Today's experiment has been extending the 1st order passive X/O to the JBL 2482 mid drivers / horns. Just to see if less, gives more...
I now have
1st order on Raal tweets open at the top,
1st order S2 uppers, open at the top,
1st order JBL2482 mids slopes lower and top,
2nd order on the bass, slopes lower and top
4th order tapped sub, top slope only.
I have had the feeling the JBL2482 mids and when I tried the BMS4596 too, that they were not really doing much. Both were on 2nd order before.
Going 1st order they are certainly playing a lot more. I've just used a quick calc for the X/O components and there is a 5dB peak at 500Hz that needs addressing - getting more low end grunt out with a bigger cap / inductor would might more that peak lower to where it is needed - I'll try that later.
I've had to back off a tad on the upper driver pair vol and the mids a little too.
The overall 5 way freq response is as good as the 2nd order curves I have had.
There is a beguiling dynamic and tonal clarity when X/O components are removed. The path the signal has cannot get any simpler on these 3 upper drivers.
Listening is proving that there certainly is a new free and easy sound to things.
I now have
1st order on Raal tweets open at the top,
1st order S2 uppers, open at the top,
1st order JBL2482 mids slopes lower and top,
2nd order on the bass, slopes lower and top
4th order tapped sub, top slope only.
I have had the feeling the JBL2482 mids and when I tried the BMS4596 too, that they were not really doing much. Both were on 2nd order before.
Going 1st order they are certainly playing a lot more. I've just used a quick calc for the X/O components and there is a 5dB peak at 500Hz that needs addressing - getting more low end grunt out with a bigger cap / inductor would might more that peak lower to where it is needed - I'll try that later.
I've had to back off a tad on the upper driver pair vol and the mids a little too.
The overall 5 way freq response is as good as the 2nd order curves I have had.
There is a beguiling dynamic and tonal clarity when X/O components are removed. The path the signal has cannot get any simpler on these 3 upper drivers.
Listening is proving that there certainly is a new free and easy sound to things.
Best to measure to see. If you use a calculator the impedance of your driver in circuit is probably not going to be exactly as quoted.
I roll my Raal lazy ribs in at around 12KHz.
I think it very much depends on what drivers what application and testing your way forward. When I was on the JBL2435Be's 2nd order worked very well.
Even when I tried DSP at 4th order I always came back to 2nd order for the most engaging sound.
Having got the Vitavox S2's on they have different properties and thrive on 1st order. The rest of the system had to be tested and evolve too.
Interestingly the bass has changed at bit too - harmonics probably but the JBL2482s are really pulling their weight now and making very nice sounds.
I roll my Raal lazy ribs in at around 12KHz.
I think it very much depends on what drivers what application and testing your way forward. When I was on the JBL2435Be's 2nd order worked very well.
Even when I tried DSP at 4th order I always came back to 2nd order for the most engaging sound.
Having got the Vitavox S2's on they have different properties and thrive on 1st order. The rest of the system had to be tested and evolve too.
Interestingly the bass has changed at bit too - harmonics probably but the JBL2482s are really pulling their weight now and making very nice sounds.
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Been very busy on the WAF DSP X/O board project.
Got one and built it to work.
There's a whole long thread on it here:
http://www.diyaudio.com/forums/digital-line-level/215379-dsp-xover-project-part-2-a-74.html
Bit of beta testing but it works very well.
Absolutely hammers the Behringer DCX 2496 on sound quality. The input and output stages are so poor on the Behringer as to not even be worth considering in stock form in my system. Modding could get expensive - Simple caps on the output did little for me 7 it was so noisy. I also need 2 so digital input was not really possible.
WAF Najda was a welcome timely thing.
I've been amazed at the SQ of the unit. Really no discernible SQ diff to the passive X/O when just running the thing pass though mode.
Even ADC -> DSP -> DAC use it is good and transparent. I actually like the sound of the turntable though it!
Then I started loading up the X/O points and experimenting to get better sound out of the actual X/O points. The passive points really were pretty good. Not changed much there. I then on to DSP EQ and did a fair bit of work on the Tapped, Bass and Mid horns.
I also corrected the Vitavox S2's for as flat as possible but actually prefer them un-messed with. Great that you can just apply / remove on the fly having several set ups to compare...
Today, I moved the horns so they are more physically aligned, distance wise from the front, as opposed to time aligned.
I then set about time aligning them in Najda DSP X/O.
