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Showing content with the highest reputation since 01/22/2019 in all areas

  1. 8 points
    This is the long delayed single driver sub similar in design to the Skhorn. Overall the performance goals and criteria were quite similar. Big surprise there! The Skhorn works so well at what it does that I didn't feel the need to reinvent the sub for this one. This is primarily designed as a professional sound reinforcement or live sound style subwoofer. Big output and clean sound in very big spaces, while covering the typical bass heavy range of music, has always been the primary mission for this sub. Same as it was with the Othorn and Skhorn. It can and I'm sure WILL be employed for other types of situations, but it's a festival or club sub that just happens to be flexible and neutral enough to work in a variety of scenarios. The main differences between the Skram and the Skhorn are as follows. Optimize it more for the cost effective 21's like the 21DS115 and Lavoce SAN214.50 rather than the Ipal drivers like the Skhorn. The Ipal's still work of course, but I relaxed things a bit for the drivers that are a little easier to afford and power. Increased size: Originally I wanted to basically saw the Skhorn in half and slap a top panel on there with modded bracing. It would be a very compact 21" sub, which is great, but the driver would fire directly into an outer panel and even with bracing this is a lot of energy being beamed on axis into a large outside panel. I've never been a fan of high pressure loadings with big drivers that do this. I always want the direct on axis energy from the cone to act on internal panels that are going to keep this energy inside of the cabinet better. This required a rearrangement of the internals. I also added a bit of size while I was at it. I decided to stop at a size that was significantly smaller than the full Skhorn, but not as small as a true half. If this cab is too big or heavy you could always build the true half Skhorn, which would be 24x32x27.71. Increased vent area and slightly increased vented chamber volume. This should help the noise, compression and output near the vent tuning. Increased vent area and length means that the vent pipe resonance is lower in frequency than the Skhorn. I'm, expecting that the response will be less smooth above 150Hz, but that's the tradeoff made for bigger vents. The Skram has 4 vents instead of 3 like on the Skhorn. I decided to add one more for even more tuning options. Tuning with all vents open is basically the same. Being a single driver design, the Skram does not have the dual opposed drivers for mass induced vibration control like in the Skhorn. Other than these changes I would expect that this design behaves and sounds very similar to the Skhorn. I'd expect that the two could be used together without issue. They are more alike than dissimilar. Skram Dimensions: 24"x32"x36" (609.6mm x 812.8mm x 914.4mm) Weight: Cab=115lbs or 52kg projected (Driver will add another 25 to 55lbs (11 to 25kg) depending on the driver. Vent Tuning: All vents open = 29.5Hz / 3 vents open = 25.5Hz / 2 vents open = 20.5Hz / 1 vent open = 14.5Hz Each vent is greater in area than a 6" pipe. All vents open is equivalent in area to 4x 6" ports. All of the usual pro 21's should be a good match. 18Sound 21ID, 21NLW9601 B&C 21DS115, 21SW152, 21Ipal RCF LF21N551 looks decent Lavoce SAN214.50 Eminence NSW6021-6. NOTE about the prints! These are extremely detailed due to being designed in Solidworks and the plans from which my personal cabs would be built. The simplified layout drawing is really all that should be adhered to to build this sub. The bracing and hatch can be simplified to suite your own ideas or the tools available to build the cabs. Just make sure it is solid! Any or all of the hardware can be deleted or substituted or modified to suite your needs. Even outer dimensions can be adjusted within reason. Think of the plans as a chassis guideline that can be modified to taste. You don't have to put all of those holes in your braces or use the handles, a half inch roundover on the cab edges, add a cutout for a plate amp on the hatch, etc... Skram print.pdf skramcutlist12mm.pdf Skramcutlist18mm.pdf DXF files... Back Brace 1^Skram_TI x2.DXF Back Brace 2 ^Skram_TI x 2.DXF Bottom Braces^Skram_TI.DXF Bottom Brace^Skram_TI x 2.DXF Front Brace^Skram_TI x 2.DXF Mid Brace x 4^Skram_TI.DXF Top Brace^Skram_TI.DXF A^Skram_TI.DXF Back^Skram_TI.DXF Bottom^Skram_TI.DXF B^Skram_TI.DXF C^Skram_TI.DXF D^Skram_TI.DXF E^Skram_TI.DXF Front^Skram_TI.DXF Hatch Brace Small^SKHorn.DXF Hatch Brace^SKHorn.DXF Hatch^SKHorn.DXF MirrorSide^Skram_TI.DXF Double - Middle Two.SLDPRT Double - Middle Two.SLDPRT.DXF dxf_filelist.txt Single - Left or Right.DXF Triple.DXF Back^Skram_TI.DXF Bottom^Skram_TI.DXF E^Skram_TI.DXF Side^Skram_TI.DXF Top^Skram_TI.DXF Side_1^Skram_TI.DXF Top^Skram_TI.DXF
  2. 6 points
    Been almost 3 years in the making. Huge undertaking. Just finishing up the last few features but we're closing in!
