Yeah I know Art, I have a list that is not progressing, this and other issues. Not sure what is going on with the automotive industry lately, but we keep getting flooded with work, major overtime. I think the electric vehicle is throwing the industry into a large amount of change, anyway that is my problem.
I have found some time to do the most important thing, and that is play the guitar, improve build and test what I can. The sound is really great, very happy. The data keeps improving with the sound, so another good indication, but I have more to do. If there is detectable unwanted noise, I would hear it. I heard the mild distortion earlier, totally unacceptable, got rid of it thankfully. Was not really sure it was possible, was a little worried, but gone. The guitar is powerful enough now to never turn either channel or pickup beyond 80%, a nice 20% cushion. Stay tuned and thanks! Joe
I have found some time to do the most important thing, and that is play the guitar, improve build and test what I can. The sound is really great, very happy. The data keeps improving with the sound, so another good indication, but I have more to do. If there is detectable unwanted noise, I would hear it. I heard the mild distortion earlier, totally unacceptable, got rid of it thankfully. Was not really sure it was possible, was a little worried, but gone. The guitar is powerful enough now to never turn either channel or pickup beyond 80%, a nice 20% cushion. Stay tuned and thanks! Joe
Just an observation here, I am not even going to REW this, so obvious. First of all when Ian (Specimen Products/Chicago School Of Guitar Making) played some Zeppelin though his five foot tall horns, it was incredible. His shop has very high ceilings and is probs about 100 feet long. Filled the room with stunning sound. Loved it!
I bet the Weltersys Horn does the same thing, I would imagine those damn things rock! And Klipsch horns of course.
I tested an Ian horn that is only one foot in length (but large 8" mouth) to his credit he calls them hornlets. They sounded good for what they are, but you better have all your tone controls up pretty high, to get anything good. No tone up, not so great. I think it made the piezo in my Taylor sound quacky. OK I never understood that term, but the same sound you get from an acoustic amp, generally, no horn, not great. Just tinny tone and quacky?? PA and mic much better of course.
My guitar horns sound great even without tone controls. With a little tone, wow, so much better.
My point is I know you must have the length in a horn, or it will not work so well. Both of mine are 5 feet long, the 1/4 wavelength rule works! All the great horns have the length. Do I wish I had room for taper and large mouth, yes! Do I? No, but it still sounds great, a waveguide, length saves it.
I know the length allows you to capture that low long wavelength, but I will be damned if it does not help the mid and highs also! Comments?
I bet the Weltersys Horn does the same thing, I would imagine those damn things rock! And Klipsch horns of course.
I tested an Ian horn that is only one foot in length (but large 8" mouth) to his credit he calls them hornlets. They sounded good for what they are, but you better have all your tone controls up pretty high, to get anything good. No tone up, not so great. I think it made the piezo in my Taylor sound quacky. OK I never understood that term, but the same sound you get from an acoustic amp, generally, no horn, not great. Just tinny tone and quacky?? PA and mic much better of course.
My guitar horns sound great even without tone controls. With a little tone, wow, so much better.
My point is I know you must have the length in a horn, or it will not work so well. Both of mine are 5 feet long, the 1/4 wavelength rule works! All the great horns have the length. Do I wish I had room for taper and large mouth, yes! Do I? No, but it still sounds great, a waveguide, length saves it.
I know the length allows you to capture that low long wavelength, but I will be damned if it does not help the mid and highs also! Comments?
Well I just grew to 19,000 hits, thank you so much everybody! Those who look but do not chime in, please do! I would love to hear the opinions of all on this site.
Another test, I did this before but wanted to verify with sealed horns, since I am still playing another guitar through the Folded Horn Acoustic Guitar. I put the soundboard on top of the guitar, and temporarily "sealed" it with a 20 lbs. piece of wood. It did NOT affect the sound at all, great news. Of course this soundboard has a standard hole in it, which helps, and I am also considering "F" holes to let out even more sound, from the bottom chamber, to the top chamber, and then out to atmosphere.
The other big test tonight was feedback, which scares the hell out of me. I remember when somebody on this site said it would be a feedback machine. That was my fear also. If you said it, please respond to this comment, a great observation!
When I switched from a 1/4" to 1/2" Baltic Birch Chamber divider, boy that almost got rid of it 100%, but there was still some very slight feedback, if I left my hands off the strings (like an electric guitar).