Here's how they look on the lashed up supports. Can be prettied later if the experiment works.
I am still having to time align the Raal Lazy ribbon tweeters physically as they are off the same line feed as the S2's. The Najda DSP only has 4 stereo channels, until the expansion board if completed. Hence they are much farther back than I would like...
However, this has brought the tweeters and especially the upper mid horns into free space. No reflections off the side of the tapped horns.
Alignment now done in DSP. I had to start out with a enough of a delay to allow the other horns to be slightly ahead of the tapped horns of course.
Having done it the other way around I knew the rough ball park figure of delay and added some. So, even the tapped horns are delayed a very slight amount in the digital domain.
Sounds a bit different. Less volume on the Upper mids if anything = less reflection addition I guess.
Got one and built it to work.
There's a whole long thread on it here:
http://www.diyaudio.com/forums/digital-line-level/215379-dsp-xover-project-part-2-a-74.html
Bit of beta testing but it works very well.
Absolutely hammers the Behringer DCX 2496 on sound quality. The input and output stages are so poor on the Behringer as to not even be worth considering in stock form in my system. Modding could get expensive - Simple caps on the output did little for me 7 it was so noisy. I also need 2 so digital input was not really possible.
WAF Najda was a welcome timely thing.
I've been amazed at the SQ of the unit. Really no discernible SQ diff to the passive X/O when just running the thing pass though mode.
Even ADC -> DSP -> DAC use it is good and transparent. I actually like the sound of the turntable though it!
Then I started loading up the X/O points and experimenting to get better sound out of the actual X/O points. The passive points really were pretty good. Not changed much there. I then on to DSP EQ and did a fair bit of work on the Tapped, Bass and Mid horns.
I also corrected the Vitavox S2's for as flat as possible but actually prefer them un-messed with. Great that you can just apply / remove on the fly having several set ups to compare...
Today, I moved the horns so they are more physically aligned, distance wise from the front, as opposed to time aligned.
I then set about time aligning them in Najda DSP X/O.
Here's how they look on the lashed up supports. Can be prettied later if the experiment works.
I am still having to time align the Raal Lazy ribbon tweeters physically as they are off the same line feed as the S2's. The Najda DSP only has 4 stereo channels, until the expansion board if completed. Hence they are much farther back than I would like...
However, this has brought the tweeters and especially the upper mid horns into free space. No reflections off the side of the tapped horns.
Alignment now done in DSP. I had to start out with a enough of a delay to allow the other horns to be slightly ahead of the tapped horns of course.
Having done it the other way around I knew the rough ball park figure of delay and added some. So, even the tapped horns are delayed a very slight amount in the digital domain.
Sounds a bit different. Less volume on the Upper mids if anything = less reflection addition I guess.
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Thx it's a lot of fun.
I've experimented more with correction and definitely prefer the S2's sound with no digi correction.
I do find it nice on the 2482 mid horns and the bass and tapped subs.
More is necessary on the RH side in general - room I guess?
Next thing to try is to remove the Antimode DSP from the tapped horns and see what I can get measured / listening corrected flat in the Najda DSP X/O domain.
The Antimode is pretty clever measuring room echo etc and at diff vols. Be interesting to compare.
I've come down with manflu so will be done during an up period.
I've experimented more with correction and definitely prefer the S2's sound with no digi correction.
I do find it nice on the 2482 mid horns and the bass and tapped subs.
More is necessary on the RH side in general - room I guess?
Next thing to try is to remove the Antimode DSP from the tapped horns and see what I can get measured / listening corrected flat in the Najda DSP X/O domain.
The Antimode is pretty clever measuring room echo etc and at diff vols. Be interesting to compare.
I've come down with manflu so will be done during an up period.
How could I have missed this thread.
Great to know the difference between conicals and tractrix, and also beryllium diaphragms vs aluminum diaphragms as in the S2.
My current problem is a mismatch in sound in the aluminum diaphragms of the Yamaha JA6681B and the paper cones of the 12" JBL 2202H. I just ordered some aluminum dust caps and hopefully these will do the trick.
Also, I am looking for a good midbass horn for them. I am thinking a horn much larger than yours would be preferable, to reach 80Hz.
I would also prefer to have everything on passive - buying five more SETs is a drag. But I guess a 5-way is too complicated for 2nd order passive XOs. The Minidsp 4x10HD sounds good, but not good as it would analog.
