"HornGuide" > Coining new term for obvious reasons.
But straight to questions: (After wishing everyone a Merry Christmas!).
Assuming that the driver throat to horn shape transition is properly made, and for the moment taking all of the throat transition issues out if the equation, would the dispersion pattern of a triangular conical "hornguide" be about, or nearly the same as a round conical horn of the same angle?
I ask this because I have always assumed the wave front at the mouth of the driver to be sort of spherical. I have been reading about everything I can get my hands on and I have to say I am confused. If it is not inherently spherical and if by using a round horn we are in fact sort of reshaping ( nessecarily distorting) it, then would not a triangular conical horn be better or at least equal to a round conical horn?
I am also wondering (if in fact this turns out to be the case) could not the triangular/tetrahedral cone shape yield the same advantages over a square (pyramidal) cone shape that a round conical horn does, (no 90 degree etc.) but without the construction headaches of a round conical "horn guide"?) I don't mean to open either a can of worms or a can of stupid here but it hadn't escaped me that if these questions are to be asked, this is the place to ask them!
But straight to questions: (After wishing everyone a Merry Christmas!).
Assuming that the driver throat to horn shape transition is properly made, and for the moment taking all of the throat transition issues out if the equation, would the dispersion pattern of a triangular conical "hornguide" be about, or nearly the same as a round conical horn of the same angle?
I ask this because I have always assumed the wave front at the mouth of the driver to be sort of spherical. I have been reading about everything I can get my hands on and I have to say I am confused. If it is not inherently spherical and if by using a round horn we are in fact sort of reshaping ( nessecarily distorting) it, then would not a triangular conical horn be better or at least equal to a round conical horn?
I am also wondering (if in fact this turns out to be the case) could not the triangular/tetrahedral cone shape yield the same advantages over a square (pyramidal) cone shape that a round conical horn does, (no 90 degree etc.) but without the construction headaches of a round conical "horn guide"?) I don't mean to open either a can of worms or a can of stupid here but it hadn't escaped me that if these questions are to be asked, this is the place to ask them!
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Earl Geddes would say (much more eloquently) that a round mouth is preserving the wave shape from the round compression driver. He would also say that the dispersion is quite important and he uses oblate spheroidal geometry.
I think about soap bubbles: have you seen a square one? A triangular one? It's not natural, and not a natural way for a wave to spread from a round source. Round is the most natural, followed by elliptical.
The rectangular geometries are all about wave pattern control-like dispersion and sweet spot. And for consumer stuff, marketing appearance.
As an acoustic engineer, I cannot imagine what a triangle shape would be good for in this case. But thanks for raising the question-it's an interesting idea. Maybe someone will come up with a good use for it.
I think about soap bubbles: have you seen a square one? A triangular one? It's not natural, and not a natural way for a wave to spread from a round source. Round is the most natural, followed by elliptical.
The rectangular geometries are all about wave pattern control-like dispersion and sweet spot. And for consumer stuff, marketing appearance.
As an acoustic engineer, I cannot imagine what a triangle shape would be good for in this case. But thanks for raising the question-it's an interesting idea. Maybe someone will come up with a good use for it.
From a room corner...
... formed by an adjoining floor (or ceiling) and two walls
a wave emanating from there will 'see' a triangular boundary. The mouth of a low frequency horn may be designed to fit this boundary condition.
Regards,
WHG
... formed by an adjoining floor (or ceiling) and two walls
a wave emanating from there will 'see' a triangular boundary. The mouth of a low frequency horn may be designed to fit this boundary condition.
Regards,
WHG
Yes I do want try a ceiling corner with the horn at the apex. My thought here is from that position why force another shape onto something that is already tetrahedral. Think Unity from ceiling corner. The Altec 604s did sound great from this position. This would be a new approach. No space behind the horn, therefore no reflections. Maybe I'm wrong and this only works for woofs in corners. I'm thinking beyond the 8th space woofer benifits. More as a soffit mount no rear reflection thing.
Ok. I see why some of you think this is odd. If i were trying to *create* a horn with that pattern it would be odd! What I am thinking is we are more or less *stuck* with it at already at the room corners wall-floor-ceiling junctions. There are certain monitoring situations where a fixed listening position is required. PWK used this 8th space placement for a bass horn as we all know. I would like to tap into this pre-existing horn from the ceiling for use as a studio monitor, not for the reason klipsch did, although both could be done simultaneously. If I have not been clear I wish to start at the apex with hf driver. Klipsch used it for corner loading bass born only.
My thought process here is that the throat "round to triangular" transition *might* be a lot less problematic than reflections off of adjacent rear room walls/ceiling. In this design they would be entirely eliminated. This could be thought of as the speaker equivalant of a pressure zone microphone in that sense. The equlitateral triangle is a very powerful position to listen from for a variety of reasons. This concept is an attempt to take advantage of what we are already "blessed" with. Given new horn concepts like Unity it seems to me a no brainer not to at least contemplate this. I feel this is the place to put ideas like this forward for review.
I very much appreciate all of the feedback I'm getting. I hope it makes more sense now.
My thought process here is that the throat "round to triangular" transition *might* be a lot less problematic than reflections off of adjacent rear room walls/ceiling. In this design they would be entirely eliminated. This could be thought of as the speaker equivalant of a pressure zone microphone in that sense. The equlitateral triangle is a very powerful position to listen from for a variety of reasons. This concept is an attempt to take advantage of what we are already "blessed" with. Given new horn concepts like Unity it seems to me a no brainer not to at least contemplate this. I feel this is the place to put ideas like this forward for review.
I very much appreciate all of the feedback I'm getting. I hope it makes more sense now.
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