There's nothing "Kinoshita" about that particular build, I'm afraid (despite the ambitious title...)
Now, this one, instead, is worthy of its title: Diy Rey Audio Kinoshita
Marco.
I think only the cabinet dimensions were based on the Kinoshita...
Perhaps "look-alike" would be a better description, then again, the silly buttcheek horn killed the whole look.I also did a large MTM, although less sexy than a Kinoshita (let alone those refurbished by Kenrick Sound or the new build by our Russian forum member) and also less accurate:
Two way with PA drivers
But the whole project costs less than a TAD HF Driver alone !
The waveguide that I used is slightly larger than a 2344, allowing a lower crossover frequency (still not low enough for the D'appolito criterion). One can even see a 2344/2426 combination on the pivture for comparison - the "stands" have one (and no it is not a Logitech tweeter but a real one). Because they are quite sturdy, those boxes came in handy for that purpose.
Regards
Charles
Two way with PA drivers
But the whole project costs less than a TAD HF Driver alone !
The waveguide that I used is slightly larger than a 2344, allowing a lower crossover frequency (still not low enough for the D'appolito criterion). One can even see a 2344/2426 combination on the pivture for comparison - the "stands" have one (and no it is not a Logitech tweeter but a real one). Because they are quite sturdy, those boxes came in handy for that purpose.
Regards
Charles
Look nice and i agree with Marco one of the most interesting loudspeaker from this past era! You won t complain about dynamic for a while... and other speaker may sound lacking in this department to you now.
I ve got some plan of clone from former french's TAD distributor about this particular loudspeaker. The only thing lacking is the value of the component in the filter but you have the overall schematic availlable though. Shouldn't be a problem for Marco to deduct them i think!
I ve got some plan of clone from former french's TAD distributor about this particular loudspeaker. The only thing lacking is the value of the component in the filter but you have the overall schematic availlable though. Shouldn't be a problem for Marco to deduct them i think!
The TH-4001 will need a suitable adapter to be used with the TD-4003. The TH-4003 has less diffraction, but it has more narrow directivity above ~7kHz.
Marco
Hi Marco,
I checked the pictures in first post, the little wings inside the horn are missing from the picture i remembered of the article i thought about and your xover schematic didn t look like the one i remembered ( their is no autoformer in the one i have), so i digged in my archive and... this was a Tsm-2 clone not a 2404! My bad.
Difference are in the horn which is a TH4001 (you already mentioned and explained the difference between them) and the boomer which is Tl1601A, and CD being a CD4001. Otherwise they look the same.
The TSM was more in line with the Kinoshita's i've met in studio. Your comment about the narrower directivity make sense for the intended use of 2404* in domestic environement where acoustical treatment are usually less or non existent than in a control room.
* TSM: TAD Studio Monitor, 24XX range was more for home listening target. Both were Kinoshita's baby as he was engineer with TAD before deciding going "the dark side of the force" and work most exclusively for proaudio world with RM series and later Rey audio.
I checked the pictures in first post, the little wings inside the horn are missing from the picture i remembered of the article i thought about and your xover schematic didn t look like the one i remembered ( their is no autoformer in the one i have), so i digged in my archive and... this was a Tsm-2 clone not a 2404! My bad.
Difference are in the horn which is a TH4001 (you already mentioned and explained the difference between them) and the boomer which is Tl1601A, and CD being a CD4001. Otherwise they look the same.
The TSM was more in line with the Kinoshita's i've met in studio. Your comment about the narrower directivity make sense for the intended use of 2404* in domestic environement where acoustical treatment are usually less or non existent than in a control room.
* TSM: TAD Studio Monitor, 24XX range was more for home listening target. Both were Kinoshita's baby as he was engineer with TAD before deciding going "the dark side of the force" and work most exclusively for proaudio world with RM series and later Rey audio.
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What kind of adapter do I need? Can you be more specific? This is my first time horn project can you be more detailed? If you were to pick one for TAD 4003, which horn will you used?
Thanks
Horns for TD 4003
You’d need a 1.5” to 2” but it’s not as simple as that . There is someone in the US that makes resin clones and myself that makes wooden clones of the TH 4003 . If you have that kind commitment to 4003 you may be best to stick to a proven design ,especially for your first horn project .
You’d need a 1.5” to 2” but it’s not as simple as that . There is someone in the US that makes resin clones and myself that makes wooden clones of the TH 4003 . If you have that kind commitment to 4003 you may be best to stick to a proven design ,especially for your first horn project .
I was supposed to get TAD 4001 but the dealer proaudiodesign cant give me the horn after 4 months of waiting with full payment. They are returning my money and I decide to get 4003.
Problem is I already have TH-4001 replica, and I heard this will work for 4003 as well.
@Richluvsound: can you tell me where to get the resin replica? If TH-4003 sounds much better than TH-4001 I will get it.
Thanks
Problem is I already have TH-4001 replica, and I heard this will work for 4003 as well.
@Richluvsound: can you tell me where to get the resin replica? If TH-4003 sounds much better than TH-4001 I will get it.
Thanks
The Tad 4001 you talk about is the Compression Driver Santodx5? If that is the case and you already have the horn you could substitute for something different like a radian 950 or something else.
Just be sure that the throat adaptator is designed to work with the exit angle of the CD and it should be ok. I ve heard Jbl2450 and Das k8 with Th 4001 clones and was really impressed by end results in both case but this was used with active dsp and there was some treatments used to adapt them to the horn (eq). But i expected them to sound far worse than what i ve heard which was very close to the cd4001 imo.
Just be sure that the throat adaptator is designed to work with the exit angle of the CD and it should be ok. I ve heard Jbl2450 and Das k8 with Th 4001 clones and was really impressed by end results in both case but this was used with active dsp and there was some treatments used to adapt them to the horn (eq). But i expected them to sound far worse than what i ve heard which was very close to the cd4001 imo.
You've asked this before. I tried to give a nuanced answer, but apparently that didn't work.
The short answer is: no, it won't be as good.
But, it can still be very good. To use the TD-4003 with the TH-4001, you'll need a 6.5cm long conical adapter, with entrance diameter = 3.9cm, and exit diameter = 5.0cm.
Marco
The short answer is: no, it won't be as good.
But, it can still be very good. To use the TD-4003 with the TH-4001, you'll need a 6.5cm long conical adapter, with entrance diameter = 3.9cm, and exit diameter = 5.0cm.
Marco
Dear Marco Gea,
first of all thanks a lot for the effort you put into this reengineering and for sharing this!
Please tell me if I understand your simulation correct:
It looks like a simple 12db butterworth-highpass for the tweeter?
The lowpass looks like a combination of a 12db 300hz lowpass and a 24db 650hz lowpass?
Is that correct?
The 12db 300hz lowpass seems to be a baffle-step-compensation, right?
Thanks a lot for your help,
Olaf