Oh it's not baltic-birch by any means. That stuff is nearly unattainable due to the war.
I had one last sheet of 5'x'5 3/4" BB, that i used to make six baffle boards for the new subs. My cabinet shop said they had seen a single sheet of it go for over $300 lately. I came close to listing it for sale, but know I need all the strength I could get for the baffles.
The 3/4" birch i use for the boxes (and for the big sub-carts I just trashed is simply inferior to BB.
It works, but a whole lot more bracing is needed.
That said, a 4'x 8' sheet for $35 is something I'm grateful to be able to source. And sheets are actually 1/2 oversize each direction (for cabinet trade work).
Stuff comes from Vietnam. 10 ply...11 if you count a paper thin veneer.
You're welcome Steffen, and thank you for the kind words.
Yes, learned a ton from syn-11...way more than any previous build. Really glad / feel fortunate, to have gone through it.
😀 Right you are sir !
But you know, if it weren't for wanting to get back to LCR......stereo syn11 would still be singing !
Look super cool!
Tough that you skipped (trashed) them😢
Guess the aftermarket for huge Syn horns is limited..
Tough that you skipped (trashed) them😢
Guess the aftermarket for huge Syn horns is limited..
Thx!
No, not that tough really...I've scrapped a bunch of stuff over the years.
Besides, all i really scrapped were some boxes (and the labor of love that went into them).
Drivers per box were somewhere between $2500-3000. And then, they had 5 channels of FIR DSP processing....along with all the amps, etc.
A big price tag for the whole she-bang.
Even if i could sell the whole rig, I wouldn't....not at all.
Don't think someone could handle it until I spent more time helping them learn it, than I'd care to.
So really, no bummer to send them to the dump...other sighing over how glorious they sounded.
Did the size of sun 11 allow you to control the directivity at such low frequencies? I think he's too small for that.
Yes, I think you are correct.
The syn11 itself, the white horn only, probable held its pattern down to only 250Hz or so.
The double 18"s in it were high-passed at 40Hz, and when i played it alone without the sub-cart below, I did not think bass was too directional.
The big 740L sub-carts seemed to be causing the directivity problem. Or maybe just room interaction problems. I dunno.
All i know is that with even just one syn11 & sub-cart playing, whether it was the one in the room corner or the one in room center.......
.....bass was disproportionately stronger close to the speaker stack, than moving away.
Had kind of a "power alley" effect, but in terms of distance down the alley , not width of the alley...if that makes any sense.
Hi mark,
I remembered seeing you mentioned about the adjustable bass / treble to accommodate different music genre / mixing.
May I ask what kind of filter did you apply for the bass / treble adjustment?
Thank you.
I remembered seeing you mentioned about the adjustable bass / treble to accommodate different music genre / mixing.
May I ask what kind of filter did you apply for the bass / treble adjustment?
Thank you.
Hi yys310
Just answering for Mark, as I can remember to be part of the original discussion. Look at post #133 and a few posts on. There you have your answer I think.
Steffen
Just answering for Mark, as I can remember to be part of the original discussion. Look at post #133 and a few posts on. There you have your answer I think.
Steffen
Hi yys310, hi Steffen and thx for helping out,
Over the years I've used a few different strategies. First began when using live sound mixers as a line stage, preamp device.
The high and low shelf EQs they had available, with adjustable freq points and gains were very easy to use, and very effective,
I think this is probably the simplest way to adjust tonal imbalances and preferences I know.
What I do now, which Steffen point to...is pretty damn complex and frankly unneeded. But that said, it let's me experiment in ways quickly, like no other DIY processing implementation I've seen. Also make system verification easy, which is essential given all the processing experiments I make.
This post shows how whack a doodle i can get ..it was the remote i built for testing syn-11.https://www.diyaudio.com/community/threads/syn-11-a-one-horn-5-way.393087/page-7#post-7447044
Each of the 6-ways had it's own drive level fader...which made me often wish I just put some shelving EQs on the damn remote !!! Lol
That said, maybe the only thing I would have to have beyond easily adjustable first order shelving filters, for a system that I wasn't experimenting with, would be a separate level control for sub. One that can adjst relative volume between sub and main. Sometimes sub boost needed is too much for shelving, because the shelving extends to high in freq.
Over the years I've used a few different strategies. First began when using live sound mixers as a line stage, preamp device.
The high and low shelf EQs they had available, with adjustable freq points and gains were very easy to use, and very effective,
I think this is probably the simplest way to adjust tonal imbalances and preferences I know.
What I do now, which Steffen point to...is pretty damn complex and frankly unneeded. But that said, it let's me experiment in ways quickly, like no other DIY processing implementation I've seen. Also make system verification easy, which is essential given all the processing experiments I make.
This post shows how whack a doodle i can get ..it was the remote i built for testing syn-11.https://www.diyaudio.com/community/threads/syn-11-a-one-horn-5-way.393087/page-7#post-7447044
Each of the 6-ways had it's own drive level fader...which made me often wish I just put some shelving EQs on the damn remote !!! Lol
That said, maybe the only thing I would have to have beyond easily adjustable first order shelving filters, for a system that I wasn't experimenting with, would be a separate level control for sub. One that can adjst relative volume between sub and main. Sometimes sub boost needed is too much for shelving, because the shelving extends to high in freq.
Hi Mark
I do have a MiniDSP OPEN DRC DI, that I use as a "digital preamp" to adjust volume and source-selection. I guess I could use one of the presets and have the PC connected to create shelving filters "on the fly". what is the Q of a first ordere shelving filter?
Steffen
I do have a MiniDSP OPEN DRC DI, that I use as a "digital preamp" to adjust volume and source-selection. I guess I could use one of the presets and have the PC connected to create shelving filters "on the fly". what is the Q of a first ordere shelving filter?
Steffen
Hi Steffen,
Aah good ole OpenDRC-DI's. I started FIR with them and an DRC-D8. Forgot they have variable Q shelving.
I think first order is a Q=0.707.
At least that is where the amount of boost appears flat, once past transition region. The IIR gurus would know for sure.
I'd play with it as close to real time as possible, and make whatever Q, gain, and freq sounded good, a preset.
Am I remembering correctly, that 4 presets are available?
Aah good ole OpenDRC-DI's. I started FIR with them and an DRC-D8. Forgot they have variable Q shelving.
I think first order is a Q=0.707.
At least that is where the amount of boost appears flat, once past transition region. The IIR gurus would know for sure.
I'd play with it as close to real time as possible, and make whatever Q, gain, and freq sounded good, a preset.
Am I remembering correctly, that 4 presets are available?
Recently I'm also trying to do the EQ/shelf filter for bass-mid-treble but not sure what frequency point to pick.
The bass adjustment I'm using is shelf filter with Q=0.707 and adjust different dB accordingly. The treble is another shelf filter with Q=0.4 at 3000Hz.
Perhaps I should go to find how Harman set their adjustable filter for testing.
Yes, I use preset 1 for flat and then there are three more presets for different boost/curves.
@mark100; I think I read somewhere that you are using the DCX 464 in your current Syn system. I think I’ve also read that you have not historically focused much on optimising the transition from the CD to the throat of the horn. So here’s something you might be interested in. Scott Hinson‘s MEH also uses the 464 in a 90-60 horn and he has designed an OS profile throat adaptor for it. The STP file for the adaptor is freely available to allow people to CNC it or print it. Might be worth a try on your horns to see how much impact it has? (As I’m sure you aware, matching the exit angle of the CD to the throat of the horn is considered to be of great importance by some horn gurus.)