Yeah, and it would have been a perfect opportunity to leave mine with him at the DIYFEST. But I didn't. If I do get some from him, a new matched pair would be the way to go now.
But I am such a die hard about knowing how to do things myself, that I most often will go for it, even when I know that I may fail. My adventurousness usually ends up with some innovation occurring, which is sometimes for the better. So cool when something works out well.
I am the totally thrilled raffle winner of a pair of Dave's 85wkEn drivers. They are really nice looking. I have not run them in yet, or even mounted them. I plan to pair them with 8" silver flutes in Vintage 15L walnut boxes. I listened to his prototype MTM at the FEST that used two 5" Silver Flutes with the 85wkEn, and it worked really well.
Would the 125wkEn (Planet 10 treated FF125wk) work in the same backhorns(similar to Buschorn and Cheap Trick in expansion, but with a reduced cross section prior the final flare. I think of them as "mass loaded horns")?
Or is it more of a Fonken/ported box kind of driver? Do they work in the newer Frugal horns?
Hi Bud, A typo I think, but not sure how to translate. Are you talking about the dilution rate?:
I would give the poids, if I remembered what it was,
FF125wk (or FF125wKeN) work in miniOnken or FH3. The older FF125k was very similar to FE126 in terms of box load. IMO, the new versions are better.
dave
Naw, it's just an artifact of a lousy memory. centipoise was the word I was trying to remember and that is the measurement of dynamic viscosity.
I was once attacked by a small herd of centipoids and barely escaped with my life after fighting them off with my cutting torch. They appear harmless enough, at least until they start attempting to eat your brain!
Captain "X"
Captain "X"
Yeah, and they come pouring out of that weird shaped funnel that looks so inconspicuous and non threatening. Glad you had you trusty torch to hand Terry. We would have been much the poorer to have lost "The Bondo Master".
Centipoid (Japanese version Centipede (センチピード Senchipīdo)) is a centipede-like Bakugan.
Contents
[show]
Information
Description
It has two pincers that are larger than its head, which can penetrate hard armor. It has two tails that are razor sharp and antennas that sense predators miles away. It travels underground for sneak attacks and has an unbreakable, exoskeleton shell. It has fifteen pairs of legs.
Found here:http://bakugan.wikia.com/wiki/Centipoid
Contents
[show]
Information
Description
It has two pincers that are larger than its head, which can penetrate hard armor. It has two tails that are razor sharp and antennas that sense predators miles away. It travels underground for sneak attacks and has an unbreakable, exoskeleton shell. It has fifteen pairs of legs.
Found here:http://bakugan.wikia.com/wiki/Centipoid
I wonder if they can be trained? Getting one to make EnABL spots would ease that desperately tedious process greatly...
Yes, such as a rapidopoid
maybe they could be set up with a nib for each foot and a paint supply in a little backpack, with tubes feeding the nibs
would need to be trained on cheap drivers that could then be given away as door prizes at DIYFEST
maybe they could be set up with a nib for each foot and a paint supply in a little backpack, with tubes feeding the nibs
would need to be trained on cheap drivers that could then be given away as door prizes at DIYFEST
For those of you who hate or love EnABL. Genesis is bringing an EnABL'd version of their smallest full range two way speaker system to RMAF this year. The drivers in this system are metal, very light weight and very stiff. Theoretically they should be near perfect in operation. If you are at the show, take your courage and your argumentative self and go have a listen. You can find them at the Rutherford Audio room at the Rocky Mountain Audio Fest, Denver Marriot Tech Center, Room 1021, Friday October 11th to Sunday October 13th.
For those of you who hate or love EnABL. Genesis is bringing an EnABL'd version of their smallest full range two way speaker system to RMAF this year. The drivers in this system are metal, very light weight and very stiff. Theoretically they should be near perfect in operation. If you are at the show, take your courage and your argumentative self and go have a listen. You can find them at the Rutherford Audio room at the Rocky Mountain Audio Fest, Denver Marriot Tech Center, Room 1021, Friday October 11th to Sunday October 13th. Gary Koh, the brain behind Genesis, claims to have studied Cymatics and some of my wanderings to prepare himself to explain what is going on.
