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Old 12th February 2017, 09:07 AM   #1441
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Quote:
Originally Posted by mightym View Post
Thanks for the updated diagrams Steve, they make all the sense now.

I've been contemplating this whole thing this week. In my mind, one could start with a rectangular form, and "fold" the design by making it straight sided, and placing the upper portion of the taper centered inside the rectangular bottom. Giving you constant taper. I'm contemplating a Sketchup model of this. If I do one I'll share here...

John
See "Demetri" as I mentioned two pages ago
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Old 12th February 2017, 10:37 AM   #1442
mightym is offline mightym  United States
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Quote:
Originally Posted by giantstairs View Post
See "Demetri" as I mentioned two pages ago
I am familiar with that design by Mr. Dlugos.

It's a folded MLTL, not same as Metronome (MLQQWT).

What I was talking about is a different form of Semi-Omni Metronome, what I have in mind results in a rectilinear form factor on the outside, while still having the metronome taper folded in half inside. I'm thinking inside the box here....

I tried to do a Sketchup model a couple nights ago, didn't get far, too tired from a long day. I plan to try again when I have the energy.
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Old 12th February 2017, 07:09 PM   #1443
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See post 28
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Old 13th February 2017, 02:38 AM   #1444
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I am fascinated by the tweet or super tweet forward, full range or woofer/mid woof firing up.

If i remember, it worked well with drivers that have a climbing reponse.

Remind me, we have sb acoustics with single cap at 9khz and what driver run wide open ?

Last edited by norman bates; 13th February 2017 at 02:41 AM.
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Old 13th February 2017, 05:53 AM   #1445
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Faital Pro 6PR110
Faital Pro 6PR110 6" Speaker Driver 150W 8 Ohm from Faital Pro 56.30 IN STOCK (13 Feb 2017)
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Old 13th February 2017, 08:22 AM   #1447
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It's a good driver, and in the OmniMet cabinet, the bass performance of the speaker system as a whole, is a lot better than the on-paper Fs of 100Hz would tend to suggest.

Last edited by Steve Cresswell; 13th February 2017 at 08:24 AM.
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Old 13th February 2017, 12:01 PM   #1448
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Just kicking back to some Miles Davis tracks from his first great quintet and sextet period. "Kind of Blue" has just struck up and we're in the studio with the band. I need to turn things down

It's taken about eight days for the bass/mid drivers to loosen up and let the bass out fully, but now they are probably about there.

The against the wall bass alignment has worked out well. The down-firing mass loading port output, coupled to the floor and the up-firing bass/mid, is giving the speaker the best chance of working with the room acoustic, to produce an even output, that tracks bass lines up and down the scale, without emphasising any particular frequency over another unless you actually hear a string being plucked harder for effect.

The room is not being excited, so the room is not interfering with bass instruments. This is allowing individual instrument characteristics to be reproduced clearly. For example, little string bends, buzzes, hesitations and subtle beat dragging or subtle pushes to the rhythm, all come over cleanly and clearly, and make musical sense in the context of each recording. Texture, timbre and tone is spot on.

Another little touch these speakers have is the chameleon-like ability to allow the room to "become" the venue in which the performance is happening. On the right recording, they are capable of transporting you right into the action. You get to hear studio walls, slap echoes off back walls, voices are given acoustic environments.

For example, on Dusty Springfield "The Look of Love" from the original Colgems, stereo vinyl of the soundtrack to the sixties David Niven Bond spoof "Casino Royale" the vocal booth can be heard. Dusty seems to be singing from a pan-pot positioned dry space, dead centre of the more wet Abbey Road acoustic of the orchestra and the Herb Alpert brass. All the time the subtle rhythmic device of a scraper purrs along hard left. Niiice

These speakers may not be everyone's cup of tea. Heavy rock afficionados may find the slightly distant perspective, these speakers produce, not quite in 'yer face enough. They will play rock with great dynamics and big tone, but that nth degree of oomph may be lacking for some listeners. I like tone and harmonics over ultimate welly, but others will differ in their preferences, which is fine. We don't all like the same thing, and speakers are highly subjective at the best of times.
Big classical works come over very well, as does choral, opera, chamber music, early music, jazz, blues, soul, fifties rock n roll, sixties pop, singer/songwriter country, bluegrass, big band swing, Latin, and electronic of both the Klaus Schulze/TD and Orbital persuasions.

The OmniMets have taken up permanent residence in the system now.
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Old 16th February 2017, 12:08 PM   #1449
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My old Fostex FF225WK Mets in their new home.
A friend bought them off me.
Click the image to open in full size.

His cat approves
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