  3. 4 points
  4. 3 points
    Getting close, just have to screw/glue it all together...
  5. 2 points
    Prelim BEQ for Fellowship: Lots of under 3Hz noise, hence the extra highpass down low, now I just need the time to screen it properly. These are long films. JSS
  6. 2 points
    Let's see if this is enough to win the day today. It is a whole lot of win... Apparently it is
  7. 2 points
  8. 2 points
    2 Skrams. Smaller and easier to move with 1 person. Larger vent area, even greater tuning options, larger air volume for slightly increased low end. 2 Skrams should be offer a bit higher performance than a single Skhorn assuming that both are using the same drivers.
  9. 2 points
    21SW152-4 models great in this cab. It's one of the smoother modeling drivers in it. All of the usual pro 21's should be a good match. 18Sound 21ID, 21NLW9601, B&C 21DS115, 21SW152, 21Ipal, RCF LF21N551 looks decent, Lavoce SAN214.50 and the new Eminence NSW6021-6. I'm hoping that it will be smooth up until 150Hz if needed. It should be. Actually I'm hoping it behaves similar to the Skhorn and is relatively smooth up until a bit past 200Hz allowing XO's well in excess of 120Hz if required and a predictable XO transition to the mains. Until I get finished cabs with drivers installed I won't know exactly but it should be close to the sims. As far as sound of the cabs I actually preferred the Skhorn over the Othorn slightly, Skhorn seems a little bit cleaner at high output (lower THD) with a bit more oomph in the 60-120Hz octave, but both are still really good for loud music playback. I'd expect this cab to sound extremely similar to the Skhorn and perhaps a bit better in a Skram pair vs single Skhorn situation. Again I don't have Skram's done yet but that's what I expect. Unfortunately I got rid of my last pair of Othorns a while back so I no longer have those on hand for direct comparison. A lot of people are happy with them though. Output and sensitivity between the 2 cabs isn't a whole lot different overall. Othorn is a larger cab, heavier cab that is 4" deeper, so it likely will have a bit more max output in the 25-35Hz area and a bit more sensitivity over that range too. HIL and all of that. The Skram will likely have a bit more from 35-70Hz or about that. This is with all of the Skram vents open. It is more flexible and can go deeper once the alternate vent tunings are factored in. Top end above 70Hz is a bit of a wash. When I say more output I mean in the neighborhood of a couple of dB or less while using the same drivers. Not huge differences. Once I get to test the real cabs I'll know for sure. I'd say it's more of a lateral move to something a bit different rather than an across the board improvement.
  10. 2 points
    RCF LF21N551 arrived and tested. The driver is extremely well built, it is more powerful and efficient than my 21SW152 and the parameters better matches the SKHORN XL enclosures. The BL is pretty close to the specs, the excursion capability is excellent, with 18 mm gap and 39 mm dual layer inside outside coil, better but noisier cooling strategy. The triple point joint is reinforced with epoxy resin and the leads are glued to the spiders . The mechanical noise doesn't really appear even at 5.5 cm peak to peak excursion in free air but the turbulences are loud. I recommend it in these enclosures with all my heart.
