Hi. New member. I've built quite a few DIY kits over the years:
- C-Notes
- Amiga / Paul Carmody
- Sunflower center channel / Paul Carmody
- HiVi 2.2A
- HiVi 3.1A
- DIYSG HTM-12
- The Travelers / Holtz and Campbell
- Anthology II center / Holtz and Campbell
- CSS SDX12 subs
- Ultimax UM18-22 sub
Thank you for your welcome. I have always admired or perhaps simply been a little jealous of those who have skills with a soldering gun and the courage to actually build something. I understand theory and can recognize good design , I just can’t make it. Like the food critic who just because he has a good palate gets the easy job of commentary. I can talk the talk just not walk the walk as so many of you do so well.
In response to WBAG note on speaker design. If I were to build a speaker product my first thought is how all but a few don’t pay enough attention to the enclosure and absolute rigidity to minimize resonance and tune that resonance at the best possible frequency allowing its immediate exit from the cabinetry. All vibration will occur in the opposite of the driver causing cancellation and mud. I think Celestion did the best job of this with the SL 600 and 700 series. That also being the theory of using spikes which were intended to be pushed into the floor allowing any vibration to escape , which of course your downstairs neighbors wouldn’t appreciate. Subwoofers make the best example of this as people make the fundamental mistake of isolating them with padded feet which causes vibration to remain and muddy things up. Put your subs on spikes and jam them into the floor and when you feel the house shake you will also hear your subs tighten up immensely. Putting coins under your spikes causes only to somewhat stop what you want which is to let it all out. If your driver and your cabinet are resonating as one with your floor, your house for that matter the benefit is enough to risk eviction. Same theory with turntables. Notice how the best tables are all metal to metal to metal with no absorption qualities? Get that little vibration from that stylus the hell out of there! In the old days nobody could figure why the Lynn Sondek TT sounded so good. THORENS ,AR, Ariston were equally well made but still couldn't compete. Mostly because the spring suspension systems were designed to keep resonance out so were isolated as compared to giving an avenue for resonance to escape. Of course the opposite is true with electronics , especially tube where you should have sorbathane or something to stop vibration getting in.
See you guys already have me yammering on about stuff. It is this kind of tuning though that can give rewards far beyond what your next upgrade may bring. I’m going to make a cocktail now and further ponder the perplexities of resonances, cheers!
In response to WBAG note on speaker design. If I were to build a speaker product my first thought is how all but a few don’t pay enough attention to the enclosure and absolute rigidity to minimize resonance and tune that resonance at the best possible frequency allowing its immediate exit from the cabinetry. All vibration will occur in the opposite of the driver causing cancellation and mud. I think Celestion did the best job of this with the SL 600 and 700 series. That also being the theory of using spikes which were intended to be pushed into the floor allowing any vibration to escape , which of course your downstairs neighbors wouldn’t appreciate. Subwoofers make the best example of this as people make the fundamental mistake of isolating them with padded feet which causes vibration to remain and muddy things up. Put your subs on spikes and jam them into the floor and when you feel the house shake you will also hear your subs tighten up immensely. Putting coins under your spikes causes only to somewhat stop what you want which is to let it all out. If your driver and your cabinet are resonating as one with your floor, your house for that matter the benefit is enough to risk eviction. Same theory with turntables. Notice how the best tables are all metal to metal to metal with no absorption qualities? Get that little vibration from that stylus the hell out of there! In the old days nobody could figure why the Lynn Sondek TT sounded so good. THORENS ,AR, Ariston were equally well made but still couldn't compete. Mostly because the spring suspension systems were designed to keep resonance out so were isolated as compared to giving an avenue for resonance to escape. Of course the opposite is true with electronics , especially tube where you should have sorbathane or something to stop vibration getting in.
See you guys already have me yammering on about stuff. It is this kind of tuning though that can give rewards far beyond what your next upgrade may bring. I’m going to make a cocktail now and further ponder the perplexities of resonances, cheers!