EnABL Processes

[WT]

Dear BudP,

Thanks so much for your kindness. I don't have AutoCad but when you say Coral, do you mean Coral Draw program? If this is the case, it means you transform the file in to some kind of graphic file. If it is a graphic file, I guess my mc can open it and print it out accurately.

You do need two patterns on the Main cone too. Yup, way down there under the whizzer.

How can I do that! This might be a challenge for me.

For dust cap, that is OK. 2 ring sets with dot should be easy to apply.

[BudP]

WT,

I use Corel Draw. The Auto Cad drawing is imported as a vector file and so is scalable.

May I suggest that you do not treat your Clare speakers first? I really would feel much more comfortable if you were to treat, perhaps some boom box speakers for teens or something else convenient and CHEAP. Not that I doubt your success, just that a bit of experience can make a critical project much less worrisome.

Please, collect some pen points, perhaps a couple of technical pens and the two types of acrylic paints needed, especially the Micro Scale Micro Gloss. Then go back a few pages until you find the link to the forms generator program. Download it and print out a full circular polar coordinate graph paper page.

Each set of blocks in a row covers 10 degrees, two degrees for each block and one degree for the space between them. Each ring is also a one degree space apart. If you pencil in a circle of block sets on one of the rings on the coordinate paper you will have the pattern correctly laid out. Use a polar coordinate graph paper ring one degree width smaller than an exact match for a potential ring set on a cone

If that ring happened to be a little bit smaller than the perfect place to put a ring on a CHEAP cone you would have a ready made template to guide your placement of blocks with. If you then drew two sets of blocks, in paint on the cone, as a lower ring, you could use them as a guide to help you put a bridging block set in the next ring up. Thereby using one pattern ring to guide the creation of two rings on the cone. I assure you this is how I do it. All of the fancy printouts were really just to show folks where the block rings might be needed.

In general you should have the top ring applied so that it is covering an area that is three degrees down from the edge of the surround or cone top edge. Means the top ring is on that third degree position, not under it. This means that a polar coordinate paper ring that is six degree smaller than the cone edge should work perfectly.

I any event when you get ready to tackle the Clare we can discuss how to get a guide made to help you put a pattern ring on the lower edge of the main cone, down under the whizzer, near the joint between cone and voice coil. It is not impossible, just tedious.

A little secret here, which now no longer is one, treating cheap paper cones with a full treatment makes them sound amazingly musical and clear. Your table radio or TV speakers are a very useful set of speakers to experiment on. Short of spilling the paint bottle on the cone, it is very hard not to make them sound just great.

Teenagers love knowing how to do this pattern treatment and their young eyes and steady hands are very well suited to applying these patterns. Pay them well and you can set up a small business treating other peoples speakers for them. Since you do not live in the USA, I am not obligated to care about you doing this and so I encourage you and everyone else outside of the USA to look at doing this. It will improve your human habitat quite a bit.


Bud

[Hartono]

BudP:

"Since you do not live in the USA, I am not obligated to care about you doing this and so I encourage you and everyone else outside of the USA to look at doing this."

you're very generous

[WT]

Dear BudP,

Thanks again for your clear explanation and generosity. I will try it first on my cheap PC speaker.

[Zen Mod]

Bwana Bud.......tnx for sharing again

btw- look at this :

http://www.diyaudio.com/forums/showt...30#post1204930
and few posts further .

I'm just curious - can you have any observations and/or comments just looking at pics.............

btw - scanning is in progress.......I'll send you that after weekend (short trip ) .

[aceinc]

I searched the WIKI, and couldn't find anything about EnABL + Mamboni Processes.

There certainly is quite a bit of information in the 216 posts in this thread (so far) not to mention the innumerable links to other threads and information.

Would it make sense to create a WIKI article with "just the facts, ma'am". This would allow someone that is interested in how to implement these techniques a place to go and see a synopsis of the design principles, and then how to do it.

This thread would continue to evolve and generate new ideas, but as they get solidified into "facts" they can be added to the WIKI.

Just a thought.

Paul

[BudP]

Zen Mod.

Looks like a good candidate to me. Should be easy to treat the lower cone section under the Whizzer... or easier to treat than the Lowther with whizzer flange was anyway. If this is a relatively thin, calendered paper, then front side treatment of both cones and the center phase plug will do what is needed. You could treat the back sides of both and you could shoot yourself in the foot, for about the same amount of pain. The results of just the front treatment will be worth the pain. Only about another 30% gain in loss of grain and increase of clarity will be realized from treating both sides, and with a material this thin you will need to match patterns, front to back, very closely to get the full benefit.

That full benefit will be a completely polite speaker. Nothing ever getting misplaced, or covered over, or granulated, or ever, in any way, going non linear, with respect to other sounds in the sound field. All of my drivers are done to this level, but I don't own any that are hard to treat, or require exact pattern matching front to back sides either.