  11. 1 point
    It’s rated for 3/4” but you would need to run nitrogen to keep the wood from burning too much. I cut 1/2” at like 10mm/sec.
  12. 1 point
    It is a Boss Laser 3655, 150 watt CO2 laser. Regarding controlling depth on dados, no, i am not able to control the depth very well, wood density changes and the laser does not sense the variation in density of the material. If I was using a material like Plexi I can control the depth very well. This is just for mock up and its not perfect, but at least it gets a working model in my hands
  13. 1 point
    Here are a few comparisons. This is still using the big 850L enclosure but cutting down the vent length and area and tuning to 10Hz. Light grey line is your original plan. Once you add room gain to this that peak at port tune is going to be WAY too hot. It'll have to be addressed with the HPF and EQ to cut it back anyway or anything that hits that narrow frequency range is going to be heavily boosted relative to everything else. Also this is just an absolutely huge cabinet. Outer volume will probably be approaching 40 cu ft on your original plan. This is similar to what I will probably go with. 425L tuned to 10Hz with multiple vents for different higher tuning options. This is literally half the size of your original plan. Still a very big sub but quite a bit more manageable by 2 people. Yes it gives up some output below 20Hz but relative to the huge size disadvantage it's not that much. This is with the 10Hz tuning. This would work a lot better with typical room gain, but still might require a bit of a cut at 10Hz. This is the same 425L cab with 2X the vents from the 10Hz sim which would raise the tuning to around 14.5Hz. As you can see this compares very well with your original plan that is 2X the size, which is indicated by the light grey line. Sealed is the easiest option. Anything from 200L to 400L per driver should work. Bigger allows the driver to use more excursion with less power. Even at 400L the SHS-24 should be safe from bottoming with an SP1-6000 but it would be getting close. 300L is probably a good intermediary. I'd not recommend something as small as 3cu ft (85L) Even the full output from an SP1-6000 would not push the driver to 20mm excursion. Heat would be a very real enemy in a cab that small.
  14. 1 point
    I thought you were doing a really nice build but that 85 degree port is unacceptable and you probably need to start over. Just kidding. I think it looks great. Great job and you should be very happy.
  15. 1 point
    Thanks for the good advices! I´ll be back with some testing results of the materials and maybe we try some cooling systems (not sure yet)
  16. 1 point
    I've mixed shows where the PA with only vocals on it could hardly keep up with the dumkit in the room. I'm talking 120dbA here, room for 150 people. No acoustic treatment, often not even half full. Hardcore drummers with a Snare drum forged on Mt. Doom. I don't mind a little stage bleed in mid-sized venues, as it usually just results in a 1-4khz boost in the cymbal range. That's what we can bring cympads for if it gets out of hand, but at some point it's just too much. It's all about optimizing the sound at the FOH and you have to find the right balance. And if you have issues playing a little less loud (ofc I wouldn't expect anyone to reduce his Metal drumming to conversation volume) you just need to practice more. I've been playing the drums in an Orchestra for 15 years now, that's where you really learn to control your dynamics. On the other side I'm also playing live shows with my Deathcore band and mix engineers often wonder why I'm playing so quietly heh. The 100dbA I was talking about was during the songs with 3s average. Long term average over an entire show (Swiss, Z7, 1200 guests, huge venue) was 95dbA. It was a Punk show, so pretty low crest factor stuff. I was told to stay under 100dbA long term average and was a little intimidated by the main guy telling me that he'd turn the PA off if I exceeded that. He turned out to be a really nice guy thou and told me a story where some guy started a show with 10 minutes of 120dbA average and he just shut the entire thing down. Some people really seem to lose their mind on the mixing desk. A friend recently had problems with loudness measurements at an outdoor event, where he saw the volume exceeding 120db periodically in the logs and they just couldn't figure out what happened. After some investigation it turned out to be freight trains passing by. Great choice of mic placement
  17. 1 point
    I often hear sound guys talk of too much stage volume from the band members especially drummers, but it's not as simple as just play quieter like it would seem to be. It can fundamentally affect the entire feel of the composition for the drummer, the entire band and even the audience since the group now has less energy, especially in the smaller intimate venues where this type of problem usually occurs. Basically you are asking the drummer to tone it down, and not put nearly as much energy and dynamics into the performance as usual. Usually there's a reason these drummers play like this. I'm one BTW...Usually drummers that are really loud are used to playing with little to no PA reinforcement (perhaps just kick if even that) and having to provide the beat with acoustic drums only while competing against amplified instruments. If you think about it there is probably no other instrument that you would literally ask the person to alter their usual playing style and performance in such a big way. I guess you could go to an all electric kit with triggers but that carries a host of other trade offs. In the smaller clubs or bars with live musicians the "PA" often isn't really needed a whole lot for overall volume, but mostly for vocals, samples and other instruments which need a boost in volume. In large clubs and especially arenas there is often enough distance and dispersion to work around loud players and the PA does a whole lot more work in these situations. Anyway that's a subject I'm very familiar with.
