What about the usable bandwidth and intensity of the 1/4 wave resonances that pollute the top of the ‘band pass’ affect making the name or typing ‘bp6s‘ over and over almost pointless ?
why does the tapered shape make such a clean/smooth easy to manage bandwidth and the expanding path shape leaves you with a very abbreviated bandwith and intense 1/4 wave resonances up top that are hard to deal with?
why does the tapered shape make such a clean/smooth easy to manage bandwidth and the expanding path shape leaves you with a very abbreviated bandwith and intense 1/4 wave resonances up top that are hard to deal with?
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I wouldn't BUILD an enclosure with a dip in the LISTENING response like that.
Where are the aeronautical engineers???
Where are the aeronautical engineers???
i guess they retired around 2012-2013
very popular designs cooked in here around 2009-2013 were
WELTER SYS KEYSTONE and Dual 12 BR ,XOC TH18, JBELL SS15 and STADIUM HORN, MrGsr PAL12,
but no other major released designs or plans after
so the NASA people left the forum
i guess i got late to the party
very popular designs cooked in here around 2009-2013 were
WELTER SYS KEYSTONE and Dual 12 BR ,XOC TH18, JBELL SS15 and STADIUM HORN, MrGsr PAL12,
but no other major released designs or plans after
so the NASA people left the forum
i guess i got late to the party
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Here’s some really good info from Bjorn Kolbreks book on horns, etc (interesting how Bl boogers up the shape of the response at various freqs)
goofy Voight Pipe with driver offset position canceling out the 57.6 hz resonace
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I thought it was referring to a variety of TS parameters and/or electrical/mass/motorforce values and how they reacted to changing shapes and rearranged resonators bits and pieces?