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Multi-Way Conventional loudspeakers with crossovers

Understanding Danley Synergy ?
Understanding Danley Synergy ?
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Old 19th June 2013, 11:09 AM   #71
JLH is offline JLH  United States
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Originally Posted by bear View Post
Imo, that would depend on a few things.

What frequencies?

Is there any diffraction or other diffraction causing discontinuity at or near the throat?

Why do the JMMC horns (even ones like 200Hz horns) show a smoother response with very large "lips" at high frequencies if there is no effect at the mouth?

You're trying to compare apples to oranges. The JMMC horns use a single compression driver across a broad bandwidth. The Synergy horns use multiple drivers with a specific crossover that limits the acoustic image of each driver. This segregation of frequencies prevent the high frequency output from the compression driver from acoustically seeing, or riding along the horn wall once the horn circumference has reached a certain cross sectional area.
Ah, how beautifully the orchestra sounds before a rain! In a dry sunny day there is no way for the instruments to sound this way!
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Old 20th June 2013, 10:11 PM   #72
artto is offline artto
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Originally Posted by bear View Post
I agree it is difficult to understand the relationships and the pros and cons of the various horn and waveguide designs.

For example, the L'Cleach designs show how a big turned back mouth lip smooths response, yet with the typical conical horn there is an abrupt transition out to the world at the end of the mouth with no rounding.

Shooting from the hip now, I seem to recall that Webster's equations for the exponential expansion gave even loading (I so do not want to use the word "constant") to the diaphragm, the others do not. This was seen as an important design goal, so most horn designs for decades followed this idea.

The expansion of a conical horn is very rapid close to its apex (throat) doubling its expansion in a very short distance (as an exponential horn would). As the distance from the apex is increased the *expansion rate* essentially decreases ~ it takes a longer and longer distance down the horn from any given point in the horn for the area to double. In essence, for every point along the axis of a conical horn there is a different expansion rate, and in turn, a different cut-off frequency. By utilizing this effect a conical horn can be driven at the appropriate place along its length to yield good low frequency loading of the driver. Therefore the lower frequency drivers are placed closer to the mouth of the horn, where the horn provides better loading within the frequency region (pass band) where the drivers will be used.

From Danley Sound Labs White Paper on Tapped Horn and Synergy Horn Technologies
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Old 30th July 2014, 02:00 AM   #73
jcx is offline jcx  United States
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early in the thread comments on XO seem to miss the delay compensated LR Lipshitz & Vanderkooy XOs
cited by Linkwitz Crossovers

also elsewhere I belive there was a call for other "unity/synergy" like products http://www.diyaudio.com/forums/multi...nity-horn.html

how about: http://www.acoustic-line.de/G3_Datenbl_engl.pdf

do any know the "air mass reflector" patents - I couldn't find it in Seeburg uspto search

Last edited by jcx; 30th July 2014 at 02:04 AM.
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Old 30th July 2014, 02:37 AM   #74
Bigun is offline Bigun  Canada
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Understanding Danley Synergy ?
Can't help you there jcx, but I'll repeat others that there would be a lot of interest in a home version of the Synergy Horn. Maybe Tom's business partner would like to consider the home theatre market - it's large and people will spend. A DIY version would be wonderful too, just offer us a plastic waveguide with all the holes in the right places...
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Old 2nd April 2017, 07:39 PM   #75
johnviera is offline johnviera
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Originally Posted by Tom Danley View Post
Hi Zero D
To understand how they work, start with subwoofers. If you take two identical subs and put them side by side, they are not twice as loud but 4 times as loud, 6dB. Take 4 and put them side by side and now they are +12dB or 16 times louder than one.
2 subs are not twice as loud as 1 sub. If my car has one 12 inch subwoofer and I add a second one, it will not sound twice as loud. It will sound 3db louder.

But my friends won't say "wow! turn it down." 1 sub at 130 db is booming. Add a second one and it booms a bit harder at 133db. That's all.

To be twice as loud you would need a 130 db subwoofer to add a second one and be 260 db.
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Old 2nd April 2017, 09:45 PM   #76
TNT is offline TNT  Sweden
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Perceived twice as loud is generally said to be +10dB.

Nice super bump btw.

More distortion to the people!
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Old 2nd April 2017, 11:50 PM   #77
Patrick Bateman is offline Patrick Bateman  United States
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Mr Viera is incorrect; 260dB isn't twice as loud as 130dB.

But Tom might be wrong too. (I can't believe I just wrote that!!!)

According to the link below, a 6dB increase in SPL raises the pressure 100%. (Measured in Pascals)

SPL sound level to dB pressure level sound pressure sound intensity unit dB Conversion of sound pressure to sound intensity sound units levels calculating spl sound level calculation air sound units level ratio decibel Pa kPa acoustic energy power co

Can someone verify?
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Old 3rd April 2017, 12:12 AM   #79
Pano is offline Pano  United States
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Understanding Danley Synergy ?
+1 bel is twice as loud. There are 10 decibels in 1 bel. Guess who it was named for?
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Old 3rd April 2017, 12:59 AM   #80
bwaslo is offline bwaslo  United States
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Doubling pressure (as with 2 woofers rather than two) wil give a 6dB increase (in power, pressure, whatever you want to talk about). 6dB is double pressure, 6dB is four times power (what I imagine Tom meant to say in the quoted text).

But then when you get to loudness, suddenly there's no very repeatable measure. It's how loud something 'sounds' to someone. Sometimes 6dB (twice pressure) will sound twice as loud, sometimes 10dB will, and it's a perceptive judgement call and will vary, usually in that range, from person to person and even from moment to moment. 10dB is usually assumed by convention...
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