Is there a thing and a common issue hiding in sim vs reaity vs RTA sweep and even then its not clearly represented Or even considered?
As stupid as that sounds, why then do i find a strong element vaguely attached to many designs that i cannot figure out, nor can i try to very well?
A tapped vs untapped pipe horn waveguide thing. maybe more specific but the name doesnt matter. We dont agree anyhow, or they dont, or whoever?
Why does the Roar or (Hroar) helmholtz? And why dies it sound the way it is described by its founding fathers? why does paraflex have a somewhat similar nature it seems and yet its also an arguably good or bad design as well?
why do some swear by things they can't prove in a sim or otherwise?
Why is a real bass horn impossible? But a funky single impedance lingers in so e designs depending on whos asking or looking?
if nobody argued could we agree theres something still inside a tapped Horn thats not being observed in its sim? or that akabak doesnt tell anyone who wants to look either?
Is the folded horn thats analyzed and simmed unable to tell us what we sometimes think we might hear(if we try to in many types of designs including tapped or compounded?
If a suggestion box was left on the table so nobody had an care in the world about anonymously suggesting something, then i wanna dump a bunch of notes in it!!
- the pressure null in transient or musically dynamic(?) behavior will induce a helmholtz action in the areas of the most interesting and unique tapped or compounded varieties. without suggesting anyone specific persons ideas, but acknowledging some fun and exciting designs, theres a ‘keystone, Karlson, Hroar, Paraflex alt configuration type of way to twist and contort any of those into a lot of similar commonality if you arent specifically interested in a single one of them, instead you blindly dig through assumptions and find many things and similar to them all is tapped.. with a chamber and/or more distinct impedance landmarks that are not in any sim, because there's no change passing through the areas that are or will be once they are long enough to be when a certain ‘bass note’ frequency zooms by or through?
call it previous to approaching phase, or harmonics from one note in a pipe to the next note, or ‘Z’ to ‘Z’ not in a ‘sweep’ or random pinknoise, but even an offset driver ‘TL’ has a hint of the things that occur or can occur given a certain pressure thats actually a lot more than just a sum of constructive vs destructive alignment in a reflection from a closed end or a flat 180 folded version of that?
Whats ‘really’ happening in a tapped pipe (or chunky horn sorta??) thats got dumbies like me who have ZERO acoustical education or experience, falling by chance into this uniqueky wonderful ‘sound’ making thing and about a year or two in discovering theres something ‘missing’ and yet its sortof not if you arent particularly attached to anything except ‘unique’ or potentially? IE: it requires some above average motorforce and drivers willing to exploit that they are in the right ‘VAS’ size or shape directly surrounding the cone or felt by it as if it was a cushion on the F/A felt from the environment through over the Sd from whatever the environment was ‘at a particular frequency?
how is all that in any sim? Is it ever slightly?
And why do we argue what nobody will accept. You cant prove what you can't sim. never gonna change that. or the idea its not true. Cause i can't hear youre box and driver or measure it, but i cant see most of what you live about it in a sim either. Even if i think its in ‘tapped and squeezed or offset and spit out?? Is that because we cant sim exactly what im talking about? Because its folded up. Or because of changing frequencies throughout the box regardless of electrical intervention?
sorry so long, but Brian Steeles boxplans long ago stuck an idea into that very thing they so nicely can point out of you need to or want to use them... Wheres the pressure null at in this box im folding? or do i even care? And should i? since i assume he comes from a long love of offset chambered or sealed bass, i assume thats why he is so into the specifics of folding instead of just fudging the details into carpentry excuses or corner variances. As we could if we didnt see the excessive details of suggestions in a sim that made us all slightly OCD of our OCD we didnt otherwise have or consider?
Assuming a waveguide or a corner shape is to get rid of something is to assume you know what youre getting rid of. And if it were up to me id make sure i filled my corners with angled braces that were perferorated and full of stuffing In every single one. Or NONE at all. but not one or the other!? That ASSuning one thing? youre sim of a fundamental is all there is and all that youll hear no matter what? And ‘tapped’ is MORE than a corner to a long long fundamental. its got a backwave we are assuming is now at dead center of the ‘pipe’. Its even there to see as the unfolded unfrequencied design we have constructed without realizing any reality we are overlooking and then guessing its room gain or its boundary here or there but also half of it or double pf it is missing inside the sim if its placed in and offset. And RTA will say what im suggesting. it might do the opposite shape in reality vs your sim. but if so, you can expect it will do BOTH at any particular ‘music’ no matter what or when, because the conditions for both exist obviously(to those who look or try to)?
helmholtz or qw resonator is not a guess, its a transient in a tapped pipe thats mysterious and folded up to a veby. as compared to the basic well defined straight pipe or sealed long twisted and stuffed one. Those ate matbe a bit more ‘simmed’ and can be.
tell me im wrong please. im having far too much trouble trying to show it or prove how to even in other abbreviated sims of the chunks ....