  18. 1 point
    Wow! Great job! Fantastic attention to detail. Can’t wait to see the final result.
  19. 1 point
    Yeah man! Josh has given us an incredible gift, deepest bows to a true master in his craft.
  20. 1 point
    MK/SME, I remember doing some comparisons: I can revisit this if there is enough interest. Apparently we will get a 4k version in 2021. JSS
  21. 1 point
    Actually, since I primarily use the Speaker Power SP2-8000 amps, I was calculating the cost and came up to just under $40,000 if those were SP2-8000 amps. I have worked with the IPR2-7500 before and was pretty impressed with them. Not quite as powerful as the SpeakerPower but for half the cost, they were pretty close. Definitely a strong and powerful series of amps.
  22. 1 point
    Have to say I am kicking myself now for not sending in the square versions of the 18.0 and 21.0, those curved sides 🤔 The 18.0 we make in a 20"x20"x20" cube and the 21.0 in a 22.25"x22.25"x16", both have identical internal volume to the ones tested.
  23. 1 point
    Look forward to seeing the treasure trove
  24. 1 point
    The .2mm is without the gasket tape and it already sealed quite well just being wrapped in vinyl because there was so little of a gap. And yes, it's not weather stripping (apparently?). I'm not very faimilar with these items so I have no clue what the difference is (on top of which I'm not a native English speaker, which makes it just a tad harder). I got another idea for this modular port design, which I'll post in a minute. If you got the tools this might work pretty well, but the port board only being 12mm makes it a little harder (less sturdy).
  25. 1 point
    Correct. Duty cycle has everything to do with it. What might be fine with light amp clipping on 3hrs of sporadic kick drum or HT playback, will probably not be with bass test tones which some of the EDM and other similar genres are pretty much using in some cases. The 400w recommendation is not the B&C rating. That's from the Powersoft Ipal module literature. The list it as the default setting and somewhere else in their literature for it there is a 700w max recommendation for the 21. That rating is way different from AES testing or pretty much any other that companies are using to rate drivers. That is what we would call a WCS rating. Powersoft offers an actual power limiter that is based on the real average power output of the amp in addition to voltage and current limiters. Most other units do not have this type of limiter. Most of us probably know this stuff but it bears repeating for anyone reading along. A sine wave has a 3dB crest factor, but music often has a crest factor over time of 12dB or more. If the average power of the sine wave is limited to 400w and the 12dB crest factor music signal is limited to the same average power, the peak output requirement from the amp is 9dB higher for the music signal vs the sine. While you may be clipping a 3200w amplifier on the signal peaks the true average power to the driver could be under 400w at the same time. In fact most of the time this is how things operate and how drivers survive connected to amps capable of thousands of watts of power. It's all about how much time. The 23 second long measurement sweeps I use do occasionally kill a driver due to excursion or a burnt coil. A 23sec sine wave at the maximum sweep level I use is very tough but at the end of the day it's only 23 seconds and most drivers have no problem with it once or twice and are allowed to cool off immediately afterward. If I were to loop that same measurement signal 13 times in a row it would burn up the drivers in under 5 min. Once we are talking about hours of playback at high volume the drivers have a chance to fully heat soak the motors and coils and all it takes a couple of low crest factor or higher than average level signals to toast the already hot coils. With all that said I've found most of the modern pro drivers to be quite resilient and durable including the 21DS115, so I'd have to assume the OP's driver was taking quite the beating when it burnt up.
