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Ricci

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Everything posted by Ricci

  1. Another 9 months and you may just be "finished". You are starting to dabble in what goes into putting a finished active speaker to market. If it is done right there is untold amounts of time spent tweaking.
  2. v2 update

    Looks good. Hopefully I can get back to work soon. Got a mountain of cabs in my garage. Might be the worst it's ever been. I see what you're doing there Kyle. Trying to make me into a photographer...GRRRRR.
  3. Here's the design I'm going to be using to replace my Othorn. It's been "almost" done for a long time now but I finally made an effort to wrap it up to the point that it is ready to build. Originally I was going to go with another TH design I was calling the Palehorn to replace the Othorn but I wasn't quite happy with it. I stumbled on this type of cab a few years ago while doing a billion simulations of different cabinet designs. You can read some of that in the M.A.U.L. thread. I originally planned to try this design first since it was smaller and cheaper to produce but circumstances led to the bigger more complicated M.A.U.L. getting done first. Since this style of 6th order bandpass / horn cab worked quite well and on target with the bigger design, I used what was learned there to make a few tweaks to this and finally wrap it up. I'll add a lot more info later, but here are some pics to start with. If anyone feels froggy and wants to have a go at building one of these let me know and I'll send the plans. Simplified design layout. Add bracing, drivers, hatches, hardware to taste. PDF and DXF Plans Skhorn 221 print.pdf Skhorn 221 print.DXF
  4. Ricci's Skhorn Subwoofer & Files

    Yes it can play up to 125Hz.I wouldn't run it as high as 150 ideally. It is really intended for below 100Hz as a subwoofer. It depends a bit on the drivers used as well. The 21Ipal drivers are smooth up until around 150Hz but the 21DS115 I expect may be a bit more choppy above 100Hz. Either way if running up that high you would definitely want to EQ down the peak at 215Hz and use a sharp 24dB/octave if not 36 or 48dB low pass for best sound quality and transition to the mains. Don't get me wrong it will melt your face off at 125-150Hz but the response gets real choppy not too far above 150 and it is best to avoid those out of band peaks being audible. Here is the expected response with the 21DS115. This isn't a real measurement set yet. Just a projection so don't take it as absolute. If this is close you would want to use 2 bands of EQ to bring down the 215Hz peak and also the bump near 125. I'll see if I can whip up the same with the 21SW152.
  5. Dang. That's my favorite bass range for big movie LFE effects. 10-25Hz. I much prefer movies that have this type of weighting to the mix than the overly hot 25-40Hz typical action movie rumble fest. Too bad about all of the clipping though.
  6. Real life sounds - instantaneous loudness

    Right...That's what I mean. If you preserve incredibly high dynamic range with digital media that means your average level is going to be very low volume/signal strength, requiring much more gain to get the average sounds to a typical playback level. I wish there were more recordings like that. Just turn up the volume and the problem is solved. But the problem is, if you attempt to play a regular heavily compressed song after, it will blow your head off and make the dynamic recording sound weak in comparison. That's exactly how the loudness war started. Get the average level as high as possible. Louder=better or more noticeable. I'd like to see groups make 2 mixes. The squashed "radio" track and a much lower average volume mix with more dynamics. I see this issue as separate from your speaker system being capable of producing huge short term output. I consider that a reasonable goal that improves sound quality on a number of fronts.
  7. Real life sounds - instantaneous loudness

    I've read some things on this topic over the years. I don't doubt that the peak levels produced by some everyday events are quite a bit louder than expected. Dropping a glass on a tile floor, slamming a car door, acoustic drums and cymbals, etc. To me the issue with the entire discussion which I never saw mentioned in that thread is the fact that none of the recordings contain that much dynamic range to preserve the peaks accurately. There might be some rare niche recordings but the typical mixes we listen to for music, broadcast and movies do not. Reproducing a car door shutting or dropping a dinner plate on the floor extremely convincingly is cool and all, but what recordings will allow you to take advantage of such playback capabilities? Some music should have 30 to 40dB dynamic range in the recording but let's say some albums actually get mixed like this to preserve ALL of the dynamics. So your average playback level of digital media has to be turned up 30-40dB to reach the same average playback levels. What happens when you forget to turn the volume down and something as badly compressed as Death Magnetic comes on with the average level 30-40dB higher? It could also cause issues with system noise floor having to use so much gain.
  8. Luke's basic amplifier tests

