18sound 21LW1400 enclosure

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I definitely feel like I can relate to these electrical’ and ‘impact’ comments.. @Circlomanen has similar observations I’ve enjoyed his enthusiasm while reading about high order qw as well

But in the ‘paraflex’like things I Mess with the Fb is so ‘overdamped’ I don’t think I’m a fan. Meanwhile, if you don’t use a qw pipe on the low tuned side you cannot capitalize on the 3:1 resonator tunings and incredible SPL created by the shared harmonic.


Devastater uses a low tuned perky Helmholtz Fb and a really high tuned qw pipe in the other section. Maybe that needs to be tuned closer to the Fb to really create a monster (like the 2:1 used in the roar (but with a perky Helmholtz resonatur for the low tuned side?
 

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I definitely feel like I can relate to these electrical’ and ‘impact’ comments.. @Circlomanen has similar observations I’ve enjoyed his enthusiasm while reading about high order qw as well

But in the ‘paraflex’like things I Mess with the Fb is so ‘overdamped’ I don’t think I’m a fan. Meanwhile, if you don’t use a qw pipe on the low tuned side you cannot capitalize on the 3:1 resonator tunings and incredible SPL created by the shared harmonic.


Devastater uses a low tuned perky Helmholtz Fb and a really high tuned qw pipe in the other section. Maybe that needs to be tuned closer to the Fb to really create a monster (like the 2:1 used in the roar (but with a perky Helmholtz resonatur for the low tuned side?

The purpose of a Devastator is to gain midbass. Flat response 2pi BP's become "1 note wonders" when you add room or cabin gain. That's why you want a rising response to the low pass filter frequency.
 
I have stupid ideas about creating resonators that are related by length (and size) and tuning by ‘exactly’ 2:1. (Or a 1/4 wave harmonic).

They ‘work’ together ‘optimally’ but that’s probably just me overthinking things by studying what happens @ 3x Fb in parallel 1/4 wave resonators ?where the path is so long it begins to go out of phase (again) at full wavelegths ….

If you create things that line up ‘perfectly’(in horn response) to cancel, then you’re also lining up things to resonate, etc ? (In phase(180) out of phase (360) or at resonance?)

I dunno, seems Brian Steele used to try to create things with minimal out of band noise as well? Certainly seems to work well for my ears too
 

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