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Old 12th October 2010, 04:24 PM   #1441
AndrewT is offline AndrewT  Scotland
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look up Linkwitz and/or ESP.
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regards Andrew T.
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Old 12th October 2010, 05:08 PM   #1442
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Yes, a shelving network is what a CD compensation network is. You can have a high pass or low pass shelving network.

djn, you might want to start a new thread for this instead of keeping it in the hornresp thread since it doesn't really have anything to do with just the software anymore.l
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Old 12th October 2010, 05:59 PM   #1443
Jmmlc is offline Jmmlc  France
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Hello,


For sure a part of the peak could be due to the loudspeakers but as I can see on you pictures (for any reason I cannot enlarge them), the loudspeaker is used as a dipole and thus, there is an interference between the rear wave and the front wave.

Here attached the combined response (front + rear waves) as calculated by Hornresp.

Best regards from Paris, France

Jean-Michel Le Cléac'h




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Originally Posted by djn View Post
One more thing, When you said "shelve" do you mean some kind of network that would bring down the highs? Something like a reverse CD comp network for Wave Guide horns?

Also, this being horns, what it help flatten them out to put a back chamber box behind the 126s?
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Old 12th October 2010, 06:15 PM   #1444
djn is offline djn  United States
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Good point John. Will do.
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Old 15th October 2010, 02:38 AM   #1445
djn is offline djn  United States
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OK, looks like these will be actual horns now. I was scratching my head trying to figure out how to bring down the highs and thought that I would try closing off the backs and turn them into true front loaded horns. I had 2 shipping boxes that are 6x6x6" and duct taped them to the back of the driver and Vawala!!! The mid bass is actually just a little bit louder than the highs now.

So my question now is, how do I size the back chamber? Is it a function of the T/S of the driver or the horn geometry or what?

I know how to do it in HR, but would like to understand the theory behind it.
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Old 18th November 2010, 02:14 PM   #1446
MaVo is offline MaVo  Germany
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Hello, i just found the impulse response spectrogram function. I like it, but i could need some help interpreting the results.

- Is this spectrogram a direct derivative of the frequency response or are there more complicated mechanisms at work? (ie. could i equalize a closed box to a horns frequency response and still get different impulse responses?)

- Different subwoofer types have different impulse spectrums, for example horns have quite a long decay, compared to a closed box. How does the impulse responses spectrum shape/length correlate with the audio quality? (To be honest, i think i cant hear a difference beyond the frequency response...).

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Old 18th November 2010, 03:05 PM   #1447
Jmmlc is offline Jmmlc  France
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Hello Mavo,

The spectrogram routine used in Hornresp (and of which I am the author) is a version of my (quasi) wavelets method. The spectrogram is calculated from the pulse response which itself is derived from the module and phase calculated by hornresp.

You may also obtain such spectrogram after exporting the pulse response from Hornresp and using an audio analysis software having such feature.

Best regards from Paris, France

Jean-Michel Le Cléac'h


Quote:
Originally Posted by MaVo View Post
Hello, i just found the impulse response spectrogram function. I like it, but i could need some help interpreting the results.

- Is this spectrogram a direct derivative of the frequency response or are there more complicated mechanisms at work? (ie. could i equalize a closed box to a horns frequency response and still get different impulse responses?)

- Different subwoofer types have different impulse spectrums, for example horns have quite a long decay, compared to a closed box. How does the impulse responses spectrum shape/length correlate with the audio quality? (To be honest, i think i cant hear a difference beyond the frequency response...).

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Old 19th November 2010, 05:28 PM   #1448
MaVo is offline MaVo  Germany
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Thank you Jean-Michel.

May i ask what informations you, as a professional in the field, derive from the impulse spectrogram? Which additional informations can we derive from this different view on the data, which we allready have in the shape of the amplitude response?
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Old 19th November 2010, 05:59 PM   #1449
Jmmlc is offline Jmmlc  France
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Hello,

As it results from an integration over a wide time window the amplitude response doesn't render small duration variations as we can see in the spectrogram (e.g.: reflexions from mouth to throat interferring with the direct wave and creating a "tuned pipe"...) effect.

The aim of the spectrogram is an easier analysis of how the sound energy is distributed by the loudspeaker through time after the begining of the pulse. For bass horn it helps to see below which frequency the pulse can be considered as a single pulse and thus it helps the choice of the low-pass crossiver cut-off frequency.

But a one minute explanation of the many would not be enough.

Better for you to read the thread:

Horn Honk $$ WANTED $$

But if you have any question on a precise point I'll be pleased to help.

Best regards from Paris, France

Jean-Michel Le Cléac'h
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Old 20th November 2010, 10:11 AM   #1450
MaVo is offline MaVo  Germany
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That makes sense to me now, thanks.
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