Hey lads and lasses, I watched the below video on a gentleman who made a staggered horn, which appears to have dual wavelengths...could someone tell me what the benefits of that would be? The concept looks interesting but some of the blueprints and calcs appear to be in Japanese so I don't quite understand.
YouTube
YouTube
I don't really have time to watch a 15 minute video a the moment -are there any still images of plans or internals? When you say 'dual wavelengths' do you mean it feeds two horns of different lengths? If so, done properly they can average out reponse anomolies (harmonic nulls) as while technically that's a horn, it's not going to be impedance matched in its passband as it's far too small for that.
Note also that much Japanese design method is very different to what is typically done in the west, as broadly speaking they have different priorities and requirements.
Note also that much Japanese design method is very different to what is typically done in the west, as broadly speaking they have different priorities and requirements.
Yes sorry was two different horns. If one cut it down the middle it was different in either side of the central divider.
I did notice that most of the Japanese videos test at the end with jazz or classical and not something I generally listen to, hence your comment regarding different priorities
I did notice that most of the Japanese videos test at the end with jazz or classical and not something I generally listen to, hence your comment regarding different priorities
If you click on the link, the image that comes up, shows exactly the principle involved.
(The video is just the construction and a tiny bit of non revealing music.) The speakers look way too small to be meaningful horns.
Yes, just had a gander. Basically what I said above; single driver feeding two horns of different tunings / dimensions. Since both paths appear to expand toward the terminus, it's technically a horn but not one that is impedance matched over its passband. Using two differently tuned horns may average out deviations e.g. harmonic modes. Not really to my taste, but as noted, Japanese design practice often has very different objectives & priorities.
Honestly I find these videos interesting more than anything. The process of woodworking the most. I've been wanting to do a maze design for a while, which is more folds than my original t line and just get caught up in the YouTube hype. One of these days I would like to use a router and carve out of maze, then use some perspex so all that good work can be seen, but first I need to do some other jobs around the house and also find a scenario in my small to medium sized house where I need a 3rd set of speakers. It could be why I keep asking about making a small Bluetooth alternative 
(which is probably unachievable)
(which is probably unachievable)
Not sure it's an actual thing, but Dr Google calls it up, my impression is it is basically a horn with a heap of folds
Well, if he did it acoustically like the divided 12" concrete former tube I posted about on the original FR forum and one other [here?] is tuned to Fs and the other is tuned to fill in the dip ~ a half octave above it [~1.4142x Fs], so functions acoustically similar to a double bass reflex [DBR] to increase power handling all the way down to tuning [Fb].
GM
Ah. Obviously not one of my brighter moments (re the appearance).
I suspect it'll be tuned more or less in that way.
Re the question about Japanese design practice with wideband drive units, not without writing something approaching book length and I don't profess to be an expert on it (or anything else for that matter). Short version, for a variety of reasons there is somewhat less concern with a flat (or even a particular target) frequency / amplitude response. Likewise, even enclosure resonance modes per se are not automatically viewed as a great evil providing they don't significantly impinge on, say, pitch, or help provide a desired tone. Certain resonant softwoods are prized in some circles for that reason.
There is also a much wider attention given to system design as a whole than is often applied in the west. Drivers are often designed assuming a particular broad type of amplifier or in the absense of said, that appropriate alternate means are applied to achieve similiar. Compact enclosures tuned very low, but without necessarily having large amounts of gain (except, in some cases, a bit of a kick around Fb / Fp) are often popular, because many are used in small, thin-wall apartments. Narrow baffles are also popular -partly reducing edge diffraction, but mainly so the damn things can fit into a small space with the least practical intrusion. Extreme example: take 1 x 3in Fostex drive unit and end-load a compact 12ft long horn with it for mini HT. Tall is often seen as good for the same reason: it doesn't eat into floorspace. T/S filter theory is not used to quite the extent it is elsewhere; some aspects but it lacks the near-blanket dominance it has in other regions. And so on.
I suspect it'll be tuned more or less in that way.
Re the question about Japanese design practice with wideband drive units, not without writing something approaching book length and I don't profess to be an expert on it (or anything else for that matter).
Short version, for a variety of reasons there is somewhat less concern with a flat (or even a particular target) frequency / amplitude response. Likewise, even enclosure resonance modes per se are not automatically viewed as a great evil providing they don't significantly impinge on, say, pitch, or help provide a desired tone. Certain resonant softwoods are prized in some circles for that reason. There is also a much wider attention given to system design as a whole than is often applied in the west. Drivers are often designed assuming a particular broad type of amplifier or in the absense of said, that appropriate alternate means are applied to achieve similiar. Compact enclosures tuned very low, but without necessarily having large amounts of gain (except, in some cases, a bit of a kick around Fb / Fp) are often popular, because many are used in small, thin-wall apartments. Narrow baffles are also popular -partly reducing edge diffraction, but mainly so the damn things can fit into a small space with the least practical intrusion. Extreme example: take 1 x 3in Fostex drive unit and end-load a compact 12ft long horn with it for mini HT. Tall is often seen as good for the same reason: it doesn't eat into floorspace. T/S filter theory is not used to quite the extent it is elsewhere; some aspects but it lacks the near-blanket dominance it has in other regions. And so on.
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