Hmm. If there is a measurable difference in using solid core, then I can get 14 gauge romex locally. It's large for sure, but if it works better for internal wiring than stranded, then probably worthwhile. It's 3 conductor, but I can strip the outer jacket off and just use two of the internal conductors.
From what I've seen solid vs stranded doesnt really matter. Any differences will be overshadowed by tons of other things in the system. And especially if you're using a low gauge wire, it'll have no effect either way really. So whichever you find easier to work with would be my recommendation.
Good advice, mostly. But this thread is going web-screwball mixing the trivial choices (like wire gauge, oxygen) with the significant without distinction.
Resistance of a foot of #22 gauge inside the cabinet is near nothing, .016 Ohm (AKA 0.5% of the speaker impedance).
B.
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14g is probably too big. And hard to work with. How much current will you need to deliver and how long a piece of wire is it?
dave
dave
ILikeFoodz said:
I have no problems soldering stranded wire. Yes, solid is easier, but I have a spool of stranded sitting on my table at the moment. So working with what i've got on hand is preferable unless it did make an audible difference.
Good point, LOL! If it is a trivial thing, I'll stick with my stranded...
The NAD amp is rated @50w/channel (4 - 8 ohms) class D. My speakers will likely be right at about 6 ohms. Internally, i'm only dealing with short lengths to go from the crossover to the drivers. Probably less than 2 ft. Externally, the speakers will be only 3 - 4 ft from the amp.
The more I think about it, the less I figure I should be thinking about it, LOL!
The 12 gauge stranded is probably fine.
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This is the last sim in the article:
You can see that the impedance varies from 4Ω to 22Ω and crossed 6Ω twice (the lowest frequency one does not really count).
dave
You can see that the impedance varies from 4Ω to 22Ω and crossed 6Ω twice (the lowest frequency one does not really count).
dave
UPDATE: Weekend acoustic room treatment
This last photo highlights where the right speaker will be placed. I placed acoustic absorbing foam at the speaker height (incl. stand height) to help with some nasty reflections that occur in small rooms when you have a speaker shoved in the corner. The room most likely needs bass traps, but as you can see, it's quite a small space, so it'll have to do for now...
This last photo highlights where the right speaker will be placed. I placed acoustic absorbing foam at the speaker height (incl. stand height) to help with some nasty reflections that occur in small rooms when you have a speaker shoved in the corner. The room most likely needs bass traps, but as you can see, it's quite a small space, so it'll have to do for now...
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Nice but likely your reverb and bright tone colour pretty intrusive like in 90% of the modern Ikea rooms shown in this forum. Then there's the "burnt soup principle" whereby you get to normalize on what you are used to.
Absorbent doesn't have to be visible or line or sight with speakers and can be tucked away under couches, etc. too.
BTW, room treatment helps with outside noise because sound bounces around in your room before it reaches your ears, contrary to an earlier post. But "barrier" is first line of defence, assuming you can't control the source.
B.
Absorbent doesn't have to be visible or line or sight with speakers and can be tucked away under couches, etc. too.
BTW, room treatment helps with outside noise because sound bounces around in your room before it reaches your ears, contrary to an earlier post. But "barrier" is first line of defence, assuming you can't control the source.
B.
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I don't know what you mean by 'burnt soup principle'. Can you clarify? With this treatment, most of the reflections (reverb) have been absorbed. Our speaking voices no longer echo off the walls. This was one of the goals as I live on a very noisy street. The main goals were:
1. I wanted less of the outside noise bouncing around that small room.
2. I was also looking to attenuate some of the noise that will undoubtedly be coming from my listening room and permeating through walls to neighbors.
3. I needed some correction for the small room, as listening and speaker positioning are not ideal.
Well, the couch is part of the treatment, I mean, look at the size of that thing, LOL! In this small space, the treatment most definitely had to be visible (on the walls) as there are all kinds of reflections happening without those panels. if I could panel the ceilings and add bass traps, I would. Since i'll be moving out late this year or next year, there's no sense in going all out for now. I'm also trying to limit the amount of damage done to walls and other surfaces in attaching all these panels...
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@ben
Well, ear plugs would help too. Put on a pair of those "airport worker" models and you can really reduce extraneous noise.