Now with the horns 100% sealed, zero feedback! I literally took the guitar I was playing and shoved it into the open upper chamber, directly above the 1/2" Baltic Birch that seals the horns, and could not get ANY feedback at all, volume up to 10 on both channels. In the past I tested piezo contact directly on the wood, it will only feedback if it is within about 3" of the piezo, I am not even close to that. Great news.
Now maybe after Christmas I can finally do some recording for JJ an others, and post here. Also I certainly owe Art the real Frequency Response...the guitar input signal to the speaker's output as you note. I don't have the equipment, but I can purchase and follow JJ's advise a few pages back on how to do this. I admit I need some help with this. Stay tuned and thanks, this guitar was picking slowly and also rocking tonight!
Another test, I did this before but wanted to verify with sealed horns, since I am still playing another guitar through the Folded Horn Acoustic Guitar. I put the soundboard on top of the guitar, and temporarily "sealed" it with a 20 lbs. piece of wood. It did NOT affect the sound at all, great news. Of course this soundboard has a standard hole in it, which helps, and I am also considering "F" holes to let out even more sound, from the bottom chamber, to the top chamber, and then out to atmosphere.
The other big test tonight was feedback, which scares the hell out of me. I remember when somebody on this site said it would be a feedback machine. That was my fear also. If you said it, please respond to this comment, a great observation!
When I switched from a 1/4" to 1/2" Baltic Birch Chamber divider, boy that almost got rid of it 100%, but there was still some very slight feedback, if I left my hands off the strings (like an electric guitar).
Now with the horns 100% sealed, zero feedback! I literally took the guitar I was playing and shoved it into the open upper chamber, directly above the 1/2" Baltic Birch that seals the horns, and could not get ANY feedback at all, volume up to 10 on both channels. In the past I tested piezo contact directly on the wood, it will only feedback if it is within about 3" of the piezo, I am not even close to that. Great news.
Now maybe after Christmas I can finally do some recording for JJ an others, and post here. Also I certainly owe Art the real Frequency Response...the guitar input signal to the speaker's output as you note. I don't have the equipment, but I can purchase and follow JJ's advise a few pages back on how to do this. I admit I need some help with this. Stay tuned and thanks, this guitar was picking slowly and also rocking tonight!
Well? You can always use pink noise and I believe you do have the equipment; a usb measurement mic, a PC with REW, and an amplifier.
Heck, I even showed in that other thread the pink noise measure - while not as good as the swept sine - does show the resonance points whereabouts in frequency and their relative loudness - at least which one is loudest, which one is second loudest and so on.
I picked up a Conn nylon acoustic and it seems "boomy" right on the A note, concert tuning. Cell phone, pink noise, the little Dayton transducer, 1/48th osctave analysis revealed yep, 221 hz - pretty much right on the schnops. In about a minute to setup and make the confirming analysis. If only I was there with my phone and a cable with a 3.5mm TRS on one end, I'd show you just what they do - easily.
It's the methodology to use when all you have is a cell phone, or all you have is a USB mic. If you have an XLR mic, a stereo in/out usb A/D converter box like a Focusrite Scarlett or something, cables to rig up the reference trigger for REW's gated measurements, then by all means do the swept sine. But until then, some useful information can be obtained through pink noise analysis - that's better than just playing music through the horns.
OK cool thanks JJ, I will check it out...eventually! I remember a thread earlier where you said I will need some more equipment to do this, I will look at that also.
So JJ I did the pink noise earlier and really want to move up to the swept sine as you and Art noted, to measure input signal vs. output signal. Your quote above and Art's reference to "a dual channel FFT like SMAART" is something I need to do. Remember guys, less than a year ago I did not even know what REW software was, so I am not even close to your level when it comes to audio and acoustic engineering. Is there a link or YouTube video that you guys could recommend, so I can finally learn and do this critical measurement?
I get serious about things I know I need to do (but do not fully understand) when things go well, and it looks like I have a great product. I tell you I was so nervous last night (and I am not the nervous type), when I was doing my feedback testing. If this guitar was a feedback machine, it would be a pile of kindling wood, and I would have wasted many years of my life on a product that does not work.
When I could not get it to feedback at all, and I jammed with great tone, low distortion, very efficient horns, great dB, I was absolutely thrilled. Please advise and thank you!
Joe,
Since piezo pickups convert the physical movement of the vibrations of a guitar's wood into an electrical signal, the lack of feedback with the pickup not physically attached to the separate guitar speaker enclosure is not indicative of what it will be when it is.