    Wonder if he will "loan" me one for testing? LOL. What does he expect people to power with these? I guess it could be useful in an arena or very large concert hall. for that price I'd expect some dsp and networking options and maybe a free hat.
  9. ZOD Audio M.A.U.L. Test Results and Discussion

    I've mentioned it a few times before. A pair of JBL 4675C's. The 2226H drivers out of the double 15" (4508A) bottoms I sold off and replaced with AE TD15M-4 drivers with the Apollo upgrade. They are wired in series. The big 2360A "butt" lenses still have the 2446H CD's on them. Those sit on top of the MAUL's. It is a tri-amplified stereo system run from a Peavey mixer into a DCX2496 which provides processing and routing to the amps. The current amps are a 20 year old Mackie M1400i on the 2446H drivers (Run from about 600Hz up.), a Crest 8002 powers the TD15M's which run about 80-600Hz roughly and a single SP2-12000 currently has a MAUL on each channel running <80Hz. There's no surround sound and I never replaced the old projector after it died a few years back so there is no video right now either. It's just a mammoth stereo or PA as needed. It's nothing special but does the job. Eventually I planned to swap out the 2446H's for some BMS coax's or something Be and probably change the lenses too. Now I'm having thoughts of doing something different for the mids and highs entirely. Try to roll my own Synergy's or other design? Not sure what yet. I'll probably upgrade the amps first. Eventually I'll put my K20's one on each Maul and move to SP's at the house so I won't have to deal with fan noise at home anymore. I want to get a newer amp for the CD's. Only class AB or H for those though. I still don't think class D is quite as good for HF. I might just go with an A500. The power requirements on the CD's is almost nothing even at ear splitting levels. The room is in an old rundown, warehouse / factory, in a ghetto part of town. Myself and the other musicians I work with, have been renting there for 8 years or maybe more. The whole building just about is rented out to musicians, artists or people needing storage. The outdoor test spot is right out the backdoor. The room itself is a shotgun shaped space about 18ft x 15ft x 36ft. Roughly 10,000cu ft. I'm guesstimating and could be off some, since I've never actually measured it. Walls are double carpet hung over sheetmetal and studs with main building supports in there too. Flimsy and leaky as hell but the carpet hanging from the walls and the directivity of the horns actually keeps the space relatively dead. Every surface in the room except for the garage style door and the ceiling are covered in carpet. The room is over the basement level, but the floors are 4 to 5 inch thick cement type material over timbers, so it will shake some, but not easily like a suspended floor in a house. It takes a bit more energy. Ceiling is the same deal. Back wall is a brick interior wall with carpet over it. The back ground noise level is high usually of course. There are no placement options really as the room is jam packed with equipment of all sorts. It is not ideal and there are all sorts of acoustic and structural issues that color the sound. For one my drums usually sit directly in front of one side of the stack. Thankfully the horns are 8 or 9 ft off the floor well over top of them and the bass just goes around, so most of the sound ends up in the right place regardless. None of that matters really because that's not what it's about in there anyway.
  10. Nice. Looks like you are finally getting somewhere. I can understand the whacka-mole game trust me! Tracking down unidentified causes of unwanted noises from a speaker system is always fun. Sometimes it's is obvious like a wire contacting the back of the cone and other times it is something much more difficult to ascertain. Any guess as to what one of these completed weighs?
  11. ZOD Audio M.A.U.L. Test Results and Discussion

    MAUL 2 is in place and the rest of the BIG stereo is back together. Next step is a few days tuning crossovers, delay and EQ until it sounds right. After that I want to make some amplifier changes.
  12. Just noticed that. I definitely liked the link directly to the main site!
  13. Ricci's Skhorn Subwoofer & Files

