Utilizing the HiVi D5G and the BG Neo3PDR, I came up with these:
Box volume and sim:
Sketch of tentative construction (dimensions changed in reality to adjust for things and volumes):
Cutting of 30 degree edges:
Boring of port:
Xover inside laminated MDF base:
Needed rear port flare and place for connections, so a 'rear-wall' was added:
Damped plastic tweeter cavity:
Painted:
Finished:
Simulation and Xover schematic:
Thanks for looking!
Wolf
Box volume and sim:
Sketch of tentative construction (dimensions changed in reality to adjust for things and volumes):
Cutting of 30 degree edges:
Boring of port:
Xover inside laminated MDF base:
Needed rear port flare and place for connections, so a 'rear-wall' was added:
Damped plastic tweeter cavity:
Painted:
Finished:
Simulation and Xover schematic:
An externally hosted image should be here but it was not working when we last tested it.
Thanks for looking!
Wolf
Sorta... and details on sonics...
The form followed function on these. I knew the xover would have to be external, as it's too large to fit in 4.5 ltrs, which was also a goal. I wanted less than 50 Hz extension, and that's a tough row to hoe.
There a very limited number of 5" woofers that will work in a volume this small, and maybe 3 total that also have a decent midrange extension for a 2-way with enough sensitivity to keep it applicable. I knew the HiVi 5" would do it, and I wanted to try the kevlar paper over the poly since I used the Dynavox 5" in the Vijon project before. Therefore, I chose the HiVi D5G.
The BG Neo3PDR is a planar that reaches lower than most others of its size and price, and the xover needed it. Since the D5 has a cliff about 2kHz+, and the BG can go as low as 1.8kHz high order acoustic, I met the challenge.
The boxes had to have height on the baffle for both drivers, enough depth to use the 1.5" x 7" long port, while still decreasing the volume. Aside from making the BG stick out on top by itself on its own baffle, the only other way is to make it a triangular cross-section. Port could go rearward or down; up looks silly, and down was the xover, so I bored into the edge- something I'd never seen done before.
Then I had a dilemma, I didn't like the chopped in sketch for terminals, and I wanted to flare the port and place terminals- then I came up with inserting the triangular prism into a trapezoidal set of end caps, and using a 'bridge' across the shorter flats to facilitate the additional pieces the form was lacking.
It was sort of a 'sculpted' design, that was adapted everytime I had a puzzle- and you see now what it evolved into. I let the speaker tell me what it needed to be. So- that's the reason for the form.
As to the sound, I went with a little less than full BSC to keep the sensitivity up as far as I could. That's something you can sometimes get away with with a slightly higher tuning than optimal, and using a bit more boundary reinforcement. I find them to be detailed, but not overly so to become fatuiging, and a little laid back overall. Soundstage is expansive due to the shape and planar driver, but they take some juice to get going. I need about 10:30 on the dial to get them to a moderate level with my 100W/ch setup, when most require about 8-10:00. I believe they do a lot of things very right, but at the same time it's not a 3-way with the end-all resolution.
Thanks for the inquiry and comment, fellas!
Later,
Wolf
The form followed function on these. I knew the xover would have to be external, as it's too large to fit in 4.5 ltrs, which was also a goal. I wanted less than 50 Hz extension, and that's a tough row to hoe.
There a very limited number of 5" woofers that will work in a volume this small, and maybe 3 total that also have a decent midrange extension for a 2-way with enough sensitivity to keep it applicable. I knew the HiVi 5" would do it, and I wanted to try the kevlar paper over the poly since I used the Dynavox 5" in the Vijon project before. Therefore, I chose the HiVi D5G.
The BG Neo3PDR is a planar that reaches lower than most others of its size and price, and the xover needed it. Since the D5 has a cliff about 2kHz+, and the BG can go as low as 1.8kHz high order acoustic, I met the challenge.
The boxes had to have height on the baffle for both drivers, enough depth to use the 1.5" x 7" long port, while still decreasing the volume. Aside from making the BG stick out on top by itself on its own baffle, the only other way is to make it a triangular cross-section. Port could go rearward or down; up looks silly, and down was the xover, so I bored into the edge- something I'd never seen done before.
Then I had a dilemma, I didn't like the chopped in sketch for terminals, and I wanted to flare the port and place terminals- then I came up with inserting the triangular prism into a trapezoidal set of end caps, and using a 'bridge' across the shorter flats to facilitate the additional pieces the form was lacking.
It was sort of a 'sculpted' design, that was adapted everytime I had a puzzle- and you see now what it evolved into. I let the speaker tell me what it needed to be. So- that's the reason for the form.
As to the sound, I went with a little less than full BSC to keep the sensitivity up as far as I could. That's something you can sometimes get away with with a slightly higher tuning than optimal, and using a bit more boundary reinforcement. I find them to be detailed, but not overly so to become fatuiging, and a little laid back overall. Soundstage is expansive due to the shape and planar driver, but they take some juice to get going. I need about 10:30 on the dial to get them to a moderate level with my 100W/ch setup, when most require about 8-10:00. I believe they do a lot of things very right, but at the same time it's not a 3-way with the end-all resolution.
Thanks for the inquiry and comment, fellas!
Later,
Wolf
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