Cliff notes:
Swinging a pendulum. Fulcrum is at drivers centerline. It only swings out 7.5 or 15 or 22.5 or 30 I either direction and that’s all It will ever do because that’s the speed of light broken up into four parts. If you put that in folded into 90° sections keep between the pendulum as if that’s some sort of sequence that will end up being a pattern throughout that is maintained all the way to 360° which is four of the 90. The details in that produce the solar system is not only in reality but in response. And furthermore the details within that and outside of the band with their lies are unique cycle and sequence of fully canceled frequencies in an interval is the same number as the diary the sun and the second set a day on earth among other things and the monumental importance and validity and messaging that and in that math is priceless but only if you understand what that is what that means and what it was referring to . And furthermore the details within that and outside of the band with their lies are unique cycle and sequence of fully canceled frequencies in an interval is the same number as the diary the sun and the second set a day on earth among other things and the monumental importance and validity and messaging that and in that math is priceless but only if you understand what that is what that means and what it was referring to.
No doubt David McBean Wouldn’t be able to guess all the things that would come from describing circles to hire orders a mess within four circles on top of that no one Ever could but eventually that would have to come full circle no pun intended and it does.
No doubt that will quickly become sporadic and awkwardly sounding random bits and pieces of everything. Chaos? Psychosis,?? No but the explanation of huge incredible things would tend to sound that way to someone who didn’t understand what was being described. Irregardless response somehow shifts through all of that it produces whatever it is that being described it that far into that when it’s all perfectly aligned.
Swinging a pendulum. Fulcrum is at drivers centerline. It only swings out 7.5 or 15 or 22.5 or 30 I either direction and that’s all It will ever do because that’s the speed of light broken up into four parts. If you put that in folded into 90° sections keep between the pendulum as if that’s some sort of sequence that will end up being a pattern throughout that is maintained all the way to 360° which is four of the 90. The details in that produce the solar system is not only in reality but in response. And furthermore the details within that and outside of the band with their lies are unique cycle and sequence of fully canceled frequencies in an interval is the same number as the diary the sun and the second set a day on earth among other things and the monumental importance and validity and messaging that and in that math is priceless but only if you understand what that is what that means and what it was referring to . And furthermore the details within that and outside of the band with their lies are unique cycle and sequence of fully canceled frequencies in an interval is the same number as the diary the sun and the second set a day on earth among other things and the monumental importance and validity and messaging that and in that math is priceless but only if you understand what that is what that means and what it was referring to.
No doubt David McBean Wouldn’t be able to guess all the things that would come from describing circles to hire orders a mess within four circles on top of that no one Ever could but eventually that would have to come full circle no pun intended and it does.
No doubt that will quickly become sporadic and awkwardly sounding random bits and pieces of everything. Chaos? Psychosis,?? No but the explanation of huge incredible things would tend to sound that way to someone who didn’t understand what was being described. Irregardless response somehow shifts through all of that it produces whatever it is that being described it that far into that when it’s all perfectly aligned.
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Absolutely, this is only the start. If you've made a good choice of horn, if it suits the room you're putting it in, if you can build and set it up properly....
I’m sorry but I’m getting serious Timecube vibes here
Lol!! OK never mind I better just go back under my rock, LOL!!
thanks for the gentle warning, I’ll have to consult the oracle and get a better approach to inform mankind of it’s in evitable doom and the secret numerical code from NNikola Tesla’s ghost Come on.. all jokes and good friendly humor aside (appreciated by the way
) There’s a pattern repeats over and over again above the subwoofer band with which is where you got all of this from going to intentionally focusing in the subwoofer band with the leftover information or there’s leftover blank spots peaks and valleys have a very distinct pattern if done exactly (precisely) the right way what does numbers represent and what day then show never ends it’s a cycle or a code whatever you wanna call it I don’t call it anything until you see it and then go look and see what those numbers mean or what they represent there’s not a person in this forum who wouldn’t think that is incredibly interesting and more. Just because of what the numbers are with the represent and then anything to do with me or an idea that somehow I came up with I didn’t this existed and always has just had a bump in to notice it nobody I’m just trying to point them out to everybody… I Promise, it’s very interestingTo say the least
Right, so what you’re saying is with any normal fold, it is impossible to use conical, unless the box has non parallel / irregular surfaces?
