I am a newbie for horn, and i want to build a unity horn, my concept is simple
i want to make a unity horn with 2 compression drivers cover anything from 700hz (or lower) to let;s say 14K hz and a super tweeter upto 30Khz
this unity horn may be crossed at 700hz range..or can be lower
i read a lot about unity horns at here, 2 ways units horn, with a compression HF with 2 to 4 mid range cones..
is it possible ?
i want to make a unity horn with 2 compression drivers cover anything from 700hz (or lower) to let;s say 14K hz and a super tweeter upto 30Khz
this unity horn may be crossed at 700hz range..or can be lower
i read a lot about unity horns at here, 2 ways units horn, with a compression HF with 2 to 4 mid range cones..
is it possible ?
let's me check the BMS..., many thx
thx for pointing out this quick note..
by the way, any horn maker still make those dual throat?
If you want fidelity I suggest you forget dual slot horns, they are against everything we learned about waveguide and horn contours in the past decade or so..
The coaxials pointed out by MaVo are a good starting point though. There are some successful projects out there in the wild, the most known one being the one from BD-Design.
The coaxials pointed out by MaVo are a good starting point though. There are some successful projects out there in the wild, the most known one being the one from BD-Design.
Well there would be the same effects as feeding four drivers. The SPL halfs and probably the phase response of the crossover needs to be adjusted. Having just two drivers also means higher distortions (because less SPL).
Maybe there are some advantages also, but I can't figure out what those would be, except price..
As for simillarities between feeding two compression drivers into a horn, vs the synergy concept, well there is much to talk. It all depends on the crossover point and whether the entry hole of the CD's remain acoustically invisible to the other at the selected crossover point. And that basically means bellow 1Khz if I understand this correctly.
Tom Danley actually does this with his JH 90
but then he crosses those CD's (coaxials from BMS) fairly low, around 500-600Hz I guess.
Maybe there are some advantages also, but I can't figure out what those would be, except price..
As for simillarities between feeding two compression drivers into a horn, vs the synergy concept, well there is much to talk. It all depends on the crossover point and whether the entry hole of the CD's remain acoustically invisible to the other at the selected crossover point. And that basically means bellow 1Khz if I understand this correctly.
Tom Danley actually does this with his JH 90
but then he crosses those CD's (coaxials from BMS) fairly low, around 500-600Hz I guess.
An externally hosted image should be here but it was not working when we last tested it.
soething like that... any comment for it?
What speaks against a ribbon and two compression drivers? I see no alignment problems in such a setup.
Driver suggestion for a proof of concept speaker:
http://www.parts-express.com/pe/showdetl.cfm?Partnumber=264-204
http://www.hifisound.de/oxid/oxid.p...c276.49901330/anid/98b4ba77b2658ffb0.05235853
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That type of throat plumbing causes severe peaks and nulls, you probably won't find a plot published for that dual driver horn.
Multiple HF drivers plumbed in a manifold to a small throat actually can get loud enough to cause air nonlinearity, "throat distortion".
The thread on compression driver requires mounting at the throat of a horn, which in the case of a ribbon driver would already be occupied.
For home use, a Synergy style horn using a ribbon for HF and small cones for mid drivers would work, though the vertical dispersion of the HF would be much more narrow than the mid frequencies.
One of the nice features of the "normal" Synergy style conical horn is the uniform dispersion pattern of the mid/high range, a ribbon HF would loose that feature.
Ribbons have very little excursion, requiring a much higher crossover point than a compression driver.
The multiple MF on a Unity/Synergy type horn couple to a part of the horn much larger in cross sectional area than the 1" diameter throat, SPL at that point is far less than what can be generated by multiple compression drivers on a small (20-60mm) manifold.
At a SPL of 160 dB or greater, the compression and rarefaction of air becomes progressively non linear, the air itself distorts.
Although this level can be exceeded by multiple compression drivers, multiple mid cone drivers won’t generate throat pressures that high.
If more SPL is needed in a particular area than a single HF driver can provide, multiple narrow dispersion horns are a better approach from a sound quality standpoint. Danley's Paraline throat also can be used to couple multiple HF drivers without increasing throat pressure excessively.
For home use, a single good HF driver on a 50 to 100 degree horn can easily provide enough level to cause hearing damage.
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