Great to know the difference between conicals and tractrix, and also beryllium diaphragms vs aluminum diaphragms as in the S2.
My current problem is a mismatch in sound in the aluminum diaphragms of the Yamaha JA6681B and the paper cones of the 12" JBL 2202H. I just ordered some aluminum dust caps and hopefully these will do the trick.
Also, I am looking for a good midbass horn for them. I am thinking a horn much larger than yours would be preferable, to reach 80Hz.
I would also prefer to have everything on passive - buying five more SETs is a drag. But I guess a 5-way is too complicated for 2nd order passive XOs. The Minidsp 4x10HD sounds good, but not good as it would analog.
I know what you mean about missing interesting threads... I would have never seen this awakening were it not for an email notification.
Yes, even a few extra Hz bass extension needs bigger, bigger, bigger.
After many months of WAF Najda X/O I am really impressed with it - well bloody revelation acutally, once I went to my hybrid mode
The support from Charpark on this forum has been excellent.
I've spread the world and a couple of us multi horn users have them now, and are happy.
Passive all the way down is tough... Things are so much more controlled, punchy and impressive with DSP on the bass channels.
I actually use a hybrid of DSP and passive - thus:
Tapped horns subs - DSP 4th order with some room correction
Mid Bass horns - DSP - 4th order / 2nd order with a tiny amount of room correction.
Mid horns - DSP no correction
Upper mid horns - 1st order passive (no upper slope) and running through the DSP with no X/O in play
Tweeter ribbons - 1 st order passive (no upper slope) not running through the DSP but on own amp, time aligned physically to upper mid horns.
Lower 4 channels time aligned in DSP domain.
This gives the best sound I've found so far.
Here's how it looks now with wider horn placement.
MVH Steve
Yes, even a few extra Hz bass extension needs bigger, bigger, bigger.
After many months of WAF Najda X/O I am really impressed with it - well bloody revelation acutally, once I went to my hybrid mode
The support from Charpark on this forum has been excellent.
I've spread the world and a couple of us multi horn users have them now, and are happy.
Passive all the way down is tough... Things are so much more controlled, punchy and impressive with DSP on the bass channels.
I actually use a hybrid of DSP and passive - thus:
Tapped horns subs - DSP 4th order with some room correction
Mid Bass horns - DSP - 4th order / 2nd order with a tiny amount of room correction.
Mid horns - DSP no correction
Upper mid horns - 1st order passive (no upper slope) and running through the DSP with no X/O in play
Tweeter ribbons - 1 st order passive (no upper slope) not running through the DSP but on own amp, time aligned physically to upper mid horns.
Lower 4 channels time aligned in DSP domain.
This gives the best sound I've found so far.
Here's how it looks now with wider horn placement.
MVH Steve
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It is so easy to get stuck in the digital XO world, and not finish that analog active XO master piece.
How do you think Minidsp 4x10HD measure up to the Najda? Seems to be the same thing. Only yours is cheaper to buy. I am not fully satisfied with the sound of the Minidsp. You mentioned earlier how digital XO has bad sounding cymbals and I can hear where this comes from, both on the Tranmission Audio true ribbon and a Beyma TPL-150 Air Motion Transformer tweeter.
I also heard from a friend how FIR can really sort out bass and midbass, but I have not yet understood it. FIR is a heavy subject.
It is a moment 22. If I remember correctly, Romy wrote something about how digital XO can reduce resolution/bitrate, especially for bass, but it this is the area where digital room correction can really of good use.
I would prefer to just treat the room acoustically and use analog components in the XO. It will end up looking like a white padded room at a mental asylum.
I will have three channels with three identical pairs of JA6681B compression drivers, and I would like these to be passive, so that I can use one single 45 SET amp for all of them at once. If the six drivers are all identical, designing a working passive 3-way XO, within the minidsp or any future analog active XO, should not be so difficult. I will however, use some kind of inductor, 1st order or 2nd order, to reduce high frequencies for the two lower compression drivers. I have tried no limit and it does not sound good, especially on the two largest compression driver horns. The smaller AG Trio tweeter horn does not seem to care. The JA6681B is practical that way - it dies off at 12kHz before compression drivers usually start to sound harsh and annoying.