    I just attached the plans to the first post for anyone that wants them. I've had 3 or 4 other people request these plans over in Europe. Hopefully there will be some more documented builds coming up.
  14. Ricci's Gjallarhorn & Othorn Files

    Files posted. I've been meaning to do that for a long time.
  15. Ricci's Gjallarhorn & Othorn Files

    Gjallarhorn 2 plans. GH 2 print.pdf GH 2 print.DXF
  16. Ricci's Gjallarhorn & Othorn Files

    Othorn files. OTHORN print AUTOCAD 2000.DXF OTHORN DXF scale print.pdf
  17. Luke's basic amplifier tests

    This is how Powersoft K series amps operate all of the time. Those guys are smart so you'd have to assume they did that for a reason. This likely only shows up as a measureable improvement when the power draw becomes large and starts to sag the AC line. More useful for pro sound apps where you might have many amps driven hard on one circuit and/or the circuit isn't great to begin with like a generator, etc. Many years ago Ivan Beaver from Danley Sound showed me how to do this at a GTG. Flip polarity of one input channel in the amp and re-flip/correct at the speaker wiring to bring back in phase. Worked pretty good with a Crown CE4000.
  18. (4) Sealed 21": Funk Audio UH-21v1

    Ok. That makes more sense. That sounds similar to my old room over a crawlspace. Little measured SPL at 12Hz but the floor was violently shaking.
  19. (8) Ported Incriminator Audio Judge 21" build

    Man...Another thread hosed by photobucket. Where you at on this project Luke? Working on cab #6?
  20. ZOD Audio M.A.U.L. Test Results and Discussion

    Didn't quite get to all of that but #2 is ready to plug in a speakon cable and rip at least. I won't be moving all of that by myself like I did last time.
  21. (4) Sealed 21": Funk Audio UH-21v1

    I quoted the parts I agree with most. The first paragraph is the same type of thing I have been thinking about the trend of maximum vibration chasing. I don't doubt that having a good FR, lots of SPL AND vibration, are all important aspects to consider. Some of what seems to be being suggested in those threads (That you mentioned) seems like very bad advice to me. I remember someone suggested using smaller vents to increase their particle velocity. With the amount of boost you are using Hulk will be a difficult load on your amps and drivers for sure. The cop car punch is a short but tough signal. I think a 7 or 8Hz fundamental is about right. Without tactile vibration to help transfer the <12-15Hz content it is barely there in my experience. Below 10Hz it's pretty uneventful without a major structural vibration to go with it. It makes all the difference. 32hz at 115dB is very apparent, you feel it and it is loud. 16Hz at 115dB is much less obvious but with that kind of level you can sort of hear it and still feel it. Somewhere around 12-13Hz for me it becomes hard to hear much of anything anymore unless it is strong as hell and even then it's just an odd modulation on everything else. Pressure waves like a rapid on/off switch on the ears. I've heard 12-13Hz at 115dB or so outdoors with test tones and it was subtle. It was like the rest of the background sounds I was hearing were coming from behind a fan. My current HT room is very solid. I get a ton of gain and SPL but very little shake other than from the ceiling. The single digit stuff is an occasional odd pressure sensation if it is very loud and not masked by other content and that's about it. I don't think I would miss much in my room if I only got down to the 10-15Hz range. I expected that you would have a ton of vibration near your notch in the teens. I'm surprised that you don't show more. If the energy isn't being exchanged there where is it going? That should be too low of a frequency for it to be a null induced by the room dimensions.
  22. ZOD Audio M.A.U.L. Test Results and Discussion

    Back from the dead... I finally have the last 4 drivers for the second cab and have been slowly installing them. I should hopefully have the 2nd one ready to plug in late tonight. I am not looking forward to moving everything out and putting these back in the corners. I have to pull the first one back out of the corner, pull the hatches and a couple drivers and rewire it the same as the second too. Lift with the legs...
  23. Faital 15PR400, BMS 4594 MTM

    Sweet...I look forward to following along with the rest of this project.
  24. I liked Kong. I mean it's an action movie about a giant ape fighting other giant creatures so it's not going to be the most cerebral or emotional film ever but it is a fun movie. I thought it was good when taken for what it is.
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