Interesting that you've moved to the smooth contour as I was under the impression that the corners formed in the old shape were a good place to "hide" the ports -- the CD wavefront hadn't expanded enough to "see" the discontinuity at that the ports introduce, or some such. Guess it depends on the geometry/flare?...at any rate, can't wait to hear more. :)
Do you think there will be any downside to not having the mid ports at wall junctions? It is my understanding that part of the Synergy design specifies the ports to be placed in the corners because those are lower pressure zones compared to the centers of the walls. With an elliptical, single curved wall horn these low pressure zones won't exist. Have you considered rotating the 4 mids so that they will at least be in the more typical corner positions?
The effect of the ports on the compression driver response was investigated in the development process. It is measurable and the effect on the frequency response can be resolved in the crossover. Most of the effect occurs within a relatively small region where the compression driver response falls. Giving up the ablity to locate the ports in slightly more desirable locations is a small price to pay. However, I believe the issue of forcing a circular aperture to transition into a rectangular mouth is much more significant. The shape and material yields a much more desirable strength to weight ratio. And let's face it, the shape is just plain sexy!
Have you made any changes for the distance of the midrange ports from the throat? Also, have you measured the effect with just a single port open? I've started measuring my 3" drivers in a horn for a lower SPL apartment Synergy horn. Seriously thinking about just putting one mid in there and squeezing the hole closer to the throat to meet my planar drivers.
In the development process I tried all kinds of things, including just one midrange driver. In designing one of these, you need to take many small steps like that to learn about what is going on. I would encourage you to try it and decide based on your results. Each decision changes more than one thing at a time.
There are LeCleach horns like the JMLC-200 which have a 5" throat. Tractrix profile horns with a 5" throat are also available. The synergy portion of your design might be constructed to mate to an available 5" throat horn for initial experiments, and computer modeling.
... and there is a brochure with more information. Comment with your email to see the brochure. Comment with email won't be published to retain privacy.
The new S3??
ReplyDeleteCould be ...
ReplyDeleteIf those are pictures of what the the new S3 is going to look like then that is more than very cool.
ReplyDeleteI'll take 3 please, thanks.
ReplyDeleteInteresting that you've moved to the smooth contour as I was under the impression that the corners formed in the old shape were a good place to "hide" the ports -- the CD wavefront hadn't expanded enough to "see" the discontinuity at that the ports introduce, or some such. Guess it depends on the geometry/flare?...at any rate, can't wait to hear more. :)
Do you think there will be any downside to not having the mid ports at wall junctions? It is my understanding that part of the Synergy design specifies the ports to be placed in the corners because those are lower pressure zones compared to the centers of the walls. With an elliptical, single curved wall horn these low pressure zones won't exist. Have you considered rotating the 4 mids so that they will at least be in the more typical corner positions?
ReplyDeleteDave likes this
ReplyDeleteThe effect of the ports on the compression driver response was investigated in the development process. It is measurable and the effect on the frequency response can be resolved in the crossover. Most of the effect occurs within a relatively small region where the compression driver response falls. Giving up the ablity to locate the ports in slightly more desirable locations is a small price to pay. However, I believe the issue of forcing a circular aperture to transition into a rectangular mouth is much more significant. The shape and material yields a much more desirable strength to weight ratio. And let's face it, the shape is just plain sexy!
ReplyDeleteHave you made any changes for the distance of the midrange ports from the throat? Also, have you measured the effect with just a single port open? I've started measuring my 3" drivers in a horn for a lower SPL apartment Synergy horn. Seriously thinking about just putting one mid in there and squeezing the hole closer to the throat to meet my planar drivers.
ReplyDeleteIn the development process I tried all kinds of things, including just one midrange driver. In designing one of these, you need to take many small steps like that to learn about what is going on. I would encourage you to try it and decide based on your results. Each decision changes more than one thing at a time.
ReplyDeleteInterested to see how you pull off the trick of making this a 'flat pack' ... doesn't look like it'll go very flat to me!!
ReplyDeleteSeriously though Paul, very very cool indeed!
There are LeCleach horns like the JMLC-200 which have a 5" throat. Tractrix profile horns with a 5" throat are also available. The synergy portion of your design might be constructed to mate to an available 5" throat horn for initial experiments, and computer modeling.
ReplyDeleteDid these ever get completed?
ReplyDeleteYes - this project became PSE-144. You can read about it here:
ReplyDeletehttp://aespeakers.com/red-spade-audio-pse-144-featuring-acoustic-elegance-td18h-woofers/
http://www.stereo.net.au/news/red-spade-pse-144-horns/
http://www.redspade.com.au/audio/PSE-144.php
... and there is a brochure with more information. Comment with your email to see the brochure. Comment with email won't be published to retain privacy.