Thanks for the input!
I've already built the enclosures - they are the ones Fostex suggests on their site. But, I can't finish them until the speakers are broken in so I can tune the enclosures properly. Once its sealed up, there aint no changing it afterwards
It's kinda crazy that when the "box" is finished, its going to weigh close to 100lbs - this with a 4" driver...
It's my first build and am very excited to get the drivers into them and see what the fruits of my labor are.
P
I've already built the enclosures - they are the ones Fostex suggests on their site. But, I can't finish them until the speakers are broken in so I can tune the enclosures properly. Once its sealed up, there aint no changing it afterwards
It's kinda crazy that when the "box" is finished, its going to weigh close to 100lbs - this with a 4" driver...
It's my first build and am very excited to get the drivers into them and see what the fruits of my labor are.
P
I had this setup for beaking in my tangband 4" drivers
iPhone 3GS with a signal generator app, 3.5mm to RCA cable to amp and then Tangbands. I runned them over a couple of days. To get a good streach of the suspension I had the amplitude as high as I dared and to get as many streaches as possible I did not use a very low frequency like 15 Hz or so. Originally the Fr was in the 90 Hz range so I set the frequency of the generator to as I reacall 20-30 Hz below Fr.
I used sinus waves to just flex the suspension with the cone in pure pistonic movement but if cone flexion is required a triangle or square wave would flex both cone and suspension.
iPhone 3GS with a signal generator app, 3.5mm to RCA cable to amp and then Tangbands. I runned them over a couple of days. To get a good streach of the suspension I had the amplitude as high as I dared and to get as many streaches as possible I did not use a very low frequency like 15 Hz or so. Originally the Fr was in the 90 Hz range so I set the frequency of the generator to as I reacall 20-30 Hz below Fr.
I used sinus waves to just flex the suspension with the cone in pure pistonic movement but if cone flexion is required a triangle or square wave would flex both cone and suspension.
Thanks. So, not a good idea to leave radio on (CBC) 24/7 sending mostly voices into it? I could also just have my music library on random repeat? Everything from Gregorian Chant, Bill Evans to Mr. Bungle (and everything in between...
This is the enclosure I built.
https://www.fostexinternational.com/docs/speaker_components/pdf/recom_enclose/108ez_encl.pdf
This is the enclosure I built.
https://www.fostexinternational.com/docs/speaker_components/pdf/recom_enclose/108ez_encl.pdf
CBC here plays music too. with just a dipole downstairs i really only get 1 channel.
That would work. If you go change the volume regularly then it is like the “regular” use that gives a well rounded break-in.
This is the enclosure I built.
https://www.fostexinternational.com/docs/speaker_components/pdf/recom_enclose/108ez_encl.pdf[/QUOTE]
A Montreal manufacturer made a commercial version of that enclosure that was made of MDF and was swooped up. It rather turned me off, and i stronglt suspect that it did not perform as well a proper plywood builtd with the sharp corners (which act as the needed low padd filter for the horn output.
IIRC, part of the push that got the Frugel-Horns done.
dave
The long-defunct Gemme Audio. They were pleased to call the design process 'nerve-shredding', which was presumably a euphemism for 'it took us a good few minutes to draw out the Factory design, then smooth it out for translam construction'. It also overlooked the fact (assuming they knew) that the manifold construction formed a functional part of the acoustic low pass.
They did finish them very nicely though, I'll give them that.
They did finish them very nicely though, I'll give them that.
If one looks at the scienc of ducts (bery important in HVAC for instance) an expension in the duct acts as a low pass filter, keeping unwanted “highs” (typically >250-300 Hz) from exiting the horn mouth.
In a chambered horn like th eone under discussion, the volume of the chamber and its exit/throat size also acts as a LP filter.
dave
In a chambered horn like th eone under discussion, the volume of the chamber and its exit/throat size also acts as a LP filter.
dave
Concrete or sand? The instructions call for sand to be "filled" into some of the internal cavities. Thoughts on using concrete instead? It'll be a heck of a lot easier to deal w the finishing if I use concrete in place of sand. Thoughts?
In other news... Put the drivers in the enclosures and crudely put in some filler. Terrible cables and connectors.
Had someone come into my listening room to check them out. They could not believe the sound coming from these speakers (nor could I)
And they are not even broken in yet!
They commented that they couldn't tell where the sound was coming from. Guess they disappeared
Cant wait for them to break in completely so I can tune the boxes.
So glad I followed through with this!
In other news... Put the drivers in the enclosures and crudely put in some filler. Terrible cables and connectors.
Had someone come into my listening room to check them out. They could not believe the sound coming from these speakers (nor could I)
And they are not even broken in yet!
They commented that they couldn't tell where the sound was coming from. Guess they disappeared
Cant wait for them to break in completely so I can tune the boxes.
So glad I followed through with this!
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