So, treat the front side and listen for a few months, while plotting the overthrow of refractions and reflections on the back side. Also, plan on learning all about how to make the obstructions on the back side sonically invisible, by removing their ability to refract and reflect.

We can get into this as we go along, I have much to divulge about how to recover from just having made your drivers completely transparent to sound, in both directions.

Paul,

That is a worthy idea and I have had thoughts along that vein off and on. But..... I have just about enough time to answer the sorts of practical questions that arise in the ad hoc pattern that they arise.

Plus, while the theory is relatively simple, it is quite hard to get your head around, when you first come upon it. To date there is no mathematical treatment of the relevant relationships, to say nothing about there being no deconstruction and parceling out of those relationships and their individual constituents. So, it is still all by analogy and branching logic that a specific solution to a specific treatment problem is arrived at.

Now, if we put our heads together, get our math whiz and antenna theory and wave tank friends to join up and lend a hand, the math and rigorous derivations from a main theoretical treatise could evolve.

Then I think a Wiki article would be useful, to everyone. The folks who must have an abstract model to refer to and those who only deal with concrete, practical, results driven activities, would have both to help them paw through this rather mind reorienting scheme for removing things that ought not to be there in the first place, according to theory, based upon simple, readily available, deconstruction modeling formula's.

I'm willing, but, I do not have all of those skill sets, nor money to pay others for their use of their skills on behalf of EnABL.

Bud

[Zen Mod]

first time when I saw EnABLE related post on DiyA , I imagined what I already knew about barriers for tide waves......I can't remember where I read that and also where exactly these barriers are located ,but I know that they exist.


for me-that analogy is more than good enough reason for embracing EnABL treatment......

[aceinc]

I am part of the latter group that you describe, "those who only deal with concrete, practical, results driven activities."

What I hope to get out of this thread, and/or any WIKI article is;

1) How can it help me buld a better speaker,

2) How can I empirically test the results of the process.

3) What do I need to do to be successful at implementing these concepts in the easiest way possible in my project(s).

Paul

[BudP]

EnABL WIKI, STEP ONE

Well, lets see how this plays.

Q.) Why would we need a process like EnABL, that controls events that only occur for a short period of time in the first place?

A.) The test equipment that we utilize to provide us with an objective look at speaker related phenomena is utterly without discretion This is good and bad and really, bad only because the function of "hearing" is misunderstood. Not the activity of hearing and all of the measurable activities related to hearing. The function.

The function of hearing is to be part of a "Correlated" THREAT ASSESSMENT SYSTEM. This means that the incoming information from all senses is dealt with on the basis of what has changed since the last moment that particular field of sensing was accessed? Does this change, if any, fall into the realm of time vs position that indicates a dangerous change? If so, can this change be observed by another sensory system that, correlated with the initial sensory system, will allow a categorization as threat / non threat?

Our threat correlator is semi autonomous, self aware, and able to interrupt and redirect conscious decision making, that it uses as another sensory system for threat analysis. It is even able to provide a psychobabble internal conversation for the consciousness sensory system to busy itself with, until needed again for "useful" decision making.

This correlator, after having brought the subject of an unidentified threat up to a conscious decision level and having received either a threat or non threat decision, is able to cease to respond to this anomalous sound, or touch or taste or sight or smell or thought. It does this so it can uncover further, hidden threats. If the anomalous item is assigned a potential threat tag by the conscious analysis, or by it falling into a category of hardwired threats, this correlator is quite able to track the potential threat, through time and space, without further conscious attention. In fact it does the best job it can of distracting the conscious attention while following the threat. If the threat is hard wired and the pattern discerned is known to be life threatening the correlator assumes control and known physical protection processes are engaged. Practical examples abound in our daily lives.

How is this important to Audio? This is the mechanism that we use to "adjust" to aberrant pieces of equipment. This is how those who are involved in the "hobby" of audio adjust to and embrace equipment combinations that have obvious faults. This is how we can be so unable to understand why we need to alter an event which only happens for a short period of time and then stops. This is how we can use objective, scientifically rigorous testing to confirm that nothing needs to be corrected. This is why EnABL processing at first seems so superfluous and can be discarded as unneeded.

Now, let's pick this apart, all of us getting involved to question portions, hidden assumptions, make further explorations, reductions and critical additions, like the time frames involved in these threat assessments, until we have a shorter more pointed and clearly understandable description of need, step one.

Certainly Lynn has information on important time frames here and I am sure others do too.

This will be the preface to a Wiki on EnABL so we have to make sure it makes sense and it's application is obvious. If you have a thought, please respond and be sure to put a big Wiki step one note, to keep this sub thread separate from the rest of the evolving sub threads

Bud