Jump to content

Ricci

Moderators
  • Content Count

    1,635
  • Joined

  • Last visited

  • Days Won

    270

Ricci last won the day on October 1

Ricci had the most liked content!

Community Reputation

887 Excellent

6 Followers

About Ricci

  • Rank
    Super Bass Overlord

Profile Information

  • Gender
    Male
  • Location
    Louisville, KY
  • Interests
    Bass...Subwoofers, audio, video, drums, recording, craft beer, performance arts, poetry...

Recent Profile Visitors

9,715 profile views
  1. Don't miss the forest for the trees. It is not only air velocity at the mouth that is of concern, but also at the throat or entry inside of the cabinet. If the port is flared, bowtie or otherwise more complexly shaped the performance at the "choke" points should also be examined. Any of these points can trigger compression. It's more complex than just airspeed at the mouth. You may decrease audibility of air noise but greatly increase output compression. The Bowtie type of slot vent is probably the easiest to incorporate into a design but it increases the total size of your speaker, or you end up with not much in the way of improvement, due to downsizing the minimum area of the duct to keep the same tuning. I decided not to bother with it for this design due to size and packaging constraints. More involved programs such as ABEC or Akabak can model, velocities, pressures and accelerations at any point in a pipe, duct or horn.
  2. I don't see why it wouldn't work. The reason I always try to fold the horn/slot section is to avoid firing the driver directly into an outer panel. There is usually room for only minimal bracing in front of the cone, no damping material and depending on how the driver is accessed it may even be a hatch. There is a lot of acoustic power concentrated into a small area with only a single panel of wood separating it from the outside world. It can result in audible radiation/vibration from the panel at war volume. It's a larger problem with bigger diameter drivers like 21's due to the larger panel area. Just something to consider.
  3. This should work to keep critters and junk out. Perhaps add a thin strip of foam under the screen where it contacts the wood to reduce the possibility of any audible vibration.
  4. You will have 4 when these are done?
  5. Ricci

    Noise at low SPL

    Do you hear any scratching or feel it rubbing if you gently push in on the cones? Is the sound more similar to a tapping sound or a ticking? Myself and some others did receive some 21Ipal's which were making a tick or tap type of sound. B&C replaced mine. I suspect that it comes from a loose shorting ring, but I'm not sure. It sounds like you may have the same issue.
  6. Based on the specs it should be. I've never seen any 3rd party data on it though which trumps MFG specs IMO. Unless it is significantly cheaper I'm not sure I'd choose it over one of the Lavoce, B&C or 18 Sound models. If you are getting a great deal by all means give it a shot.
  7. It looks ok based on Beyma's specs. A little light on motor force but should be fine. The unknown is what the complex inductance specs look like but based on the published impedance curve it shouldn't change things too much.
  8. Pretty much +1 on everything you said. LOL. I don't do any live mixing anymore. It's a tough job and the guys that are good at it with good equipment don't get enough credit or pay usually. Here's one more from a current project. Instrumental ambient weird prog stuff. This show was opening for John 5 who is amazing and a really good guy. You may not have heard of him but he plays for Rob Zombie among many other things.
  9. Awesome man... A lot of guys I know use triggers for death/grind/black stuff and it's fine if you've got a good engineer and PA but when the PA is undersized or when they have technical problems it's bad. We toured with a couple of bands that actually brought their own PA for their vocals and drummer. Here's some old videos from way back in my first band...1997-2004. The recordings are trash but the video is kinda required info. Definitely not for everyone.
  10. Also...Consider that you will still need to be wary of very high duty cycle signals over the short term. Things like air and water cooling will help with long term heat buildup in the motor and coil, but not so much with rapid heating of the coil over a short time period. Coils can be burned VERY quickly in some cases with a bad scenario. With that said I wouldn't assume that you will be able to increase the short term peak signal handling of the system at all and this is what has the possibility of reaching driver Xmax for the most part. The longer term signals that make most of the heat buildup aren't normally going to be causing excursion issues. In fact greater excursion helps cool the voice coil and motor. With that said I definitely wouldn't go smaller with the cabinet. Ipal module will fit on the hatch. The hatch is the same as on the Skhorn and I believe I posted the files for the hatch with a Speakerpower SP series and the Ipalmod cut out in the Skhorn thread. As mentioned you want the sensor close to the cone and apex of the horn.
  11. I have been in that scenario plenty of times. The room is small and usually full of hard reflective surfaces and the drums are titanic loud, which of course causes the bass and guitars to compensate louder and you end up with a scenario where the pair of 15" 2 ways that are usually in such a place can't get the vocals up over top of it. I'm not saying this doesn't happen and that it's easy to attempt to work around...Hell sometimes the drummer has a very light touch and gets completely drowned out by the guitar player who has to have a full stack running at 10 even in a 50 person room. Seen that one way too many times. A lot of this depends on the music style too. If you are a Folk-rock group with quiet female main vocals and 3 part harmonies the drummer shouldn't be hitting through the heads the whole time. Play should be appropriate to the music clearly. That's the thing though if you are playing "heavy" aggressive music like east coast hardcore or something the drums are supposed to be hit aggressively. The double whammy with heavier bands is often the scream or growl type vocalists don't really have much projection or power. That's not always the case but it is a lot of the time. You end up with a very loud band and a vocal mic that needs a LOT of gain = feedback and tons of stage bleed. Back to the too loud drummer issue...My point is not about being able to play with less force. You should be able to play the same phrases or beats at a variety of volume levels without issue. That's 101 level stuff. Being able to do that with a beat or drum phrase does not mean that they will all offer the same sound, feel, dynamics or emotion to the drummer, the band or the crowd. As an example. Imagine...You are drumming in that east coast hard-core band...the big break-down comes... The whole crowd knows it from your first album...The ninjas are about to kungfu up the dance floor and!...You kick in at about 50% volume of normal because your drums are going to be too loud. Try to act like you are going hard, but you know you're not it's just an act. That situation is one I've been in and it sucks. None of the other instruments have to deal with that type of thing. That's all I'm saying really. Stupid loud ass drums and cymbals! Deathcore band eh? Blasts and skank beats? Triggers?
  12. 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.
  13. STILL for sale...I'm losing my ass on all of these at these prices. Qty (2) 18 Sound 21NLW9601 8 ohm drivers. $800 takes both shipped and insured. $700 local pickup. Will separate... Qty (1) 18 Sound 21ID. $430 shipped and insured. $390 local. Qty (1) MTX 9515-44. $430 shipped and insured. $365 local.
  14. It'll be an Alpine Type R 15", an MTX 9515-22, a Peerless STW-350 and 2 MTX 9515-44's. I'm not ready to sell any quite yet though. Still have to test em. Edit: I can sell one of the MTX 9515-44's. See price below.
×
×
  • Create New...