Midbass can have an okay EL84 amp, because the JBL 2202H is an old instrument speaker anyway. There is a pretty large mismatch in sound between 45 and EL84 tubes, but this will have to do for now. I doubt the 45 amp is powerful enough for the JBL 2202H anyway. I am still working to find the best horn for it. I am even building a 55" wide x 61" deep x 22" tall biradial horn. Why not, ey? I am dumbfounded when it comes to midbass. Better try everything.
When I first saw the size of your midbass horn I though "He won't get passed 110Hz with those", but apparently you did. I wonder though, if it is acting like a horn driver or a direct radiator all the way down to 80Hz.
Summary of my system:
¤ 25-80Hz LAB12 subwoofer, in horn, or without. Will have its own analog out channel from the Minidsp or analog active XO.
¤ 80-340Hz JBL 2202H, soon with custom alu dustcap (still prototyping horns). Will have its own analog out channel from the minidsp or analog active XO.
The following three channels will hopefully share a passive XO that divides the signal from one digital out channel from the minidsp, that goes into a higher quality DAC and uses a fancy 45 SET tube amp.
¤ 340hz-~1000 Yamaha JA6681B in large custom made horn (still prototyping horns)
¤ ~1000-3500Hz Yamaha JA6681B in large custom made kugelwellen inspired by AG Trio midhorn
¤ 3500Hz-9000Hz Yamaha JA6681B in large custom made horn inspired by AG Trio tweeterhorn
¤ 9000-30 000Hz Transmission Audio 50cm true ribbon with RAAL trafo in custom horn. Will have its own analog out channel from the Minidsp, but I fear the cymbals will suffer greatly. Analog active XO would be preferred! This true ribbon is not as sensitive as the rest of the compression drivers and JBL 12". I am not sure yet what amp they like. This channel is somewhat of a mystery and it not in use yet.
I have found 2nd order to be good for everything except the LAB12 sub which seems to like LR24, for some reason.
I am guessing you are doing something similar. Are you still crossing a pair of crompression drivers down to ~340Hz? I have found an extreme way of doing so, using a replica of AG Trio's largest horn with a 4" to 1" adapter-extension. It is most certainly too big, but it sounds magical. I may reduce it slightly with wall paste. It is hornloading so low into the midbass area, that it is giving me a headache when I am trying to match that clarity of sound with a paper cone 12" JBL driver.
Your ribbon channel is the completely passive one? I could do this for my own ribbon.
Oh, and ignore the midbass horn with the oak rim in the picture. It is slowly being replaced with something larger. 4" throat was not enough for a 12" JBL driver.
//Rewind
How do you think Minidsp 4x10HD measure up to the Najda? Seems to be the same thing. Only yours is cheaper to buy.
I am not fully satisfied with the sound of the Minidsp. You mentioned earlier how digital XO has bad sounding cymbals and I can hear where this comes from, both on the Tranmission Audio true ribbon and a Beyma TPL-150 Air Motion Transformer tweeter.I also heard from a friend how FIR can really sort out bass and midbass, but I have not yet understood it. FIR is a heavy subject.
It is a moment 22. If I remember correctly, Romy wrote something about how digital XO can reduce resolution/bitrate, especially for bass, but it this is the area where digital room correction can really of good use.
I would prefer to just treat the room acoustically and use analog components in the XO. It will end up looking like a white padded room at a mental asylum.
I will have three channels with three identical pairs of JA6681B compression drivers, and I would like these to be passive, so that I can use one single 45 SET amp for all of them at once. If the six drivers are all identical, designing a working passive 3-way XO, within the minidsp or any future analog active XO, should not be so difficult. I will however, use some kind of inductor, 1st order or 2nd order, to reduce high frequencies for the two lower compression drivers. I have tried no limit and it does not sound good, especially on the two largest compression driver horns. The smaller AG Trio tweeter horn does not seem to care. The JA6681B is practical that way - it dies off at 12kHz before compression drivers usually start to sound harsh and annoying.
Midbass can have an okay EL84 amp, because the JBL 2202H is an old instrument speaker anyway. There is a pretty large mismatch in sound between 45 and EL84 tubes, but this will have to do for now. I doubt the 45 amp is powerful enough for the JBL 2202H anyway. I am still working to find the best horn for it. I am even building a 55" wide x 61" deep x 22" tall biradial horn. Why not, ey? I am dumbfounded when it comes to midbass. Better try everything.
When I first saw the size of your midbass horn I though "He won't get passed 110Hz with those", but apparently you did. I wonder though, if it is acting like a horn driver or a direct radiator all the way down to 80Hz.
