Well. Goes to show any idea I might think of, someone somewhere thinks of it also. I didnt know those even existed! Thanks.
Audio Weenie land 
xrk971 has fooled with Foam core enclosures fairly extensively for some time now.
Eventually I tried one ... simple boredom Damned things Work.
Results firmly putting the Lie to a LOT of enclosure material Dogma.
Try it ?? waste a couple of hours build time and decide.. for yourself.
xrk971 has fooled with Foam core enclosures fairly extensively for some time now.Eventually I tried one ... simple boredom Damned things Work.
Results firmly putting the Lie to a LOT of enclosure material Dogma.
Try it ?? waste a couple of hours build time and decide.. for yourself.
See, that's where language causes trouble. It's not like anyone is "lying" just because they prefer the sound of 5/8" 12 ply birch, with a massive matrix of internal bracing. I've read where people have reconstructed their FC enclosures in wood and didnt like the sound as much. Doesnt mean a wood, concrete, aluminum, honeycomb matrix plastic enclosure is a Lie, with respect to something like truth in musical sound reproduction.
Regarding firmness of results...about as significant as I wear Henley shirts, you wear Turtlenecks. Then saying "Mine look better" -
You would do well to Google the BBC's white papers on their small monitor development, which used relatively thin enclosure material. They are old, but still largely apposite.
Hi Cracked case, I am very glad you share this with me. I read the article about these Onkyo Speakers and it makes sense. I am myself a guitar and bass player and I have always been asked the following question: Why do speaker designers want to eliminate the resonance of the enclosure and why are they all obsessed with the flat response? Think about this, we have specific preferences for each sense. sight preference of colors and design, smell preferences, taste preferences like why someone like wine and other beer, touch preferences of textures, and hearing preferences of sound, this is why musicians choose an instrument. Anyway, this triggers my motivation to build the speaker with resonance and thin sheets. thanks!
The instrument part of a guitar cab is to produce an original, coloured sound. The hi-fi speaker's job is to reproduce that coloured signal. Am I reading right that you want to add more colour to the original coloured sound produced and recorded from the guitar cab? Or do you want to use the speakers themselves to amplify and add colour to guitar input?
I totally get and dig the mains speakers as further effects machines. That's why I prefer the sound of ported over sealed
I totally get and dig the mains speakers as further effects machines. That's why I prefer the sound of ported over sealed
It's quite ironic, because I'm pretty much obsessed with the opposite; reducing vibration as much as possible, to the extent of bolting 4 1/2 KG of cast iron to each speaker magnets to stop the driver transmitting vibration to the cabinet, I've also used small speaker enclosures inside a larger one, and used the BBC style of screwed on front and back to deaden the enclosure. The thing is, I've never heard the ONKYO D-TK10 speakers, so I can't dismiss the opposite ethos in speaker design, especially as they seem to have got good reviews, Bosendorfer also make speakers that have vibrating panels, but to emulate pianos.
I'm more into the Eclipse TD path of speaker design, but the whole point of this hobby (and this forum) is you can do what YOU want, if it doesn't work, well at least you've tried and probably learnt something along the way, if it does work, then you've got something unique, and you can stick two fingers to everyone else.
I'm more into the Eclipse TD path of speaker design, but the whole point of this hobby (and this forum) is you can do what YOU want, if it doesn't work, well at least you've tried and probably learnt something along the way, if it does work, then you've got something unique, and you can stick two fingers to everyone else.
I have a lot of things going on with rebuilding a PC and home renovations, but I have been presenting a template on this forum as time permits. This template will bring sheet material together into a case using a printed jig. In the jig there is support for 6x through inserted booker rods to provide compression to side panels to tune resonances. This little trick almost works like drum tuners and turn the box from an instrument to a monitor. I am thinking of using guitar neck truss rods as well to add some twist to the panels
At the moment, my PC only has a fresh Windows 10 install. I have all my main programs downloaded but not ready to install until further housekeeping with disk images and such. Hopefully will be able to reinstall FreeCAD soon and continue with the tutorial on manipulating the template
At the moment, my PC only has a fresh Windows 10 install. I have all my main programs downloaded but not ready to install until further housekeeping with disk images and such. Hopefully will be able to reinstall FreeCAD soon and continue with the tutorial on manipulating the template
As a musician, you will almost certainly be using a speaker/amp combination which adds its own signature (distortion) which becomes part of your instrument's 'sound' and which is pleasing to your ear. This is the polar opposite of trying to reproduce a music recording to the highest accuracy. Clearly even hifi speakers made to the highest specification have their own, albeit less obvious, signatures which listeners buy according to personal taste. What you are suggesting is to further add distortion (resonances) in your reproduction loudspeaker to further 'enhance' those probably already present on a recording. As fidelity is so low on your list of priorities, why not simply buy a pair of cheap commercial speakers?
