vsThe physical size tends to go up as the DI is increased.
The larger dimension allows directivity control to a lower frequency in a horn but it says nothing of the amount of directivity which would be judged from the DI curve. The amount of directivity comes from the wall angle and curvature/depth.
Directivity is a result of, mainly, radiation size....
I liked the comment about DIYers buying great looking drivers and THEN trying to make a system out of them. Bad idea. I started with a specific goal and worked backwards from that, finding drivers that fit the design. At first, I was using high-end TAD, but then after a group listening test (blind) it was determined that the drivers themselves had no effect on the perception given identical system designs. So, I went with a much more reasonable set of B&C and never looked back. Drivers are not important, system design is.
Reverse engineering is a personality trait of mine and Its exactly what I've done to design this system so far....There is nothing wrong using exotic expensive top of the line components, quite contrary, but the system needs to be right for the application, otherwise it is waste of time and money and it won't be best.
I Appreciate that. I was reading that guys thread, here at diya, and starting to question my modelling aspects. I take your word for it because I know you enough to know that you are nowhere interested in anything overkill....also....This system shows 30hz at 129db in eighth space ....just one bass module, within xmax at 20hz. A result of aiming for a standard of 115db/1meter for 30-20khz, within xmax, for mastering monitors, using half space. I am not complaining, only explaining. I am more concerned with how low I can get excursion at normal domestic volumes as should be anyone else claiming to design elite mastering monitors.I would ignore "room gain" as it is completely dominated by the specific room and "room" modelers are very weak in their analysis, even wrong in many aspects. The rooms modal behavior can only really be determined with in-room measurements and EQ. I know of no simulations (available to DIY) that can do this region correctly. Just make sure that you have enough power and spread out sources and correct in-situ. It's the only way that I know of to get the low end right.
Blanket statements... more like blanket insults...non the less.Such bold, yet imprecise language. Such use of technical terms, yet so shallow understanding. Like a monkey with an expansive canvas and fine oil paints.
Good luck with your fresk.
What is Active Radiator Technology? Any references, links?
An over damped system will take away natural decay from the signal
Such use of technical terms, yet so shallow understanding
Exactly. I am more concerned with the off axis transition being smooth, and the tractrix horn has no issues with that...at least a well designed one...and then benefits of the wide mouth and baffle, in that the larger frequencies that will interact, there, will not "see" the edges, due to frequency size. Tractrix Horn mouth and baffle width are matched....this will help bring about a good polar transition I hope to soon confirm with measurements...the simulated polars look promising to me...Off axis performance is obviously a criteria now but I had no knowledge of this topic before I came here. I also live in "the vice", already......So having a horn, that the hf polar width, is about the size of a basketball at -3db/17khz....was a "whatever" moment.... I immediately investigated my tolerance when I received horns to do so....things were as predicted....and I was not detoured in the least...actually now I have planned a horn twice the size lol....thats how much I cared about the beaming...but this is extremely personal and experimental, I'm not trying to sell anyone on this...this is just for me. Midrange is everything....I can easily create something else to mate the woofers and create another version of the system with a different tweeter approach....Honestly with that thought, I could switch back and forth between a horn and a waveguide depending on desired experience....with sound design, within music and the like, its the norm to wield multiple reference systems....if my multiple reference systems happens to require; unmount a horn and mount a waveguide.....so be it... just a concept, but its nothing unfathomable. I find the high pass filtering that sweeps down frequency as one goes off axis of the horn to be desirable to the process of eqing. Due to my other "out of the box" ideas, I have discovered how to use eq filters to expose resonate notes within the mix in a unique that I have not seen taught, though I'm sure someones doing it somewhere. Basically by sweeping a hp or lp you get rid of the majority of the spectrum on one side of the knee.....Sound from different tracks can "mask" other elements in the mix....also....sound surrounding the note under inspection...can cause a masking effect....ie...if you are inspecting the 400-300hz...sweeping a hp/lp filter through that area will make frequencies around the knee more perceivable. This trick works particularly well with high pass on the bass and midbass. So basically moving too far to one side of the horn or another is going to automatically move towards the same filtering technique that I use to expose resonate notes in the the material on the high end...as well have natural flat FR on axis...its a win win for ME....and highly personal lol....DONT COPY ME lol....Further more... lord knows all I have to do is move my listening chair back say 6-7ft.......this is still one hell of a system at that distance as well....waveguide or horn....all we do is win.The physical size tends to go up as the DI is increased.
In the end, if using DSP, it does not matter. Today's computer based DSP will ensure the ideal minimum phase response is arriving at your ears. I have eDSP'd a couple hundred systems over the past couple of years. Unless the loudspeaker is a poor design (which seems to increase with $$"s) then the DSP result is pretty predictable. It boils down to how well the frequency extremes are covered and highly recommend time aligning drivers, which is done using DSP. Good luck!
Took me a second but I finally figured out why you said this....you are jealous...oh well. Monkeys don't work....or have money....and no one I know is handing expensive paints and canvases to monkeys....If you work hard and save your monies, you too! can afford expensive canvas and fine oil paints....and if someone tells you that the painting you made was bad, you too, can tell them, to go, themselves.Like a monkey with an expansive canvas and fine oil paints.
Thank you for your help @kyleneuron. For a long time I wondered what allpass filters were, I finally stuck one into the pipeline and viewed the effects. I think that my experience eqing music has given me an advantage at filter design? I was able to use the the allpass to create better looking crossings in situations that otherwise, did not look so nice in predicted polar. I've used VituixCad like I've used Hornresp, as a sort of gym? Sim a bunch of stuff over and over and over and over....trends start to show.Did you say recently that you were looking at a vertical pair of 15” woofers with your horn on top @camplo? You’re also going to be using DSP with the system, right?
If so, you can perhaps help your goal of directivity by learning about the application of all-pass filters:
You can experiment with these in VituixCAD.
Way to come full circle guys.... So for Dynamic Radiators, "mouth" diameter aka diaphragm diameter is the main factor for Directivity strength and Depth...but for Horns Mouth size controls depth of Directivity, and wall angle, and axial length govern DI level....