Seriously, you don't want to be putting up room treatment with the aim of reducing the ingress or egress of sound from your listening room if that's your problem. Which is what I said.
You might have a very nice listening room except for the noise coming from next door. It would be a shame to ruin that room by turning it into an anechoic chamber of some degree or other.
Well, ear plugs would help too. Put on a pair of those "airport worker" models and you can really reduce extraneous noise.
Seriously, you don't want to be putting up room treatment with the aim of reducing the ingress or egress of sound from your listening room if that's your problem. Which is what I said.
You might have a very nice listening room except for the noise coming from next door. It would be a shame to ruin that room by turning it into an anechoic chamber of some degree or other.
All good points.
I wonder if reverb needs to be treated the same as Toole's circle of confusion whereby the production facility needs to be paired to the playback room?
Likewise, like the unjustified attachment to "critical" damping of enclosures, for re-production, the more room damping the better because that reduces the influence of the room just as low Q does for speakers.
B.
I wonder if reverb needs to be treated the same as Toole's circle of confusion whereby the production facility needs to be paired to the playback room?
Likewise, like the unjustified attachment to "critical" damping of enclosures, for re-production, the more room damping the better because that reduces the influence of the room just as low Q does for speakers.
B.
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This exactly. While I didn't want to go overboard and cover every square inch of the room in those tiles, I wanted to cover enough so that the room would be dampened just enough to somewhat minimize it's affect.
Toole says that this is not a good idea. You do not care much about early reflections which the ear/brain will integrate into 1, only those that take some time. Too dead a room is not a good thing.
dave
Agreed. 'Too dead' would be bad. I'm not going for recording studio acoustics here. I'm only trying to reduce the affect the small room characteristics have on the sound, while also minimizing permeation of sound through walls. I think with this sort of 'mid-field' listening configuration combined with fairly normal to low volume levels, the solution will work ok.
Once the speakers are built and I can properly test this, I will add or remove some of the panels as necessary for the best effect.
Once the speakers are built and I can properly test this, I will add or remove some of the panels as necessary for the best effect.
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Just to remind everybody of Toole's circle of confusion again, you have the room where the musicians played, the "enhancement" by the recording engineer using the little studio two-way speakers they love*, and your fancy installation. Are they made to work together?
Room treatments have different purposes. As chrisjmartini mentioned, you have early reflections off walls near speakers (and the perhaps mythical "comb filtering"). Then you have major eigentone control, and you have total Sabine room reverb/ambience.
Ignoring the further conceptual complexities of considering Toole's recent critique of room EQ, I agree with everybody that today's recordings might sound odd in a very dead room. But certainly dreadful in a too-live room.
B.
* ... and listening with headphones and/or recorded for headphones or while monitoring with headphones... more circle of confusion. Anybody have 4-channel recordings they play in stereo?
Room treatments have different purposes. As chrisjmartini mentioned, you have early reflections off walls near speakers (and the perhaps mythical "comb filtering"). Then you have major eigentone control, and you have total Sabine room reverb/ambience.
Ignoring the further conceptual complexities of considering Toole's recent critique of room EQ, I agree with everybody that today's recordings might sound odd in a very dead room. But certainly dreadful in a too-live room.
B.
* ... and listening with headphones and/or recorded for headphones or while monitoring with headphones... more circle of confusion. Anybody have 4-channel recordings they play in stereo?
Yes of course
"Dark Side of the Moon" the original vinyl except I could never afford the dedicated 4 channel preamp needed
More to the point is anyone making Kunstkoft recordings and listening with headphones? ;-)
Or can we invite Alan Blumlein and Stewart Hegeman into the conversation?
I believe Don Morrison, who took up Stewart's baton, makes his own recordings of small-group classical music with minimal microphoning to be played on his omnidirectional loudspeakers.
Where the intent is in part to create a 360 degree soundfield the room is certainly a part of the larger whole.
Or can we invite Alan Blumlein and Stewart Hegeman into the conversation?
I believe Don Morrison, who took up Stewart's baton, makes his own recordings of small-group classical music with minimal microphoning to be played on his omnidirectional loudspeakers.
Where the intent is in part to create a 360 degree soundfield the room is certainly a part of the larger whole.