JShadzi, I'm a big fan of MTM and horn drivers, and your project looks very promising to me. Unfortunately, I have no skill to build enclosure, but I really want try it in the future.
I currently own Barefoot MM27 (MTM+ tandem subwoofers) and JBL DMS-1 (WTW, Digital crossover + multi Aleph J driven). Both sounds very dynamic but accurate. Lipinski 707 is extremely accurate but not as dynamic / lively as Barefoot.
I currently own Barefoot MM27 (MTM+ tandem subwoofers) and JBL DMS-1 (WTW, Digital crossover + multi Aleph J driven). Both sounds very dynamic but accurate. Lipinski 707 is extremely accurate but not as dynamic / lively as Barefoot.
Hello Mindsource, how to fight with room mode is probably the endless subject, but I certainly couldn't get any good result with this Geddes idea.
When we bought Lipinski 707 (The world class MTM mastering monitor) + L150 subs, we struggled to locate subs in our studio. We already had a pair of Velodyne, so we experimentally happened to place those 4 subs all over the studio, but our conclusion was the subs should be located as close as possible to the main speakers. It is the least artificial sounding location for the bass. We human can locate the sub for some reasons. This is an experience in the very well acoustically controlled room, so the result might be different in the regular home theater, but I still believe it's better to place the subs as close as possible to the main, then reduce the room mode as much as possible with the conventional way, such as Owens Corning, EQ, resonator, etc.
I can only assume that it didn't work properly because you didn't know how to process the data from each sub's steady state response and equalize accordingly. From what I've learnt the algorithm for such is no simple thing.
That said there is some free software out now aimed at doing just that. I haven't used it, or even read much about it yet but here it is if you're interested.
http://andyc.diy-audio-engineering.org/mso/html/index.html
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I can only assume that it didn't work properly because you didn't know how to process the data from each sub's steady state response and equalize accordingly. From what I've learnt the algorithm for such is no simple thing.
Did it work well in your system / room?
Hello Mindsource, how to fight with room mode is probably the endless subject, but I certainly couldn't get any good result with this Geddes idea.
When we bought Lipinski 707 (The world class MTM mastering monitor) + L150 subs, we struggled to locate subs in our studio. We already had a pair of Velodyne, so we experimentally happened to place those 4 subs all over the studio, but our conclusion was the subs should be located as close as possible to the main speakers. It is the least artificial sounding location for the bass. We human can locate the sub for some reasons. This is an experience in the very well acoustically controlled room, so the result might be different in the regular home theater, but I still believe it's better to place the subs as close as possible to the main, then reduce the room mode as much as possible with the conventional way, such as Owens Corning, EQ, resonator, etc.
My purpose is to build full range towers so locating the sub elsewhere isn't something I'd do with this project, much for the reason described above that I can easily locate bass down to 50hz or so (and I suspect most if not all people can).
However I am considering adding a 15 or 18" pro audio subwoofer to take on the low end 20-50hz or so but I don't suspect it will be needed.
I really want to build one regardless, but you know how that goes =)
Did it work well in your system / room?
I haven't gotten that far. You can follow it in my build thread when I do. Back on topic for JShadzi.
Shawn
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Depending on your room, you would be surprised how high a sub can be crossed. In one of my rooms, I can't cross any higher than 50hz, meanwhile in another room here I can get away with 200hz.My purpose is to build full range towers so locating the sub elsewhere isn't something I'd do with this project, much for the reason described above that I can easily locate bass down to 50hz or so (and I suspect most if not all people can).
However I am considering adding a 15 or 18" pro audio subwoofer to take on the low end 20-50hz or so but I don't suspect it will be needed.
I really want to build one regardless, but you know how that goes =)
Here's my build thread.
http://www.diyaudio.com/forums/multi-way/284239-seos-dayton-2-way.html
I haven't updated it in a while. School made me pause the build. Finals just ended so I'm going to start up again soon. Unfortunately I'm nursing a rib injury so I'm not doing a whole lot right now.
-Shawn
Ahh yes I have seen your thread, should be fun once you get them built, you've got a ways to go, hopefully you can make some progress soon!
Depending on your room, you would be surprised how high a sub can be crossed. In one of my rooms, I can't cross any higher than 50hz, meanwhile in another room here I can get away with 200hz.
I've spent quite a bit of time EQing and measuring my listening room, it has no purposeful treatment thus far (that's a future project), has a nice room gain right in the listening position against the wall, Alison Effect in the 150hz range, planning on experimenting in the 100-150hz range initially.
My purpose is to build full range towers so locating the sub elsewhere isn't something I'd do with this project, much for the reason described above that I can easily locate bass down to 50hz or so (and I suspect most if not all people can).
However I am considering adding a 15 or 18" pro audio subwoofer to take on the low end 20-50hz or so but I don't suspect it will be needed.
I really want to build one regardless, but you know how that goes =)
Great. One question is how you would time / phase align the driver? I utilized (kind of) Keele linear phase method for my horn WTW, and it did work flawlessly. Actually, I started my DIY project very much like yours, but ended up buying used JBL. Call me looser.😀
http://www.diyaudio.com/forums/multi-way/237750-2x12-horn-speaker-design.html
The measurement link is on the page 3. Flat down only to 30Hz, though....
I'll follow your thread, it's very interesting!
All bracing finished and working on the front baffle, also got this Magnum 12" in from DIYSG and it's a beast!
Front baffle will be 1.5" thick.
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Front baffle will be 1.5" thick.