I have been using SMAART (V6) since around 2006, have never really gone far into REW, since I prefer the features of SMAART. That said, REW can measure distortion directly from tone sweeps, SMAART does not have that feature.
The REW website has links to the manual and videos:
https://www.roomeqwizard.com/
Thanks Art, and yes the vibration is a concern. Earlier on I placed piezo's directly on the folded horns close to the speakers, where there is the greatest amount of vibration from the speakers. 3" away or farther, zero feedback. Since the piezo is on the soundboard under the bridge and not even close to the horn surface by the speakers, I think I am safe, but I will do more testing. Plus the 1/2" Baltic Birch is between the piezo and speakers. This also leads me to believe the 1/2" Baltic Birch chamber divider should be sealed 100% with silicone, that way it will not be physically touching with side walls, which could transfer vibration to the sound board and piezo.
Last night I picked up the guitar, flipped the switch, and jammed with great tone and volume, exceeds my expectations, so thrilling! I can't believe I waited that long to get a 100% seal on the horns, what an unbelievable difference that made. I will have my third body with horns coming off the CNC machine at work, that should be the last one for now. I could use one more CNC neck, then I will have everything. Thanks! Joe
Last night I picked up the guitar, flipped the switch, and jammed with great tone and volume, exceeds my expectations, so thrilling! I can't believe I waited that long to get a 100% seal on the horns, what an unbelievable difference that made. I will have my third body with horns coming off the CNC machine at work, that should be the last one for now. I could use one more CNC neck, then I will have everything. Thanks! Joe
I believe I need an REW upgrade to record two signals, ordered that. Can do A/B box out to REW, and then out to speakers with another REW capture.
I hope that will work, can't wait to finally see it.
I wanted to compare my Taylor (really like this guitar) through my Fender Acoustic Amp again. Yeah I remember now. The first thing I heard was squealing feedback, ouch. Oh that's right, don't actually keep your amp close to the guitar, where you are playing, bad idea, what a joke. Face it the other way...then I heard the tone again, pretty bad. I am convinced, amps with acoustic guitars suck. With electric guitars, of course great!
My horns are sounding sooo good. More to come with true FR! Comments about acoustic guitars with amps are very welcome, do tell!
I hope that will work, can't wait to finally see it.
I wanted to compare my Taylor (really like this guitar) through my Fender Acoustic Amp again. Yeah I remember now. The first thing I heard was squealing feedback, ouch. Oh that's right, don't actually keep your amp close to the guitar, where you are playing, bad idea, what a joke. Face it the other way...then I heard the tone again, pretty bad. I am convinced, amps with acoustic guitars suck. With electric guitars, of course great!
My horns are sounding sooo good. More to come with true FR! Comments about acoustic guitars with amps are very welcome, do tell!
DiAddario feedback suppressor. I got one to plug the hole for a humidification effort and to cross a "free shipping" $ amount for a whammy bar I need to complete a guitar for my son, for xmas.
Speaking of patents, I bet this guy "Wechter" has one on this;
The label does say "patented". It looks like you have eq on the whole, plus individual eq on the mic - along with a blend control. Plus I'd assume you can swing it around in there on its gooseneck, which is perhaps where the patent comes in. Others like Fishman also have these mics, but simply mounted to the underside of the preamp control panel case that, when mounted, ends up inside the guitar; also with a "blend" control to proportion against a piezo saddle pickup. I have one, but havent yet chosen which guitar I want to molest to install it.
So. With a feedback suppressor, a little mic you can move around to suit, eq here and there, blend control maybe you can find a sweet spot where it both sounds good, goes loud and doesnt feedback. But I wouldnt count on it...
If you've achieved that with the speaker as a physical part of the guitar itself, well, that's pretty remarkable. All guitars sound different and that's OK, as long as they sound good. If you think yours sounds good against quality acoustics and electrics with an ordinary amplifier, march on with it. Personally, I like the version with the horn mouths on either side of the neck. Hopefully you can get that one to sound as good as the bottom exiting version.
I agree that is a nice little type of mic, and it has its place with an amp for sure. I still don't think it would sound great thru an amp as you note JJ, plus still prone to feedback. Nice mic thru PA is great, but a hassle.
