Yep, that's what a patent search shows. Find a patent referenced by your favourite audio elder, then see references to it. Basement warriors, loons, enthusiastis... And some geniuses and hard-working engineers.
Alas, other than digital & transitors in general, the 'ancients' got there first. There is pretty much nothing that W.E., RCA etc. didn't invent, build & measure to the limits of available technology from the '20s - '40s. A few sometimes interesting variations on the basic theme, but the principles were already mapped out. Not surprising when you consider they were done by people being paid 6 figure salaries with the budget of major corporations who valued R&D in their constant quest to do the most with the least.
I've actually just started looking into the beginnings of the audio industry and the gains they made so rapidly are amazing.
Yeah, my 'bad', I know better than to post when 'dead' tired, but get bored when I can't sleep........ 🙁 Thanks for the timely correction.
GM
Yeah, if they had already developed cheap, high power amps, then no doubt that we would have missed out on the mids/HF audio bliss of single driver and high efficiency horn/tube SET systems and their creators, innovators would be in other fields of endeavor.
GM
Absolutely! I was fortunate enough to be heavily exposed to them before anyone could 'corrupt' me, though plenty of them tried to when I got online and found some early audio BBs and later on the basslist till Tom Danley and a few other pros started posting regularly.
That said, I learned at least as much from some of the posters as I've since dispensed, especially WRT how to [somewhat] better communicate my thoughts/understandings/experiences in a way that was in line with those much more formally educated in the physical sciences.
In short, 'what goes around, comes around' and 'those that don't learn from history are doomed to repeat it'.
GM
No, that does not limit the bandwidth. Radiation pattern yes, but no bandwidth filter. That means, it's still not a BP of any kind.
While there is no single complete authority on the subject, be sure to include this in your reading list
A Tiny History of High Fidelity, Part 1
A 4th order BP is a sealed enclosure with a vented front chamber. That's not the case here.
A 6th order BP is a vented enclosure with a vented front chamber. That's even less the case here, still no vented front chamber whatsoever.
That means, there is noting 'to disagree'. A bandpass filter got the characterisics of a low cut off and a high cut off, letting the frequencies in between through or in other words, passing. There's no lower cut off and no higher cut off. It's physics and there's no 'a bit pregnant'. Physics got the great advantage of applying even if you don't believe in it. That's definitely no bandpass and if you still claim it is you simply still don't understand what a bandpass is.
The vent output passes by the front cone - definitely a bamdpass as will be clearly evident in an Akabak (or other SW) simulation. The output vent directly modulates the total output frequency response and you get a big dip and wiggles all over the place. Bandpass for sure. The only question is the extent of modulation. At the limit of very far away, it becomes like a regular TL or BR. When the vent lip comes close it will have an effect.
It lacks 2 chambers/resonators like in a 6th order bp.
It has no closed chamber like in a 4th order bp.
It has no closed chamber like in a 4th order bp.
You are focusing on your visual assumptions, not the operating physics, which in essence are as X notes above. It's just a 6th order BP variation akin to a DSL style double-tapped horn.
Indeed, extending the lip a little more and it becomes a tapped horn alignment. You guys should try to model it on HR or Akabak etc. it will be very apparent. If it were a plain vented bass reflex, the port would exit perpendicular to the plane of the front cone. As such, it exits in glancing flow across the front cone. The effect here may not be much if lip is far from cone, but has more impact the moment SPL goes up and sound pressure field from
Vent impresses on front cone. That’s called feedback - and will cause frequency modulation of the total output.
Vent impresses on front cone. That’s called feedback - and will cause frequency modulation of the total output.
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