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Got some work done on the baffles
Here I'm flush mounting the 3" port tube from the rear.
Flush mounted the Mag 12 to the frame for cosmetics, including the front gasket this flange is 3/4" thick
I threw a 1/2" round over on the back of the subwoofer opening.
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Here I'm flush mounting the 3" port tube from the rear.

Flush mounted the Mag 12 to the frame for cosmetics, including the front gasket this flange is 3/4" thick




I threw a 1/2" round over on the back of the subwoofer opening.
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Got out to the garage last night for an hour, front baffle is coming along
Flush mounted both Faitalpro 8" mids
3/4" roundover on back of baffle to allow mids to breathe.
Front baffle/s as it stands, next step is to roundover the port openings
Started working on the flush mount for the Seos 10 horn, here is my plan. Initially make a flush cut around the outside of the horn with a 1/4" flush cut bit, that will created a negative ID pattern that is 1/4" larger than the horn per side. Then using that oversized pattern, do another trim cut using a 5/8" trim bit with a 3/8" bearing on it, which will create and undersized ID pattern exactly the size of the horn. Here is the start, more to come.
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Flush mounted both Faitalpro 8" mids

3/4" roundover on back of baffle to allow mids to breathe.

Front baffle/s as it stands, next step is to roundover the port openings

Started working on the flush mount for the Seos 10 horn, here is my plan. Initially make a flush cut around the outside of the horn with a 1/4" flush cut bit, that will created a negative ID pattern that is 1/4" larger than the horn per side. Then using that oversized pattern, do another trim cut using a 5/8" trim bit with a 3/8" bearing on it, which will create and undersized ID pattern exactly the size of the horn. Here is the start, more to come.

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Here's some interesting info on CLD that KEF did.
http://www.kefamerica.com/july12/LS50 White Paper.pdf
-Shawn
This stuff looks perfect for CLD use @mindsource
http://www.parts-express.com/acry-t...n-coating-paintable-damping-material--260-105
I've used it before, it works well. I was going to mix it with sand next time to make it even more effective.
I've used it before, it works well. I was going to mix it with sand next time to make it even more effective.
To add mass?
Yes. I've used a 50/50 mix of regular Duratex and sand, it appeared to deaden the cabinet. I'd like to try it with the product above as well, but I'm all out at the moment.To add mass?
Got a bunch done today, these guys are really coming together =)
First off I worked on flush mounting the Seos 10 horns...man flush mounting shapes like this is SO much more work than a round driver using a circle jig.
I went a different route than what I was planning before as this was much easier and well documented online. The pictures are sort of self explanatory, let me know if you have any questions.
This is a pattern guide, I used a 3/4" which compensates for the 1/4" diameter of the router bit.
And this is the finished template positioned on the enclosure ready use
Test for to make sure
Using this bit set to .2"
And done
Test fit wala
Now that all the front baffle driver routing was done, I attached it to the enclosure
3" Port tubes glued into the baffle, you can see the inside entrance flare
From the front
And with 1.125" radius roundover
My fingers for reference
And making lots of dust, first lots of flush cutting, then 1.25" radius roundover on front baffle, back of enclosure got a .75" radius and other top edges .25" radius.
Come at me bro
Before roundovers
After and where things stand
Now lots of sanding and vacuuming!
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First off I worked on flush mounting the Seos 10 horns...man flush mounting shapes like this is SO much more work than a round driver using a circle jig.
I went a different route than what I was planning before as this was much easier and well documented online. The pictures are sort of self explanatory, let me know if you have any questions.



This is a pattern guide, I used a 3/4" which compensates for the 1/4" diameter of the router bit.


And this is the finished template positioned on the enclosure ready use

Test for to make sure

Using this bit set to .2"

And done

Test fit wala


Now that all the front baffle driver routing was done, I attached it to the enclosure

3" Port tubes glued into the baffle, you can see the inside entrance flare

From the front

And with 1.125" radius roundover

My fingers for reference

And making lots of dust, first lots of flush cutting, then 1.25" radius roundover on front baffle, back of enclosure got a .75" radius and other top edges .25" radius.
Come at me bro



Before roundovers

After and where things stand

Now lots of sanding and vacuuming!
Sent from my iPhone using Tapatalk
Subscribed!
Nice work!!
Would you mind posting pictures of the tooling used for cutting and profiling the circular holes? What are the ancillaries to the router you use to cut a circular hole to a precise diameter and perfect circle?
Nice work!!
Would you mind posting pictures of the tooling used for cutting and profiling the circular holes? What are the ancillaries to the router you use to cut a circular hole to a precise diameter and perfect circle?
Subscribed!
Nice work!!
Would you mind posting pictures of the tooling used for cutting and profiling the circular holes? What are the ancillaries to the router you use to cut a circular hole to a precise diameter and perfect circle?
Thanks glad you're enjoying it!
For all the circles I use a Jasper circle jig, I have the 7" and 18" version. Like this

For the larger size roundovers Magnate makes awesome router bits available on Amazon.
HTH!
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