As stupid as that sounds, why then do i find a strong element vaguely attached to many designs that i cannot figure out, nor can i try to very well?
A tapped vs untapped pipe horn waveguide thing. maybe more specific but the name doesnt matter. We dont agree anyhow, or they dont, or whoever?
Why does the Roar or (Hroar) helmholtz? And why dies it sound the way it is described by its founding fathers? why does paraflex have a somewhat similar nature it seems and yet its also an arguably good or bad design as well?
why do some swear by things they can't prove in a sim or otherwise?
Why is a real bass horn impossible? But a funky single impedance lingers in so e designs depending on whos asking or looking?
if nobody argued could we agree theres something still inside a tapped Horn thats not being observed in its sim? or that akabak doesnt tell anyone who wants to look either?
Is the folded horn thats analyzed and simmed unable to tell us what we sometimes think we might hear(if we try to in many types of designs including tapped or compounded?
If a suggestion box was left on the table so nobody had an care in the world about anonymously suggesting something, then i wanna dump a bunch of notes in it!!
- the pressure null in transient or musically dynamic(?) behavior will induce a helmholtz action in the areas of the most interesting and unique tapped or compounded varieties. without suggesting anyone specific persons ideas, but acknowledging some fun and exciting designs, theres a ‘keystone, Karlson, Hroar, Paraflex alt configuration type of way to twist and contort any of those into a lot of similar commonality if you arent specifically interested in a single one of them, instead you blindly dig through assumptions and find many things and similar to them all is tapped.. with a chamber and/or more distinct impedance landmarks that are not in any sim, because there's no change passing through the areas that are or will be once they are long enough to be when a certain ‘bass note’ frequency zooms by or through?
call it previous to approaching phase, or harmonics from one note in a pipe to the next note, or ‘Z’ to ‘Z’ not in a ‘sweep’ or random pinknoise, but even an offset driver ‘TL’ has a hint of the things that occur or can occur given a certain pressure thats actually a lot more than just a sum of constructive vs destructive alignment in a reflection from a closed end or a flat 180 folded version of that?
Whats ‘really’ happening in a tapped pipe (or chunky horn sorta??) thats got dumbies like me who have ZERO acoustical education or experience, falling by chance into this uniqueky wonderful ‘sound’ making thing and about a year or two in discovering theres something ‘missing’ and yet its sortof not if you arent particularly attached to anything except ‘unique’ or potentially? IE: it requires some above average motorforce and drivers willing to exploit that they are in the right ‘VAS’ size or shape directly surrounding the cone or felt by it as if it was a cushion on the F/A felt from the environment through over the Sd from whatever the environment was ‘at a particular frequency?
how is all that in any sim? Is it ever slightly?
And why do we argue what nobody will accept. You cant prove what you can't sim. never gonna change that. or the idea its not true. Cause i can't hear youre box and driver or measure it, but i cant see most of what you live about it in a sim either. Even if i think its in ‘tapped and squeezed or offset and spit out?? Is that because we cant sim exactly what im talking about? Because its folded up. Or because of changing frequencies throughout the box regardless of electrical intervention?
sorry so long, but Brian Steeles boxplans long ago stuck an idea into that very thing they so nicely can point out of you need to or want to use them... Wheres the pressure null at in this box im folding? or do i even care? And should i? since i assume he comes from a long love of offset chambered or sealed bass, i assume thats why he is so into the specifics of folding instead of just fudging the details into carpentry excuses or corner variances. As we could if we didnt see the excessive details of suggestions in a sim that made us all slightly OCD of our OCD we didnt otherwise have or consider?
Assuming a waveguide or a corner shape is to get rid of something is to assume you know what youre getting rid of. And if it were up to me id make sure i filled my corners with angled braces that were perferorated and full of stuffing In every single one. Or NONE at all. but not one or the other!? That ASSuning one thing? youre sim of a fundamental is all there is and all that youll hear no matter what? And ‘tapped’ is MORE than a corner to a long long fundamental. its got a backwave we are assuming is now at dead center of the ‘pipe’. Its even there to see as the unfolded unfrequencied design we have constructed without realizing any reality we are overlooking and then guessing its room gain or its boundary here or there but also half of it or double pf it is missing inside the sim if its placed in and offset. And RTA will say what im suggesting. it might do the opposite shape in reality vs your sim. but if so, you can expect it will do BOTH at any particular ‘music’ no matter what or when, because the conditions for both exist obviously(to those who look or try to)?
helmholtz or qw resonator is not a guess, its a transient in a tapped pipe thats mysterious and folded up to a veby. as compared to the basic well defined straight pipe or sealed long twisted and stuffed one. Those ate matbe a bit more ‘simmed’ and can be.
tell me im wrong please. im having far too much trouble trying to show it or prove how to even in other abbreviated sims of the chunks ....