So, I know a lot has been said about this type of box, Good and Bad… and not all of that has been “ scientifically “ tested… (“ my mate told me this, so it must be true stuff”….)
So, I’m a “nobody, but I’ve built 11 boxes in a short time and I’m usually comparing the last 3 boxes that I make against each other to see if there’s progress ( some will say that I’m wasting my time) ( I keep 3 pairs of drivers so I can do comparisons with box construction,….yer I know audio isn’t an exact science)…
So, in my journey ( no, I don’t spend time with Horns rep), but, I started with “ Nandappe’s”design and I’ve been letting my ears and those of others guide my journey…
Yer, I can hear all the Computer warriors 🤡 crying, but it’s my gear in my room… I don’t expect a Computer program to fine tune that journey..
So, perhaps stupidly, I follow the ideas of Janos from “ Real World Audio “ You tube who says “ build it like a musical 🎶 instrument “, so my construction is much more like a guitar 🎸 top, than an MDF box..( MDF is Hateful stuff)..
Included in that idea is the finish that you give the timber..
A musician friend of mine suggested that timber oil sounds much nicer than varnish… and probably it does..
However I can physically feel a lot of vibration/ energy escaping through through the top of the box. ( yes it does have some stuffing there).
So, that leads me to think 🤔 that a straight pipe with a restricted mouth/ port might give me a purer midrange, but still keeping the bass balance…
Or maybe 🤔 I don’t need to, as the Midrange energy on a straight pipe would just bounce of the back wall instead of being released from the top of the box….
Ideas from people who have actually tried this stuff welcome 🤗 😊!!
So, I’m a “nobody, but I’ve built 11 boxes in a short time and I’m usually comparing the last 3 boxes that I make against each other to see if there’s progress ( some will say that I’m wasting my time) ( I keep 3 pairs of drivers so I can do comparisons with box construction,….yer I know audio isn’t an exact science)…
So, in my journey ( no, I don’t spend time with Horns rep), but, I started with “ Nandappe’s”design and I’ve been letting my ears and those of others guide my journey…
Yer, I can hear all the Computer warriors 🤡 crying, but it’s my gear in my room… I don’t expect a Computer program to fine tune that journey..
So, perhaps stupidly, I follow the ideas of Janos from “ Real World Audio “ You tube who says “ build it like a musical 🎶 instrument “, so my construction is much more like a guitar 🎸 top, than an MDF box..( MDF is Hateful stuff)..
Included in that idea is the finish that you give the timber..
A musician friend of mine suggested that timber oil sounds much nicer than varnish… and probably it does..
However I can physically feel a lot of vibration/ energy escaping through through the top of the box. ( yes it does have some stuffing there).
So, that leads me to think 🤔 that a straight pipe with a restricted mouth/ port might give me a purer midrange, but still keeping the bass balance…
Or maybe 🤔 I don’t need to, as the Midrange energy on a straight pipe would just bounce of the back wall instead of being released from the top of the box….
Ideas from people who have actually tried this stuff welcome 🤗 😊!!
Applaud your "consistent-drivers" approach. Yes we have "tried stuff" and yes your perceptions have merit but every single thing in audio costs something else. Make the experience your own--do the experiments shamelessly/cheaply (however temporarily). Your method is sound--ears work--just ensure perceptions repeat before you trust assessments. IMO, building and listening is most important and you are doing very well at that! Opinions in audio will always and forever vary. The computers can help with deeper inquiries into topics of interest if you find yourself flailing at the winds.
If you will be following your friend's thought, search for "tone wood" posts. "Letting overtones fly" is both additive (panel transmission) and subtractive (driver motion), but becomes a religious issue regarding re-production vs. production. No one knows if you will like it or not. Personally, I do not, but, there once was a time when I received cabinet "warmth" as welcome with small single drivers.
If you want energy-time data, measure outside and (terminii-allowing) pointed at the sky so you can acquire for at least 150ms if thinner wood. Read instrument people's writings (they have hundreds of years of knowledge). Maybe that then leads you do try concrete or thick-thick ply, who knows. Again, be shameless--just for the tests. Get your experiments in with whatever materials you have cheaply/readily-available. What's clear is that you are curious and having fun and for that you are to be commended. Try things in corners, lean them up against walls, lift them up vertically--try everything and don't lose the wonder. Hear things yourself, notice what's different on voices, on percussion, and on big soundbodies like cello or piano--and keep notes. Take pictures and date the files, too, so you can jog your memory in the future.
If you will be following your friend's thought, search for "tone wood" posts. "Letting overtones fly" is both additive (panel transmission) and subtractive (driver motion), but becomes a religious issue regarding re-production vs. production. No one knows if you will like it or not. Personally, I do not, but, there once was a time when I received cabinet "warmth" as welcome with small single drivers.
If you want energy-time data, measure outside and (terminii-allowing) pointed at the sky so you can acquire for at least 150ms if thinner wood. Read instrument people's writings (they have hundreds of years of knowledge). Maybe that then leads you do try concrete or thick-thick ply, who knows. Again, be shameless--just for the tests. Get your experiments in with whatever materials you have cheaply/readily-available. What's clear is that you are curious and having fun and for that you are to be commended. Try things in corners, lean them up against walls, lift them up vertically--try everything and don't lose the wonder. Hear things yourself, notice what's different on voices, on percussion, and on big soundbodies like cello or piano--and keep notes. Take pictures and date the files, too, so you can jog your memory in the future.
Hi Grindstone!
Thanks for reading my rant and giving me encouragement!
And reminders to not let my Imagination 💭 think that I’ve made an improvement when it’s just different not better!!
I guess that I will never know if a straight pipe is worth it until I try it….
Thanks for reading my rant and giving me encouragement!
And reminders to not let my Imagination 💭 think that I’ve made an improvement when it’s just different not better!!
I guess that I will never know if a straight pipe is worth it until I try it….