Summary of my system:
¤ 25-80Hz LAB12 subwoofer, in horn, or without. Will have its own analog out channel from the Minidsp or analog active XO.
¤ 80-340Hz JBL 2202H, soon with custom alu dustcap (still prototyping horns). Will have its own analog out channel from the minidsp or analog active XO.
The following three channels will hopefully share a passive XO that divides the signal from one digital out channel from the minidsp, that goes into a higher quality DAC and uses a fancy 45 SET tube amp.
¤ 340hz-~1000 Yamaha JA6681B in large custom made horn (still prototyping horns)
¤ ~1000-3500Hz Yamaha JA6681B in large custom made kugelwellen inspired by AG Trio midhorn
¤ 3500Hz-9000Hz Yamaha JA6681B in large custom made horn inspired by AG Trio tweeterhorn
¤ 9000-30 000Hz Transmission Audio 50cm true ribbon with RAAL trafo in custom horn. Will have its own analog out channel from the Minidsp, but I fear the cymbals will suffer greatly. Analog active XO would be preferred! This true ribbon is not as sensitive as the rest of the compression drivers and JBL 12". I am not sure yet what amp they like. This channel is somewhat of a mystery and it not in use yet.
I have found 2nd order to be good for everything except the LAB12 sub which seems to like LR24, for some reason.
I am guessing you are doing something similar. Are you still crossing a pair of crompression drivers down to ~340Hz? I have found an extreme way of doing so, using a replica of AG Trio's largest horn with a 4" to 1" adapter-extension. It is most certainly too big, but it sounds magical. I may reduce it slightly with wall paste. It is hornloading so low into the midbass area, that it is giving me a headache when I am trying to match that clarity of sound with a paper cone 12" JBL driver.
Your ribbon channel is the completely passive one? I could do this for my own ribbon.
Oh, and ignore the midbass horn with the oak rim in the picture. It is slowly being replaced with something larger. 4" throat was not enough for a 12" JBL driver.
//Rewind
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Turns out if I start preparing for a DSP-less lifestyle I can save some money on SET amps.
What can you tell me of this hypothetical solution?
BTW, how can you have a clean signal that does not go through the DSP unit for your ribbon tweeter? Do you start out with analog, convert it to digital and then analog again? This would be very deteriorating for the signal.
//Rewind
What can you tell me of this hypothetical solution?
BTW, how can you have a clean signal that does not go through the DSP unit for your ribbon tweeter? Do you start out with analog, convert it to digital and then analog again? This would be very deteriorating for the signal.
//Rewind
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I was also wondering about your midbass horn, since I am in the situation where I don't really know what I want here.
I think this type of horn works best with a larger driver, like an 18" or 15", because for it to work down to 80Hz, the throat need to be so big that it starts to work like a direct radiator. There is no reason to put a direct radiator behind a tiny hole - so lets keep it open!
I have started from another angle - the 8" Fane Studio 8M drivers. I first began with the AG Trio midbass horn - it sounded more like a waveguide than a horn. The next horn I built is in fact the same size as yours, around 80cm in diameter, 1.1m deep, but it has a smaller 4" throat. The signal is hornloaded down to 150 or 200Hz, which is perfect for a 6.5" or 8" driver. The drivers suitable for hornloading in that size usually don't offer much midbass around 80Hz. To get down to 80Hz I needed a driver like the 12" JBL 2202H, but for it to sound good, I would need to open the throat to your size. I will do so, but I will also need a much larger mouth and depth.
Am I all wrong? I really hope so, because I will have trouble fitting the only horn that I think would do the job.
It will probably not be the funny looking biradial midbass horn. After reading how the edgy looking conical horn sounded compared to the smoothly rounded off midbass horn you have now, I will be very careful of any designs that stray from the idea of smooth round horns.
About placement. I think proper hornloading is more important than perfect on axis listening. Some say it might be even better to place midbass horns closer to each other, probably so that they can pump the same air together.
I base this on someone who had previously been listening to Western Electric 15A horns using WE 555 that reaches 100Hz. When listening to a pair that stood close to each other they apparently sounded much better then the pair that stood far apart on a Hifi convention. He was convinced that this was the reason.
I have heard the same thing about Labhorns, that if you are not planning on building six of them, but just two, then forget about it.
Still, I am just guessing. Despite all my horns, I have not heard hornloading below 110Hz yet.