The following is posted just to provide a convenient text for folks who want to explore EnABL gen 2.
There are three "sectors " to a tap.
Initial strike. This is what most people hear as a tap. We are geared to pay attention to intial arrival of any sound. You can use this portion of the tap sound to locate Raleigh waves and that is all. As you tap in a radial line there will be a sector that responds noticeably more vigorous than adjacent areas. This is very likely to be a Raleigh wave, but you cannot be certain until the rest of the driver is under control. Usually you must apply a damping material, in a fairly narrow band, on the other side of the diaphragm right under this area.
Mid tone. This is useful for finding subduction zones, usually immediately adjacent to Raleigh wave zones. This zone sounds dead compared to zones before and after, no tone to speak of. A pattern set in the middle of this zone and one just as it begins are the solution. Typically one pattern set at the point where the tone goes dead is sufficient and all that will fit. In 10 inch and larger cone drivers you may end up with more patterns here.
Decay tone. Here is where you will find most of the places to apply patterns. In listening to the decay you will have to ignore the other components from this tap. As you listen to the tap decay, while taping radially along the surface, you will notice a narrow zone where the decay seems to loose direction and then change direction as you move back and forth across it. Once you can focus on just the decay portion of the tap this will become fairly obvious. A pattern set in the middle of the directionless portion will disperse this activity completely.
The end product you are looking to achieve is a smooth change in direction of decay tone. From straight out or even slightly toward the center of the voice coil, when taping next to it, to aimed off the cone, parallel to the cone angle, out at the outer edge of the diaphragm. Dome diaphragms are a bit different but you will still find the same directional switch as you tap up the side of the dome. Same rule applies for placement and the eventual decay pattern will shift from lateral at the beginning of the dome to straight out on axis at the tip. In all cases the surface of the driver will seem to be "faster" than another untreated driver of the same part number. The tap will be dispersed very quickly with no echoes.
Bud
There are three "sectors " to a tap.
Initial strike. This is what most people hear as a tap. We are geared to pay attention to intial arrival of any sound. You can use this portion of the tap sound to locate Raleigh waves and that is all. As you tap in a radial line there will be a sector that responds noticeably more vigorous than adjacent areas. This is very likely to be a Raleigh wave, but you cannot be certain until the rest of the driver is under control. Usually you must apply a damping material, in a fairly narrow band, on the other side of the diaphragm right under this area.
Mid tone. This is useful for finding subduction zones, usually immediately adjacent to Raleigh wave zones. This zone sounds dead compared to zones before and after, no tone to speak of. A pattern set in the middle of this zone and one just as it begins are the solution. Typically one pattern set at the point where the tone goes dead is sufficient and all that will fit. In 10 inch and larger cone drivers you may end up with more patterns here.
Decay tone. Here is where you will find most of the places to apply patterns. In listening to the decay you will have to ignore the other components from this tap. As you listen to the tap decay, while taping radially along the surface, you will notice a narrow zone where the decay seems to loose direction and then change direction as you move back and forth across it. Once you can focus on just the decay portion of the tap this will become fairly obvious. A pattern set in the middle of the directionless portion will disperse this activity completely.
The end product you are looking to achieve is a smooth change in direction of decay tone. From straight out or even slightly toward the center of the voice coil, when taping next to it, to aimed off the cone, parallel to the cone angle, out at the outer edge of the diaphragm. Dome diaphragms are a bit different but you will still find the same directional switch as you tap up the side of the dome. Same rule applies for placement and the eventual decay pattern will shift from lateral at the beginning of the dome to straight out on axis at the tip. In all cases the surface of the driver will seem to be "faster" than another untreated driver of the same part number. The tap will be dispersed very quickly with no echoes.
Bud
