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#6732 | |
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diyAudio Member
Join Date: Aug 2004
Location: US
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Quote:
My thinking was that when the term dipole is read people generally think of the classic figure 8 patten which only applies at low frequency in an acoustic dipole or doublet. So I was thinking that maybe using the term acoustic doublet would break the connection that dipole = figure 8 pattern. And I am never sure when some one else talks about a dipole if they are talking about a figure 8 pattern or the frequency dependent characteristic that degrades from a figure 8 to a daisy peddle affair as the frequency rises above the first on axis peak. All this talk about nulls and reducing nulls by damping the rear wave is a little disconcerting to me because once the frequency rises to the point where those nulls or dips are present the response no longer resembles any type of constant directivity and thus is useless from my (and your ) point of view. That is why I keep repeating the statement that an acoustic dipole (or doublet) has a useful frequency range to about 1 octave below the first on axis peak. Above that the polar response degenerates quickly form the figure 8 pattern. Below that the error is acceptable.
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John k.... Music and Design NaO Dipole Loudspeakers. "We have no right to assume that any physical laws exist, or if they have existed up to now, that will continue to exist in a similar manner in the future." Max Planck
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#6733 |
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diyAudio Member
Join Date: Dec 2004
Location: Novi, Michigan
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John
A question for you, or anyone else. When I looked at the Orion measurements it was obvious how well it controlled the directivity in the 200 - 500 Hz range, where I am not able to effect much control. Hopefully it is not a coincidence that this is precisely the region where I think the Orion shines. In my book I showed how a rear facing driver could be used to control the directivity in precisely this range while going away at LFs to yield a more efficient monopole. It turns out that this can be done passively, albeit not simply (passive attracts me for obvious reasons). I am going to try this and wondered if you, or anyone else, has actually done this as well and what your experience was (technically please!). This would not be too hard to impliment and may be an audible improvement. (There is no point in not disclosing this since its already public domain anyways.) |
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#6734 | |
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diyAudio Member
Join Date: Jun 2005
Location: Taiwan
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Quote:
I got an impression that you seem to be quite interested in dipole and brought it up several times. However you just haven't tried it yet, have you?
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#6735 | |
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diyAudio Member
Join Date: Mar 2005
Location: Taiwan
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Quote:
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Hear the real thing! |
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#6736 |
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diyAudio Member
Join Date: Dec 2004
Location: Novi, Michigan
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No, I haven't, and there is no guarantee that I will have the time to "try" it anytime soon either. It's not a major thing at all, it's a slight improvement in the 200 - 500 Hz region - not earth shattering, not a paradigm shift, nothing like that. And I have heard lots of dipoles before, so its not new from that perspective either. As I said, the technique is described in my book, which is almost ten years old now, so its nothing new.
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#6737 |
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diyAudio Member
Join Date: Dec 2004
Location: Novi, Michigan
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Its above the Schroeder frequency and so it should not be room dependent at all.
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#6738 |
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diyAudio Member
Join Date: Jan 2005
Location: Austria, at a beautiful place right in the heart of the Alps.
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First steps have been undertaken – and already presented - no ?
There is some hard work to do in establishing a minimum of common ground on the subject of CMP first – and thats I'm even more interested in … All the rest will come along by its own then. I'd say you begin to see the power and implications of my concept. ![]() As said – CMP is part and parcel to OB. Its been you – IIRC - who stated that dipole can *always* be seen as two point sources separated by some distance. In my understanding too this is not *exactly* the case – as I agree to your conclusion that we rather should keep dipole *directivety* at one hand and CMP (by OB) at the other hand clearly separated. As said once in a pronounced manner – due to OB being a CMP system - we listen to a *monopole* for the first time interval and only after that time interval (given by the delay) we actually listen to a dipole. ![]() and to repeat once more: with OB this is the case well below the dipole peak as well ! ![]() Coming back to "nude" speakers: There we actually have dipole behaviour *and* we start out with (practically) no delay. Sure – CMP is involved here too (later on) – but CMP is involved here in a very special form. ------------- As a side note : I'm deeply impressed by the lack of reaction to my statement that CMP *in genereal* flaws our most used tool in measurement - as clearly demonstrated. ![]() for any uncorrected CMP system the frequency response becomes a matter of the time interval we look at! Michael
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Audio and Loudspeaker Design Guidelines Last edited by mige0; 21st July 2010 at 04:39 AM. |
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#6739 | |
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diyAudio Member
Join Date: Jan 2005
Location: Austria, at a beautiful place right in the heart of the Alps.
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Quote:
Michael
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Audio and Loudspeaker Design Guidelines |
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#6740 | |
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diyAudio Member
Join Date: Jan 2005
Location: Austria, at a beautiful place right in the heart of the Alps.
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Quote:
"no delay - meaning: no delay that *sharply* separates two CMP intervals" Michael
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Audio and Loudspeaker Design Guidelines Last edited by mige0; 21st July 2010 at 05:07 AM. |
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