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#11 | |
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diyAudio Member
Join Date: Jun 2002
Location: Melbourne, Australia
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Quote:
A mfb of some sort will work for a sealed box where cone movement equates to spl but with a bass reflex at the tuning point for example the cone movement gets very small and most of the sound comes out the port. MFB is going to make a mess of this because if it keeps the cone movement directly proportional to signal level you will end up with a =huge= peak at box+port resonance.
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Best-ever T/S parameter spreadsheet. http://www.diyaudio.com/forums/multi...tml#post353269 |
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#12 | |
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diyAudio Member
Join Date: Dec 2003
Location: Tulips, windmills and wooden shoes.
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Quote:
About two years ago I build an mfb sub using a piezo loudspeakerthingy and a schematic from elektor, it worked pretty good but I had some problems with clipping and I didn't have a scope yet so I didn't know what the problem was. It was pretty cool though, if you used the volume pot from the amplifier you could turn the woofer from tight to boomy without changing the volume. |
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#13 |
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diyAudio Member
Join Date: May 2002
Location: Switzerland
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The principle brought up by Calvin has been discussed several times here. NP for instance used it for active absorbers and he gave some comments on it as well.
The owners of the original patent - B & M - used an electret mic capsule that was glued to the driver itself in order to achieve the lowest delay possible. They placed it in the grove between cone and dome. And most importantly: It was monted sideways !!!!!!!!!!! Otherwise it would work partially as an accelerometer instead of a pure pressure detector. There is still a commercial sub available that uses the principle: The Manger subsonice. Here you will find an extract from the German mag Funkschau describing the (then new) B&M: http://www.johannes-krings.com/funkschau2 Regards Charles |
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#14 |
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diyAudio Member
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this is cool. I think ill buy a mic and borrow an oscilliscope and see what my sub is doing.
Thanks |
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#15 |
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diyAudio Member
Join Date: Dec 2003
Location: Tulips, windmills and wooden shoes.
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I just did a small test with a microphone, I could set the feedback to about 70% microphone signal and 30% line signal, that is the maximum feedback I could use without oscillation.
The frequency response with and without feedback is included, remember this is in room with the mic close to the sub. |
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#16 |
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diyAudio Member
Join Date: Dec 2003
Location: Tulips, windmills and wooden shoes.
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And the schematic.
I need a better lowpass to prevent oscillation. |
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#17 |
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diyAudio Member
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looks good!
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#18 |
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diyAudio Member
Join Date: Dec 2003
Location: Tulips, windmills and wooden shoes.
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One other interesting feature I noticed is that it linearizes the phase as well as the amplitude, this should make the woofer faster.
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#19 |
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diyAudio Member
Join Date: Dec 2003
Location: Tulips, windmills and wooden shoes.
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I just tried a second order lowpass but it doesn't do any good.
I did put a shelving lowpass at the input, you can see the feedback effect even better now. Now all I need is a highpass
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#20 |
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diyAudio Member
Join Date: May 2002
Location: Switzerland
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What frequency was it oscillating at ?
In order to increase stability you'd have to put your mic as close to the driver as possible. High filter orders in the loop don't help to increase stability either. Even your first order LPF might probably be working better if changed to a lag filter. I.e. connect a small resistor in series with C1 like 1 k for instance. Regards Charles |
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