Rewind
I think this type of horn works best with a larger driver, like an 18" or 15", because for it to work down to 80Hz, the throat need to be so big that it starts to work like a direct radiator. There is no reason to put a direct radiator behind a tiny hole - so lets keep it open!
I have started from another angle - the 8" Fane Studio 8M drivers. I first began with the AG Trio midbass horn - it sounded more like a waveguide than a horn. The next horn I built is in fact the same size as yours, around 80cm in diameter, 1.1m deep, but it has a smaller 4" throat. The signal is hornloaded down to 150 or 200Hz, which is perfect for a 6.5" or 8" driver. The drivers suitable for hornloading in that size usually don't offer much midbass around 80Hz. To get down to 80Hz I needed a driver like the 12" JBL 2202H, but for it to sound good, I would need to open the throat to your size. I will do so, but I will also need a much larger mouth and depth.
Am I all wrong? I really hope so, because I will have trouble fitting the only horn that I think would do the job.
It will probably not be the funny looking biradial midbass horn.
After reading how the edgy looking conical horn sounded compared to the smoothly rounded off midbass horn you have now, I will be very careful of any designs that stray from the idea of smooth round horns.About placement. I think proper hornloading is more important than perfect on axis listening. Some say it might be even better to place midbass horns closer to each other, probably so that they can pump the same air together.
I base this on someone who had previously been listening to Western Electric 15A horns using WE 555 that reaches 100Hz. When listening to a pair that stood close to each other they apparently sounded much better then the pair that stood far apart on a Hifi convention. He was convinced that this was the reason.
I have heard the same thing about Labhorns, that if you are not planning on building six of them, but just two, then forget about it.
Still, I am just guessing. Despite all my horns, I have not heard hornloading below 110Hz yet.
Rewind
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Soz guys, been away from this one for a while...
Yes to the big throat. When I modelled the exponential mid bass it was saying use a smaller throat. I found by measuring and trial and error (enlarging the throat bit by bit) that I liked the sound better with a larger throat. we are talking a couple of centimeters or so - can't remember exactly.
Below 100Hz you need tapped horns. They are fast and subtle but do not dominate or unbalance things - in my system at any rate.
Every man needs some massive horns in his den
Yes to the big throat. When I modelled the exponential mid bass it was saying use a smaller throat. I found by measuring and trial and error (enlarging the throat bit by bit) that I liked the sound better with a larger throat. we are talking a couple of centimeters or so - can't remember exactly.
Below 100Hz you need tapped horns. They are fast and subtle but do not dominate or unbalance things - in my system at any rate.
Every man needs some massive horns in his den
Soz guys, been away from this one for a while...
Yes to the big throat. When I modelled the exponential mid bass it was saying use a smaller throat. I found by measuring and trial and error (enlarging the throat bit by bit) that I liked the sound better with a larger throat. we are talking a couple of centimeters or so - can't remember exactly.
Below 100Hz you need tapped horns. They are fast and subtle but do not dominate or unbalance things - in my system at any rate.
Every man needs some massive horns in his den
I read about several people who preferred other solutions after trying tapped horns, but I don't know yet. I will focus on the upper part of the bass and make a slightly shorter horn than a tall tapped horn, using a J horn. See pic of my unfinished J horn. It is missing the large mouth that is angled towards the listener. The tube looking thing will go on top of the triangle shaped mouth in the background.
For midbass I will also try a larger horn throat. I would like it to be large but when paired with the J horn below it might not have to be. Maybe a too large mouth on a midbass horn, like a WE 15A, will make frequencies around 200-1000Hz sound wrong.
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DIY made 550Hz tractrix horns for my Vitavox S2's
The next twist in the tale.
I've set about making a pair of 550 or so Hz tractrix horns for my Vitavox S2's.
A bit of modelling in Hornresp to give the dimensions and also comparing with the ~600Hz Cube Audio GRP ones I currently run.
I've decided to use birch ply as I have lots of it and it's nice to work with.
6 rings of 24mm birch ply will do it.
The next twist in the tale.
I've set about making a pair of 550 or so Hz tractrix horns for my Vitavox S2's.
A bit of modelling in Hornresp to give the dimensions and also comparing with the ~600Hz Cube Audio GRP ones I currently run.
I've decided to use birch ply as I have lots of it and it's nice to work with.
6 rings of 24mm birch ply will do it.
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