  26. 1 point
    Last I'd heard there were some delays on the frame delivery and build up of stock.
  27. 1 point
    It was Luke. The SP amps will run into a 1ohm nominal load better than any other amps I've encountered so far, but I'd expect that the sustained power is cut back quite a bit from the 2ohm or even 4 ohm rating. Othorn's with 21Ipal's would have the majority of the impedance well above 1ohm. Most of it would be above 2ohm. Also the bass bins used for pro audio work generally only operate from 30-100Hz with steep filters in place. Luke's were the same. It's a different use than something like a sealed cab run for HT with no high pass, which is a lot rougher on the amps due to only 1 impedance peak and lowest impedances at the deepest frequencies.
  28. 1 point
    I'm very happy that I came across AVS and data-bass. The knowledge here is invaluable for me as a studio and live sound engineer. I'm a techie and I'm also obsessed with getting the absolute best out of my gear, so I could not live without a sub which isn't properly calibrated anymore. It's absolutely crazy that most of the guys on AVS (for example) do know more about the tech side and have better sounding systems than probably most (home) studios do. Like, if you have a good system to enjoy music on, you do profit. If the studio has a good system which they can mix on, everybody from the band over the studio engineer to the entire audience which will ever come across their tracks will profit from having a better mix (probably). Most of the time it's just lacking knowledge in the sense of "I don't know what I don't know", but a little research could quickly uncover many of the important topics. SME, about the plugins he is talking about, I think it's more of a budget allocation thing. Like, "rather buy plugin XY instead of the sub, it'll be a bigger benefit to your production quality". I could be wrong thou, I didn't read through his entire document again. I did the mistake of buying a Genelec studio sub for 1 grand. 1 grand for an 8" sub which can't reach below 25Hz properly (oh wonder). I'll probably build like 4 sealed 12" subs to replace it, just don't know which driver to use. Our control room is the worst thou, and I have a ~40db spike at 30Hz ANYWHERE in the room (after doing a sub crawl with about 50 different measurements I gave up). Equalizer APO has to take care of that until I get a decent hardware solution (maybe a 10x10HD??). I'm often doing masterings at home, where I can trust my SKHorn. In the lowest tuning it reaches down to about 14Hz where distortion gets out of hand. I just need to replace my Klipsch speakers with DIY ones and my home setup is complete (apart from the 7.x.6 system in the currently non-existing dedicated theater room), although I gotta say that I'm not unhappy with the Klipsch towers. Well, I'm gear obsessed, but I think I have all the reason to. It's my (dream) job after all 😊
  29. 1 point
    Hi...i will suggest 2-way open baffle,tweeter is a compression driver with 105db spl and horn combo, you can pad it down. I suggest you use this approach, rather than std tweeter with 92-93db spl. If you use waveguide I am sure you have to do lots of adjustments and tweaking, if you don''t have appropriate equipment it is going be difficult. pcb assembly
  30. 1 point
    Parameters, notes and pics of this woofer have been posted. Looks like another good 21" pro unit so far. This is one of the smoothest modeling 21's in bandpass and horn enclosures and it directly competes against the B&C units so it will be interesting to see how it compares. Suspension was extra crazy stiff on the pair of woofers I have. Even after some break in the Fs is almost 10Hz higher than factory spec. Guess I'll have to rerun it after beating on it for a years or so.
  31. 1 point
  32. 1 point
    Why don’t you look into a dedicated midbass instead of using a subwoofer to play that high?
