I'll start the ball rolling by telling you what I've read. The horn experts are then bound to join in!
Mounting the driver so that it drives into a horn flare increases efficiency and directivity control.
The rear of the driver is enclosed in a small rear chamber to limit cone excursion.
Flare rate and and mouth size of the horn will typically limit the horn response to above 150Hz for all but the largest mouth sizes.
Axial sound pressure increases in the order of 6dB are typical in the lower midrange, at the expense of low and high frequency response reduction outside the active horn pass-band.
in other words no chance of serious output at 22 hz, nor at 30, horn should be double the lenght to load properly that low.
22 hz to 350 is too wide a bandwidth for a horn like this anyway,
if that is what you need you better look at front radiators, or splitting the range between different cabs.
Pretty many people around built this horn.
If it could be fitted with a Martin Audio DLS 846 (B&C PZB100, best of my knowledge) it might rock the surrounding for sure.
the 48Hz is about the double of the mentioned 22 HZ, so .....
Could this be better in the low-end than a Martin Audio WSX for example?
Thanks in advance
If it could be fitted with a Martin Audio DLS 846 (B&C PZB100, best of my knowledge) it might rock the surrounding for sure.
the 48Hz is about the double of the mentioned 22 HZ, so .....
Could this be better in the low-end than a Martin Audio WSX for example?
Thanks in advance
The Martin Audio WSX horn path length is 7ft (2.1 meter), around a 40Hz Fc. I'd expect the WSX to go around 1/3 octave lower in response than the design in the OP, with a slightly more abrupt drop near Fc.
madam,
I am no expert, but have been very disappointed seeing what people call a bass horn's measurements tested in the middle of a parking lot...……………..
Even some (some) tapped horns using low qts drivers causing a drooping response, like -6db@30hz compared to 100hz, not flat to 40hz at all. I think 2 porteds taking up the same total box area would be better.
looking at that w-bin, wow
86" wide mouth x 38" tall mouth x 31" deep...……………….
Horn length looks to be at least 6'long , so 1/4 wavelength of 50hz...…………
I think it would do massive, massive, 60hz on the floor, ideally in a concrete wall/floor or better yet a corner.
I like that the horn will add up to +6db of gain (maybe more), but that you be almost impossible to move (400+ lbs ?).
I think nowadays, based on size, cheaper power, portability, no way.
40hz I think would be ideal, and you port a sub at 40hz then subsonic it, you can get very loud.
Doesn't mean I wouldn't like that giant thing...…………………..
I bet I'd love it.
For 60hz and up anyway...……………………...
I am no expert, but have been very disappointed seeing what people call a bass horn's measurements tested in the middle of a parking lot...……………..
Even some (some) tapped horns using low qts drivers causing a drooping response, like -6db@30hz compared to 100hz, not flat to 40hz at all. I think 2 porteds taking up the same total box area would be better.
looking at that w-bin, wow
86" wide mouth x 38" tall mouth x 31" deep...……………….
Horn length looks to be at least 6'long , so 1/4 wavelength of 50hz...…………
I think it would do massive, massive, 60hz on the floor, ideally in a concrete wall/floor or better yet a corner.
I like that the horn will add up to +6db of gain (maybe more), but that you be almost impossible to move (400+ lbs ?).
I think nowadays, based on size, cheaper power, portability, no way.
40hz I think would be ideal, and you port a sub at 40hz then subsonic it, you can get very loud.
Doesn't mean I wouldn't like that giant thing...…………………..
I bet I'd love it.
For 60hz and up anyway...……………………...
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Right.
Why is OP so surprised that some liar says "22 Hz"?
As much as I like the sound (lived 45 yrs with a Klischhorn in my corner), once the horn-effect ends, not a lot below. The famous Klipsch goes down to about 35 HZ and that's truly excellent bass (even organ music) but not gut-rumbling by today's standards.
There are good reasons to crave the benefits of a true horn (TH is NOT a horn). But hopeless to expect modern sub-woofer bass unless gigantic in size.
On the other hand, you'd be surprised how many folks think rock music with no output below 50 Hz to be great bass even today.
B.
Why is OP so surprised that some liar says "22 Hz"?
As much as I like the sound (lived 45 yrs with a Klischhorn in my corner), once the horn-effect ends, not a lot below. The famous Klipsch goes down to about 35 HZ and that's truly excellent bass (even organ music) but not gut-rumbling by today's standards.
There are good reasons to crave the benefits of a true horn (TH is NOT a horn). But hopeless to expect modern sub-woofer bass unless gigantic in size.
On the other hand, you'd be surprised how many folks think rock music with no output below 50 Hz to be great bass even today.
B.
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Ben,
We don't know if someone told Madam the horn was "tuned for 22Hz", or that was simply derived from the "(22 Hz...300-350Hz)" response range printed on the plans in the OP.
Although it's horn path length is not long enough to support a 22 Hz Fc, the output below Fc will be similar to that of the drivers in a sealed enclosure with volume the same as the compression chamber, which would extend to 22Hz without the sensitivity provided by the exponential horn.
Art
Which suggests the size of the mouth is good to 58 Hz, floor loaded, half that.
Doesn’t say the resyt of the horn matches.
dave
Art, you are (as usual) perfectly right in what you say. But in practice, the driver in the little sealed box will be resonating at maybe 60 Hz - once the horn-effect lets go. That's why horns are wonderful in their design range and a curse outside of it.
It ain't "sensitivity", it's "impedance matching" that produces the horn-effect.
B.
Hmm, C = 2*[86+38] = 248" = ~13543/248 = 54.61 Hz
[248/2]*pi = ~39.47" radius * 0.613 pipe end correction = ~24.2" + 248" = 272.2" eff. C
~13543/272.2 = ~ 49.75 Hz, meeting the Shearer Horn's 50 Hz low corner design spec.
Floor mirror image [2pi space] drops it a half octave = 0.707*50 = ~35 Hz.
Hmm, how do you get both ends of the horn on the floor?
Obvious critique apart, if the elaborate big corner horn with many twists and turns inside and using the two walls as extensions of the horn barely scrapes by at 35 Hz, that sure doesn't look like a 35 Hz horn.
Kind of resembles something Klipsch brought out a long time ago as a sop to the impecunious.
B.
Obvious critique apart, if the elaborate big corner horn with many twists and turns inside and using the two walls as extensions of the horn barely scrapes by at 35 Hz, that sure doesn't look like a 35 Hz horn.
Kind of resembles something Klipsch brought out a long time ago as a sop to the impecunious.
B.
Lay it on its side like they did. Not that it matters, mirror image is mirror image, just its polar response changes.
What corner horn? this was a cinema horn: Technical Bulletin, Volume 1936 March 3, 1936 (Shearer).pdf - Google Drive
Not that it matters, mirror image is mirror image, just its polar response changes. What corner horn? this was a cinema horn: Technical Bulletin, Volume 1936 March 3, 1936 (Shearer).pdf - Google Drive
Thanks for vintage link. Dunno how much to trust their curves - likely some "assumptions" went into plots. Nothing plotted south of 50 Hz.
Horn physics likely goes back a long way. But bass in movies couldn't have been much in 1936. Today, lots of folks (in the cars at stop lights next to me) think a loud guitar at 80 Hz is great bass.
B.
Horn physics likely goes back a long way. But bass in movies couldn't have been much in 1936. Today, lots of folks (in the cars at stop lights next to me) think a loud guitar at 80 Hz is great bass.
B.
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