Two parallel side panels and non-parallel top and bottom panels are a parabolic, not a conical expansion.
That said, multiple series parabolic expansions can be nearly equivalent to a conical, or even exponential expansion.
Since the amount of horn segments in Hornresp is limited, a choice of "conical" compared to "parabolic" may be more appropriate to what the cross-sectional area expansion is in a specific region of a horn's fold.
That said, multiple series parabolic expansions can be nearly equivalent to a conical, or even exponential expansion.
Since the amount of horn segments in Hornresp is limited, a choice of "conical" compared to "parabolic" may be more appropriate to what the cross-sectional area expansion is in a specific region of a horn's fold.
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So are you saying conical is closer to reality in some horn reap models?
Also, another question that has been bugging me:
In a conventional tapped horn fold (or any folded horn), if you make the mouth approximately square (in cross-section), inevitably that makes the throat a thin rectangle.
As far as sound is concerned, does this change of shape over the length of the horn affect the sound? Or is it roughly equivalent to a path that has consistently square geometry the whole way along?
Thanks
Also, another question that has been bugging me:
In a conventional tapped horn fold (or any folded horn), if you make the mouth approximately square (in cross-section), inevitably that makes the throat a thin rectangle.
As far as sound is concerned, does this change of shape over the length of the horn affect the sound? Or is it roughly equivalent to a path that has consistently square geometry the whole way along?
Thanks
Posts 731-734 In Brian Steele's "Spreadsheet for Folded Horn Layouts" thread explains what I wrote a few posts back.
Spreadsheet for Folded Horn Layouts...
Hornresp assumes a circular, not square, rectangular or any straight-sided shape.
As far as low frequency sound waves propagating through a horn, the cross-sectional area, rather than shape is the primary consideration. If the horn's cross-sectional area as built matches the simulation closely, the Hornresp simulation should also be close to measured response.
Spreadsheet for Folded Horn Layouts...
Hornresp assumes a circular, not square, rectangular or any straight-sided shape.
As far as low frequency sound waves propagating through a horn, the cross-sectional area, rather than shape is the primary consideration. If the horn's cross-sectional area as built matches the simulation closely, the Hornresp simulation should also be close to measured response.
Attachments
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Hi- another question
I know that the ‘power’ view in the loudspeaker wizard window is somewhat independent of the ‘acoustical power’ window.. however I’m not exactly sure how.
On a project I’m working on now, I’ve tweaked everything to my liking, but the ‘acoustical power’ window completely disagrees with the ‘power’ window.
I have noticed in the past that the effect of the filling is present in the loudspeaker wizard, but not in acoustical power. But this disparity is much larger than that. There is a huge bull at about 90hz that is simply not there in the loudspeaker wizard. Help!
Thanks
I know that the ‘power’ view in the loudspeaker wizard window is somewhat independent of the ‘acoustical power’ window.. however I’m not exactly sure how.
On a project I’m working on now, I’ve tweaked everything to my liking, but the ‘acoustical power’ window completely disagrees with the ‘power’ window.
I have noticed in the past that the effect of the filling is present in the loudspeaker wizard, but not in acoustical power. But this disparity is much larger than that. There is a huge bull at about 90hz that is simply not there in the loudspeaker wizard. Help!
Thanks
Actually, I’ve just found it.
For some reason, S3 x/sect area on the input parameters window had remained at an old value. I’ve manually changed that now and all is well.
I wonder whether that is some kind of glitch? Because I kept hitting save on the loudspeaker window, and yet the input params window did not update.
Cheers.
For some reason, S3 x/sect area on the input parameters window had remained at an old value. I’ve manually changed that now and all is well.
I wonder whether that is some kind of glitch? Because I kept hitting save on the loudspeaker window, and yet the input params window did not update.
Cheers.
Hi there.
Is there anything I need to know about the way horn resp models the throat entry/tap point?
IE- I presume horn resp does not know the diameter of the driver, and thus the diameter of the cut out.