  33. 1 point
    I managed to perform some measurements using a sharp GP2Y0A51SK0Fdistance measurement sensor and a scope. The distance sensor samples at ~60Hz asynchronous to the signal gen so I used 16 average mode on the scope (upper trace is distance sensor). I drove the driver at 5 Hz with a cloud VTX1200. I have also taped white paper to the cone to get a better reflectivity. The distance from the sensor can be found using the following equation (from published curve): z = (V/3.76)^(-1/0.814). From this I found a difference of 1.5 cm between the minimum and maximum value which is ~ xmax (8mm one way). Obviously easy way to improve the results would be to get the sensor closer to the cone into its more sensitive region. I also noticed some asymmetry in the clipping when not driven so hard presumably from gravity. Quite interesting results could be obtained with some PC data logging and a current sensor as it would be possible to plot the displacement Vs coil current and also the back EMF.
  34. 1 point
    I think Im gonna build 2 of these for nearfield fun in my new HT room.... Ibe recently decided to ditch the second row of seating and think these would be much more fun down behind me....
  35. 1 point
    Yeah I know it's crazy lol. Probably not as crazy as having a couple of Mariana 24s It's way overkill putting another Skram on top of the SH50. So it's going the back of the room. I like woodworking and have the extra drivers already...
  36. 1 point
    Well I'm tempted to build another, but I think I need to soundproof my theater more first. It is a basement room in a 3000+ sq ft house, but I think there's no room you can go to escape just the one. How in the world is your house intact with what you've got so far, Jesal? On the plus side, it was pushing 90 degrees in Iowa today so sitting in front of the Skram vents with the Edge of Tomorrow intro was a nice way to keep cool Single port block seems to be working nicely. I was figuring with the side wall loading, the one I blocked would be a touch lower tuning than blocking an edge one Probably gonna grab some measurements on Monday.
  37. 1 point
    Yes, it's loaded with 21DS115s. I don't think it does 25hz the way I have it setup with all ports open. But it's for music only right now so I don't miss it, but I have so much headroom that I can plug ports and go under 20Hz when I get my HT going. Just loving the extra headroom. I have an extra Skram box in my garage planned for nearfield. But... although the wife is patient with all this, another BigA$$ NF sub is pushing it LOL
  38. 1 point
    Holy cow, you should be doing alright with this setup That's like - four 21" drivers in a fairly limited space..! Have you done any comparisons between the two Skrams and the single SKhorn, I mean simply by listening to them?
  39. 1 point
    As Ricci mentioned - no need for the MinDSP when there is DSP built into the amp. The Behringer DSP is plenty good, and won't result in ground loops or signal level issues, just plug it in, configure things, and it works. I fan-modded my iNuke 3000D about 3 days after I bought it. I've run it plenty hard, it is still going strong. I don't recall the process as being all that complicated (at least for someone that's used to taking things apart), really, you just need to make sure you point the new fan in the right direction and put the shroud (if there is one) onto the new fan positioned the same way as it was on the old one. Pretty sure I used a Noctua fan I bought on Amazon, it wasn't anything all that special. I seem to recall that I chose to cut the factory fan wire to connect the new fan, red to red, black to black, the RPM wire isn't used. So long as you're not pushing the amp to extreme limits with high output into a low impedance load, the fan mod should not result in anything but a quieter amp.
  40. 1 point
    Good stuff Nathan! Even with subs, its all about sensitivity... as you can now hear! Now get that thing painted.
  41. 1 point
    Dgage, It probably doesn't make you feel any better but it is not just you. There are a number of companies I've declined sending me products. It's a lack of time / will on my part. I just can't keep up with the demand. I've got things in my garage that should've been done years ago and there are other guys like you that have been trying to get me to test their products for years. After we finally got the new website going this year I got more inquiries about testing immediately. I'm going to try and work through all of my current backlog this summer. Once I clean the slate off you'll be one of the first I contact.
