horns' ), but for one reason & another it never gained much traction. These things come & go; I suspect it will see a rise in popularity at some point.

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Old 16th July 2012, 09:28 PM   #38
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Rex Baldocs 15 Hz hyperbolic horn in HiFi News 50 years ago used interlacing of the room modes with the modes of the horn. So the idea of using interacting imperfections have been used in horns now and then for a long time.
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Old 17th July 2012, 04:54 AM   #39
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Default psst: freddi

I remember seeing that pipe but it has been a very long time and it was disquieting to see again and try to remember what I used to think

Also seem not to have the attention-span for actual reading or comprehension but I gotta say that thing almost screams for k-slots in each tube, too.

Anybody got a steer to Axiette measurables?
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Old 17th July 2012, 02:06 PM   #40
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Quote:
Originally Posted by DrBoar View Post
Rex Baldocs 15 Hz hyperbolic horn in HiFi News 50 years ago........
Even longer if we include W.E.'s late '20s 12A, 13A horn set-up to improve off axis speech intelligibility in large cinemas that probably was the 'seed' for later variations all the way to it being re-invented for small cinema/HT apps in the '90s.

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