I completely gave up on a mic in my product, no way, just not feasible. Was so happy to hear the piezo and magnetic pickup combo sound just as good, and no feedback. I know I had a preconceived notion that mics are the only way to go, but that is just not true, not with some of the nice products on the market today. As Art mentioned earlier, the Helpinstill magnetic pickups for grand pianos are outstanding, any piano players out there should check them out. Now I just need a smaller battery powered class D amp with 15 watts per channel, suggestions anybody? I like what I have now, but after ripping out the guts, it is just a little too big, but workable.
As I said before, the 1/2" thick Baltic Birch is essential for zero feedback, or it will not work. Was quite the experimentation getting to the no feedback point, but fun, OK gut wrenching fun! Plus as Art mentioned, need to prevent vibration from the speakers/body to the piezo to prevent feedback, I don't see a problem with that, based on testing.
Starting to cut away the excess wood from guitar body #3. Will just do that and stop, leave it as a spare for now, beautiful piece of Hard Maple, just stunned with how well this is cutting on a CNC machine, now that I have all the bugs worked out. So happy I am not using plastic. I am a bit intrigued with carbon fiber, very strong material, but man it is just plain and simple ugly. Sound comes first for me, but I am into beauty also.
Next I will get about (24) screws to attach the chamber divider. I liked how Art heard a buzz in his massive speaker system, and is was just two loose screws, great lesson. It is -5 degrees in Indy, and my basement shop is freezing, so too cold to work, let alone put wood in that environment, not a chance. It usually stays warm and dry, but not today.
I know I repeat myself a lot, but hoping it reaches anybody new to this post, looking for 20,000 hits by late January, per past results. Merry Christmas to my mentors Art and JJ, and to the wonderful diyAudio community!
I completely gave up on a mic in my product, no way, just not feasible. Was so happy to hear the piezo and magnetic pickup combo sound just as good, and no feedback. I know I had a preconceived notion that mics are the only way to go, but that is just not true, not with some of the nice products on the market today. As Art mentioned earlier, the Helpinstill magnetic pickups for grand pianos are outstanding, any piano players out there should check them out. Now I just need a smaller battery powered class D amp with 15 watts per channel, suggestions anybody? I like what I have now, but after ripping out the guts, it is just a little too big, but workable.
As I said before, the 1/2" thick Baltic Birch is essential for zero feedback, or it will not work. Was quite the experimentation getting to the no feedback point, but fun, OK gut wrenching fun! Plus as Art mentioned, need to prevent vibration from the speakers/body to the piezo to prevent feedback, I don't see a problem with that, based on testing.
Starting to cut away the excess wood from guitar body #3. Will just do that and stop, leave it as a spare for now, beautiful piece of Hard Maple, just stunned with how well this is cutting on a CNC machine, now that I have all the bugs worked out. So happy I am not using plastic. I am a bit intrigued with carbon fiber, very strong material, but man it is just plain and simple ugly. Sound comes first for me, but I am into beauty also.
Next I will get about (24) screws to attach the chamber divider. I liked how Art heard a buzz in his massive speaker system, and is was just two loose screws, great lesson. It is -5 degrees in Indy, and my basement shop is freezing, so too cold to work, let alone put wood in that environment, not a chance. It usually stays warm and dry, but not today.
I know I repeat myself a lot, but hoping it reaches anybody new to this post, looking for 20,000 hits by late January, per past results. Merry Christmas to my mentors Art and JJ, and to the wonderful diyAudio community!
Joe,
No upgrade is needed to measure frequency response with REW. You already have all the equipment needed, just "make a measurement" using "sweep".
Comparing the frequency response of the Fender Acoustic Amp/speaker to your horns would show you the frequency peaks most likely to cause feedback.
Using sine wave frequencies it's very easy to hear peaks, buzzing and distortion- using music or pink noise makes it harder to detect problems.
Happy Holidays!
Art
That's a whole 'nother engineering effort, on top of the guitar. Maybe a tough chew; perhaps easier at this point to just put two 1/4" TRS jacks (one for pickup, one for speaker) and let the customer sort the amp part. Most guitar amps have a speaker out.
Integrating the amp into the guitar is huge. 15W per channel is as easy as an ebay click; 15W per channel on batteries for a usable time (1, 2, 4, 6 hours?) inside the guitar is a whole nother level. Put a charger integrated with that which wont burn a customer's house down, now that's some serious engineering.
Then, there's the preamp in front of that power amp. I'd assume graphic eq at a minimum feature. Integrated tuner like they all have too? The preamp will have to sound good for all cases of how someone would like to play the instrument and that means its distortion character must be pleasant. Cause it will distort at some settings - like volume all the way up - along with some playing styles.