  42. 1 point
    Same for me. I'd prefer screwing directly into the wood. I change drivers often and do the exact same thing. If the screw holes strip I'll either go to a larger diameter screw if there is room in the driver frame, or simply rotate the driver and make new holes. This is one advantage of ply over MDF. Screwing directly into MDF is risky. BTW good work on the cabs. That's a lot of pocket screws!
  43. 1 point
    Speculation is it might have been the not enough glue on the joint at the former.
  44. 1 point
    Ok so about the ticking noise...I have a plethora of 21's in house from 4 different mfgs. Its not just the Ipals. One of the Lavoce 21's exhibits it and the other does not. And one of the Eminence 21's exhibits it and the other doesn't. It isnt audible in the sealed cab unless I put my ear right up to it. I dont think this is related to the spider gluing. It is present even with less than a few mm excursion. I almost wonder if it is the shorting action of the inductance rings even though that seems really far fetched but it does sound like a small spark jumping a gap. Really odd that Ive seen the same thing from 3 different major mfg's from 2 different continents on drivers with similar motor designs. That many unglued spiders out of such a small sample of drivers from multiple big name mfgs just doesn't seem possible.
  45. 1 point
    Well I added some info and screenshots at least. I don't have real cabs or test data yet but it will happen this summer. Based on the results from my last couple of designs I've got a high confidence of what these are going to behave like.
  46. 1 point
  47. 1 point
    Hey Revolt, As far as I know no one has run more than 2 cabs yet. This is a significantly more powerful design in a semi compact size than any others I'm aware of on the market. Especially in the 25-40Hz range. 6 or 8 should be devastating. The only things that are likely to compete or exceed these on a 1 vs 1 basis are Danleys largest most expensive subs like the BC415, TH812, or DBH218LF and other major companies top of the line largest, most expensive subs. M-force based systems, etc...As far as subs go you can accomplish a lot with cabinet design and " magic" ,but at the end of the day you need power handling, cone area and the ability for the drivers to move a lot of air via high xmax. Dual top of the line 21's are used for a reason. The Faital 18's give up displacement capability, cone area and I've not simulated them or tried them in this cab. Out of what Faital offers the 18XL2000 is probably the best match without giving up too much output. I'd really recommend 21's though. The extra cone area helps out a lot. If cost is an issue the Lavoce SAN214.50 models very well. I'm not sure what it would cost in the UK but here it is very reasonably cost ($450 usd). I have 2 on hand for testing and so far it looks like a lot of driver for the money.
  48. 1 point
    It should be fine powering 2 21SW152. For HT in a home you may want to build a simple ported box with a tuning in the 15-20Hz range.
  49. 1 point
    The short version is that the answer is not as simple as that. Have you ever done modeling of electromagnetic circuits, or tried to design and model a speaker motor and voice coil system? The wire material, total length, number of turns, wire gauge, etc...All matter, but that is only part of the puzzle. The gap geometry, amount of wire in the gap, magnet size, shape, grade, steel grade, shape, etc all have an effect. It's a complex set of tradeoff's and compromises. If you modify one thing it affects many others. Copper and aluminum are both useful. Copper becomes very heavy and is more expensive for long xmax, large diameter voice coils like those required for modern sub drivers.
  50. 1 point
    The idea behind this build is to learn. I started my company to sell subs, because here in this part of Europe, there is a very deep lack of powerful high quality bass Mostly I wanted to see people's reactions, the power density, the extension, to see if the weight and dimensions are a big problem. They are now installed in a basement where we got them by hand. I wanted to see about the power compression, port noises, chuffing, I have learned how and why to install protection grilles, handles, wheels, I wanted to see if I can improve their performance in any way without any other compromise except cost and complexity. I wanted to learn about braces, hatches, accessibility. These gave me a good insight on all of these These subs will be loaded with 21ID and Ipal modules and will permanently stay in rent in a small club where people love good sound. Based on what I learned, I'll continue my other designs and after all 4 designs will be ready and I'll have a stock of 4 of each, I'll publish the specs, measurements, graphs , technical details , pictures and videos and I'll start selling those.
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