Can I try with a little tongue in cheek
Maybe a particular colour is the goal. May I ask in return, why the point of all the intricate acoustic guitar/strings body structures. Why not just a chipboard box with strings? What you are saying is coming through as derision towards a bunch of folks exploring something
I did not intend derision - my apologies - the gist of my comments was meant simply to point out that musician's speakers and those made for music reproduction have utterly different requirement. Ok, the last sentence was tongue-in cheek and a little blunt...
The tone of acoustic instruments and the materials and construction used has been honed over centuries to become what we see and hear today, hence no chipboard! Hifi loudspeakers are honed to have as little acoustic signature as possible. Your explorations are laudable and interesting, however I would suggest that you first try some experiments with electronic EQ to determine the particular colouration which sounds pleasing to you, which might then determine some of the physical requirements needed in the actual enclosure.
Again, my apologies.
The tone of acoustic instruments and the materials and construction used has been honed over centuries to become what we see and hear today, hence no chipboard! Hifi loudspeakers are honed to have as little acoustic signature as possible. Your explorations are laudable and interesting, however I would suggest that you first try some experiments with electronic EQ to determine the particular colouration which sounds pleasing to you, which might then determine some of the physical requirements needed in the actual enclosure.
Again, my apologies.
What actually happens is a speaker is created with the intention of providing as "colorless" a lens as possible; it ends up with its own character or color anyway. If someone hears it and likes it, they endevor to have it for their continued enjoyment.
So if you design / build something with the intention of providing some color, the right color in its lens to the music, so what? The rest of the process follow identically. Basically, the If someone hears it and likes it, they endevor to have it for their continued enjoyment part.
So no one can say "it's a waste of time" or "you'll never make it" using that line of reasoning. Because there's so many perceptions across so many people, there will be a population that finds appeal in what it does. Which will be vastly different than a cheap, chipboard hot-melt glue assembled cabinet speaker.
Thin walls? This could help
https://www.diyaudio.com/community/threads/cabinet-material-measurement.392930/post-7199189
https://www.diyaudio.com/community/threads/cabinet-material-measurement.392930/post-7199189
You can also use concrete
https://www.diyaudio.com/community/threads/cabinet-material-measurement.392930/post-7195294
https://www.diyaudio.com/community/threads/cabinet-material-measurement.392930/post-7195294
Because I like to build things.
What do you think about this building workflow:
1. I find the tonalities that I most like in instruments, say for example A or D in bass guitar. The 2 octave is A=110Hz and D=73.42Hz
2. Build the enclosure tuned to resonate either at A or D frequencies. (Playing also with port sizing)
When a piece of music plays with some root note such as A or D, would it enhance this tones? therefore I would enjoy them more.
I ask this because I am not sure, it is just a theory. Second opinion would be helpful. By the way, I am not buying speakers I am building them, the point is to have fun building haha!
Folks have done this, but the downside is it might sound great with stringed instruments/whatever, yet be just perceivably discordant on a piano solo/whatever, so a 'catch 22' sort of tweak. Worst case, you have to add mass to the walls or if an option, add a heavy enough removable weight such as a large planter (great WAF) on top to preload/quell it.
It is evident in acoustic guitars; many are tuned to resonate at or near to the A. Personally, I dont like it - hit the one note - boom! But so many supposedly decent guitars do this, it's almost as if that's a qualifying aspect of the design. I've heard they can be built to resonate at frequencies even below the low E string, though I've never seen heard played a guitar that does that.
That's just the air part - of course a guitar is multi-modal in its response
Considering a ripple effect making its way out from the magnet, through the 'spokes' and across the wood surfaces, soft angles reflect those vibrations less than sharp angles. And if bracing is encountered along the way, the onset of additional mass is more gradual if it joins a sweeping curve rather than a hard 90 degree turn.
Would it be an idea to buy the cheapest accoustic guitar second hand (perhaps a broken neck or something) and stick a speaker driver in the sound hole just to see what it sounds like? Perhaps experiment by adding blu-tac to it to dampen it to lessen the colouration.
Perhaps if it's a success, buy new left and right handed guitars to make a stereo pair.
Perhaps if it's a success, buy new left and right handed guitars to make a stereo pair.