I'd guess places like "Pignose" have this relatively well sorted, having been in business for 50 years doing that sort of thing. You'd need to begin negotiations with Chinese suppliers on how to, say, get a Flamma DSP amp modeling preamp with tuner, power amp, battery with charger into an install-able unit for your product. My guess is that some licensee of your invention would have the engineering resources to do all that.
You might adapt the trend of these amp driven body resonators that are just coming to market as a user install-able unit. I've seen them with battery, charger integrated (I assume) along with the current SOTA controls / bells and whistles. Just connect the output to your guitars speakers instead of the supplied transducer and you get what you get; modify from there to suit your application. <$100 on line. https://www.ebay.com/itm/155067618676 is one example of such. Just look at that design effort. I know I couldnt do something like that alone.
JJ - I have the boards and controls ripped out of the amp now, it will fit with the battery pack it comes with, but the problem is it sticks out the back a little too far, ouch. Now I play with the same amp (fully assembled), just to make it easy, but I really want to have all of it in the guitar, so it is pick up and play, which I love, and also because that is written in my patent. That does not mean I would not consider and external amp, just not my preference...thinking about it.
Ripped some wood off, a start on body #3 as shown on pdf.
Sweep very crude example, no guitar also shown on pdf.
I have done this sweep before, did not post that I can find. I will do this with the guitar and horns tonight, but I am struggling to understand how this compares input (guitar and pickups) to output (through speakers and horns).
I was planning to do this with the I/O box. Guitar pickups from I/O box out to REW, then also same signal to speakers, and then also record speaker/horn output to REW, and compare the two signals. Two different animals as far as I can tell, correct?
Sweep very crude example, no guitar also shown on pdf.
I have done this sweep before, did not post that I can find. I will do this with the guitar and horns tonight, but I am struggling to understand how this compares input (guitar and pickups) to output (through speakers and horns).
I was planning to do this with the I/O box. Guitar pickups from I/O box out to REW, then also same signal to speakers, and then also record speaker/horn output to REW, and compare the two signals. Two different animals as far as I can tell, correct?
A filter is something that lets some stuff through, traps other stuff. You'd like to know what the dual speakers / horn part of your invention is trapping, what it's letting though - sonically. So by jumping past the guitar and pickups part with a perfectly uniform voltage signal. we get to see just what the horns part is doing as a filter to the sound being fed in.
The reason why you'd like to know it is to see if - technically - there's anything that could be better. Experts here can suggest improvement and ways to achieve it. The idea is to make the horns part as best you can, with the free tools and know-how available these days. Before you need to hire someone who'd do the same.
Then there's the guitar part. That's a filter too, depending on all kinds of particulars in the way the top and its bracing is constructed. You can go just as far in the science of how that works, as you can with the horns part. An interesting link on this to see what corporate competitors are doing; https://www.yamaha.com/en/about/research/technologies/acoustic-guitar-analysis/
Finally, there's the two married together. Do they get along musically? Hopefully so. Perhaps the horns part would rather be with a solid body electric guitar part, than an acoustic as input. Who knows? It all out there for you to find and figure out. Cheers to your success with it and I hope any replies I put down here lead you in a fruitful direction!
Thank you JJ, very interesting. I have not seen this specific thread before, but similar info. I do see the bracing made a pretty significant change, cool stuff. One thing I keep saying to myself is if all these great tools are out there for acoustic guitar design and build, then why are acoustic guitars almost always built the same way, and have been for 100 years. Maybe it is already perfected, or maybe not, hence part of my desire to try something new and ground breaking, even if it does not "break ground", it is sure worth a try!
I am still working on measurement results, pretty interesting endeavor, but I do think I will need outside help eventually. I will likely get some quotes and see if I can get a package that would be good marketing material for later. Either that or I come up with my own, which is possible, just need some improvement on the measuring side, getting there. Working on sweeps, seems to be going well, need to post after I have what I think is correct.
I am still working on measurement results, pretty interesting endeavor, but I do think I will need outside help eventually. I will likely get some quotes and see if I can get a package that would be good marketing material for later. Either that or I come up with my own, which is possible, just need some improvement on the measuring side, getting there. Working on sweeps, seems to be going well, need to post after I have what I think is correct.
Hello all - I just spent two hours on the belt sander with a respirator and wood dust in my hair, loved it! The CNC body blended into the hand work finishing very well. Third body, best yet, very feasible to manufacture this guitar.
