maybe grab the template for the 10.3 too if it's handy?
BTW... what's the rationale/ calculation for placing the pairs of rings up the cone?
Is this critical... to the mm?
I’m pretty sure i have them right here on my coffee table.
Bud did it by ear, in taling with Mark Frnlon, on the MA’s at least, the ringsets are at the places where the circular sections “join” on the cone, its shape is determined by a number of incresing circle segments that increase in diameter as you approach the edge of the cone.
dave
Bud did it by ear, in taling with Mark Frnlon, on the MA’s at least, the ringsets are at the places where the circular sections “join” on the cone, its shape is determined by a number of incresing circle segments that increase in diameter as you approach the edge of the cone.
dave
Quick answer: To the millimeter, no. It's important to remember that we don't know exactly how the dots influence the cones' undesirable behavior. It may be related to physical stiffening, or to local additions of mass, both, or something else. Considering the speed of transmission on the cone surface of the auditory frequencies that are being removed, we have to guess that the worst behavior (pretreatment) is the result of harmonic reinforcement/cancellation. And it is probably not all concentric with the voice coil, or the use of latex near the outer surround would probably have less effect. There's a lot written elsewhere... There's help here - don't be afraid to 'go for it'! There's nothing quite like speakers that never get loud, only more voluminous. 🙂
With query about suppressing higher frequency anomalies in the M200 thread, I thought I should comment here. I did treat my 11MA cones following @planet10's instructions, but only applied the one diluted coat to the cone and center. I believe it helped and the speakers have been in steady use for about five months now. I'll probably complete the second application to the cones only after Burning Amp (mid October). The speakers will be there.
Skip
Skip
@planet10 If you come across the 10.3 template I'ld be much interested as well.
Planning EnABL followed by micro gloss.
Cheers
Simon
https://www.ebay.de/itm/332149206555?mkcid=16&mkevt=1&mkrid=707-127634-2357-0&ssspo=oQN O-V_oQ02&sssrc=4429486&ssuid=HIkhxjHJTLq&var=541179037896&widget_ver=artemis&media=COPY
Hi Franz, when you link to ebay, this is the only needed part. The forum doesn't like the full text of the link.
Shellac, whether blond, gold or black, is a very suitable coating for loudspeakers
Shellac increases internal damping better than acrylic, polyvinyl, polyurethane, epoxy, or polymer. It is soluble in alcohol and extremely long-lasting; it does not yellow or fade.
Shellac increases internal damping better than acrylic, polyvinyl, polyurethane, epoxy, or polymer. It is soluble in alcohol and extremely long-lasting; it does not yellow or fade.
Shellac dries stiff, it shoud increase stiffness and do strange things to the top.
dave
dave
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I once tried to tame a bigger metal driver which I wanted to use as a fullrange driver with some elastic adhesive on the back side but with no effect.
Also measured it and I could not see effect enough to justify making the driver more heavy.
Maybe there could be be some effective taming of resonances by mass loading special points on the cone. See attachment with Pfleid Frs 20 loudspeaker (out of production since 1996).
However if there are peaks at resonant points I know from DSP use with my own metal coated paper cones that after linearization the resonance was completely gone in the waterfall response what is quite effective.
For this I always listened to every filter applied doing a variation in db, steepness of filter and wideness to check if the smallest application of it already does the job of eliminating the audibility of the resonance.
Also measured it and I could not see effect enough to justify making the driver more heavy.
Maybe there could be be some effective taming of resonances by mass loading special points on the cone. See attachment with Pfleid Frs 20 loudspeaker (out of production since 1996).
However if there are peaks at resonant points I know from DSP use with my own metal coated paper cones that after linearization the resonance was completely gone in the waterfall response what is quite effective.
For this I always listened to every filter applied doing a variation in db, steepness of filter and wideness to check if the smallest application of it already does the job of eliminating the audibility of the resonance.
Attachments
Mass loading special points on the cone could be done with removable material without damaging the cone.
Usually a test intensive job like this should be done by the manufacturer who wants to make his product reliably better.
I just don't understand why many manufacturers of fullrange drivers always and only stick to paper as a cone material.
Variations can be of profit.
For example I consider polypropylen fullranges mostly to be found in car hifi as already better than paper cone materials.
Together with adding structure to the cone (like with the more modern Fostex drivers) the material can be further reduced in weight and thickness to optimize cone geometry.
But this is only rarely done.
Metal cone drivers could be produced using thinner cones with a damping layer inside giving constrained layer damping "CLD" properties to the cone eliminating all resonances.
For a given weight the use of combined materials has better stiffness and damping like this than using one material alone.
Usually a test intensive job like this should be done by the manufacturer who wants to make his product reliably better.
I just don't understand why many manufacturers of fullrange drivers always and only stick to paper as a cone material.
Variations can be of profit.
For example I consider polypropylen fullranges mostly to be found in car hifi as already better than paper cone materials.
Together with adding structure to the cone (like with the more modern Fostex drivers) the material can be further reduced in weight and thickness to optimize cone geometry.
But this is only rarely done.
If you use origami style structured cones you get much greater stiffness for free.
Here Acoustic Research hires series alike JBL titanium from the 80ies
Fostex fe 208 with structured cone
Thin aluminium foil applied diy makes it more stiff
https://www.diyaudio.com/community/...loudspeaker-sandwich-cone.402917/post-7443469
Here Acoustic Research hires series alike JBL titanium from the 80ies
Fostex fe 208 with structured cone
Thin aluminium foil applied diy makes it more stiff
https://www.diyaudio.com/community/...loudspeaker-sandwich-cone.402917/post-7443469
Metal cone drivers could be produced using thinner cones with a damping layer inside giving constrained layer damping "CLD" properties to the cone eliminating all resonances.
For a given weight the use of combined materials has better stiffness and damping like this than using one material alone.