If I place the cut out such that it centres on the segment 1/2 line, is this as much as I need to do?
Is there anything I need to know about the way horn resp models the throat entry/tap point?
IE- I presume horn resp does not know the diameter of the driver, and thus the diameter of the cut out.
If I place the cut out such that it centres on the segment 1/2 line, is this as much as I need to do?
Peter,
There are several parts defining the throat entry/tap point and volume between it and the cone surface.
Hornresp does not "know" what the diameter of the driver is, it uses Sd (Projected area of the driver diaphragm) for displacement calculations.
The diameter of the driver cut out is independent from Sd.
Sd of the driver is entered separately from the Ap (area of the port cutout connecting the driver to the horn) and Vtc (volume of throat chamber). The volume of the throat chamber should be large enough to include the cone volume (Driver Front Volume tool) and the standoff ring required to allow full driver excursion to preclude it from slapping the mounting baffle/horn wall at high excursion.
Hornresp
Post #352:
"As explained in Note 8 on page 16 of the Hornresp Help file, Vtc and Atc can be used to specify a chamber between the diaphragm and the throat entry point. Ap and Lpt can be used to specify a port opening between the chamber and the horn (not required if the cross-sectional area of the opening is equal to Atc).
Select the 'Schematic' and 'Chamber' options in the Tapped Horn Wizard and try altering the values for Vtc, Atc, Ap and Lpt, to see how it all works."
This thread might also help understand some of the basics, though may not include many Hornresp features that have been added since:
Hornresp for Dum... hmm... Everyone | Home Theater Forum and Systems
Art
There are several parts defining the throat entry/tap point and volume between it and the cone surface.
Hornresp does not "know" what the diameter of the driver is, it uses Sd (Projected area of the driver diaphragm) for displacement calculations.
The diameter of the driver cut out is independent from Sd.
Sd of the driver is entered separately from the Ap (area of the port cutout connecting the driver to the horn) and Vtc (volume of throat chamber). The volume of the throat chamber should be large enough to include the cone volume (Driver Front Volume tool) and the standoff ring required to allow full driver excursion to preclude it from slapping the mounting baffle/horn wall at high excursion.
Hornresp
Post #352:
"As explained in Note 8 on page 16 of the Hornresp Help file, Vtc and Atc can be used to specify a chamber between the diaphragm and the throat entry point. Ap and Lpt can be used to specify a port opening between the chamber and the horn (not required if the cross-sectional area of the opening is equal to Atc).
Select the 'Schematic' and 'Chamber' options in the Tapped Horn Wizard and try altering the values for Vtc, Atc, Ap and Lpt, to see how it all works."
This thread might also help understand some of the basics, though may not include many Hornresp features that have been added since:
Hornresp for Dum... hmm... Everyone
| Home Theater Forum and SystemsArt
Yes I should have made myself clearer - I know the difference between Sd, nominal driver size and the total diameter including the frame of the driver.
Ok, that’s good thank you.
But to be specific- regardless of the area of the cut out in front of the driver, where does horn resp assume the centre of the driver is? Does it ‘know’ that the centre of the cone is not in the centre of the pathway? And that the pressure gradients make an immediate 90 degree turn?
I realise from a sound pressure point of view this doesn’t make much difference, I’m just curious.
Lastly- different question- would you recommend rounding any of the corners of the pathway with bits of ply angled at 45 degrees.. I’m guessing it only makes a significant difference on the last turn of the fold- before the mouth. I expect the elasticity of the pressure gradients makes up for any sharp angles.
Ok, that’s good thank you.
But to be specific- regardless of the area of the cut out in front of the driver, where does horn resp assume the centre of the driver is? Does it ‘know’ that the centre of the cone is not in the centre of the pathway? And that the pressure gradients make an immediate 90 degree turn?
I realise from a sound pressure point of view this doesn’t make much difference, I’m just curious.
Lastly- different question- would you recommend rounding any of the corners of the pathway with bits of ply angled at 45 degrees.. I’m guessing it only makes a significant difference on the last turn of the fold- before the mouth. I expect the elasticity of the pressure gradients makes up for any sharp angles.