I must admit my comparison from standard acoustic guitar to the Folded Horn Acoustic Guitar holds the most weight, and says it all (attached again). I really don't need a better comparison than this, in my opinion. Talk about before and after, this compares my new product, to the existing product, and shows major improvements.
I have measured this in many ways, I did another sweep, like it, but it gives me pretty much the same results as other methods. Ok I know I am not going very deep into the sweep, but I like my other results.
The biggest piece of evidence now is providing a recording. I will do this, and am sorry for the delay!
This guitar sounds great. It is an unusual invention, and unusual methods are required. I thought I would record pickups into PC for input, but REW requires a mic. Then compare output, not so easy with REW. You know what, I don't care if the horns are not the same as the pickups, I just care that they are better, and I will be damned if I am not hearing that, I am, sounds great. I find it hard to believe that the pickups would sound great, and the horns would sound worse, not a chance! I have pickup recording through a standard amp, not near as good, I have the evidence!
Anyway there comes a time when you just need to move forward with the build, and I must do that. Thank you all and stay tuned!
Oh yeah, and I have had some people tell me I am crazy and wasting my time, they are not saying that any more, let's rock! Joe
I must admit my comparison from standard acoustic guitar to the Folded Horn Acoustic Guitar holds the most weight, and says it all (attached again). I really don't need a better comparison than this, in my opinion. Talk about before and after, this compares my new product, to the existing product, and shows major improvements.
I have measured this in many ways, I did another sweep, like it, but it gives me pretty much the same results as other methods. Ok I know I am not going very deep into the sweep, but I like my other results.
The biggest piece of evidence now is providing a recording. I will do this, and am sorry for the delay!
This guitar sounds great. It is an unusual invention, and unusual methods are required. I thought I would record pickups into PC for input, but REW requires a mic. Then compare output, not so easy with REW. You know what, I don't care if the horns are not the same as the pickups, I just care that they are better, and I will be damned if I am not hearing that, I am, sounds great. I find it hard to believe that the pickups would sound great, and the horns would sound worse, not a chance! I have pickup recording through a standard amp, not near as good, I have the evidence!
Anyway there comes a time when you just need to move forward with the build, and I must do that. Thank you all and stay tuned!
Oh yeah, and I have had some people tell me I am crazy and wasting my time, they are not saying that any more, let's rock! Joe
OK I do need one more measurement, it never ends! I compared the guitar with no horns (covers off) and with horns (covers on). I think I posted this, but was a while ago. Anyway, that was before the horns were 100% sealed, so I need to do it again.
I will be testing the guitar and both pickups though the speakers, which will be mounted in the guitar as usual, and covered in the back, so small speaker cabinets really. I will record that in REW. It will be the output from the guitar, pickups and speakers, which of course is also the input into the horns.
Then I will seal the horns 100% and record the output of the horns (which I already have).
I will overlay those in REW to compare the output of the guitar, pickups and speakers into the horns vs. the output from the horns, should be a very nice comparison for technical specs and also for marketing. Another way to say it is comparing the horn input vs. horn output, what are the horns doing?
I know the results will be great, because just hearing the difference by ear alone is night and day improvement.
The important thing, as I know has been mentioned here of course by others, is I can compare the difference at each frequency, then maybe make some improvements as required. I have some of this info already of course, but this will be far more telling with the horns 100% sealed. I have never messed with filters as JJ has suggested, so that might be a worthy endeavor. Should be able to do this tonight after some guitar shop work, good to have the week off, stay tuned! Joe
I will be testing the guitar and both pickups though the speakers, which will be mounted in the guitar as usual, and covered in the back, so small speaker cabinets really. I will record that in REW. It will be the output from the guitar, pickups and speakers, which of course is also the input into the horns.
Then I will seal the horns 100% and record the output of the horns (which I already have).
I will overlay those in REW to compare the output of the guitar, pickups and speakers into the horns vs. the output from the horns, should be a very nice comparison for technical specs and also for marketing. Another way to say it is comparing the horn input vs. horn output, what are the horns doing?
I know the results will be great, because just hearing the difference by ear alone is night and day improvement.
The important thing, as I know has been mentioned here of course by others, is I can compare the difference at each frequency, then maybe make some improvements as required. I have some of this info already of course, but this will be far more telling with the horns 100% sealed. I have never messed with filters as JJ has suggested, so that might be a worthy endeavor. Should be able to do this tonight after some guitar shop work, good to have the week off, stay tuned! Joe