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peniku8

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Everything posted by peniku8

  1. I can't help but to think that the driver looks different from mine. This one looks more like the 18DS115
  2. Ricci also split up the bracing in the SKHorn into multiple pieces instead of using one large piece, because that leaves room for error if you're building it without a CNC.
  3. Just a small thing, but I noticed some odd behaviour. My iPhone (6, running IOS 9) automatically pauses music playback when another app starts playback. That's not the case for just any audio source, as some games allow background music playback from the music app. When I load the data-bass forums via Safari on the phone, my music pauses thou. Even if theres no sound from notifications being played, this always happens when loading or reloading a page here. Music playback is usually resumed when the other app is not sending the "request audio solo token" (I made that up, hope you get my point) anymore, but for data-bass it just pauses indefinitely.
  4. While fooling around with some 18" pro drivers I found that if you wanted them to play down to 30Hz (F3, not F10), the cab required would be so big that it could also fit a 21. Since most 21" drivers cost just a tad (maybe 10%) more than their 18" equivalent, going with 18" doesn't make much sense imo. If the cab is too deep for you, you could trade some depth for height. That would extend the horn section, but you might run into issues with the port length. Maybe make it very tall and compensate for the shorter port with added back chamber volume. If it's tall enough, the horn section could also be a single segment, or well, a big segment and the small segment which opens to the front.
  5. Any surface not in the direct path of sound can be lined with foam. Since THs only have a direct path, theres nowhere to put foam. Hope you're not moving these MDF cabs around much or you won't have fun for long. New cabs also going to be MDF?
  6. Doing so wastes space. It lowers the back chamber volume which raises the tuning (ever so) slightly and decreases bottom end output. Probably by less than half a db but it's still wasted potential. Look here if you wanna get some ideas for port block solutions.
  7. Judging the audible aspect only, the EQ sounds 'right' thou. The room is lacking in these regions or let's say it has got way too much in others. We already had a discussion about the studio space already thou and I kinda decided to leave it as is until I change out the subs entirely. A non-ideal sound reproduction is not good, but a constantly changing one is even worse in a studio.
  8. I have an amp that operates in bridge mode using 1+ and 2- and I have another amp which bridges to 1+ and 2+. The latter does make less sense to me, but it depends on the amps internals I guess. Could probably also run 1- 2- if you wanted. Seems like the dip switch to bridge the amp does less than it seems to. There are also amps which bridge automatically, depending on the wiring iirc.
  9. You can also reach the effect of having more tactile sensation than one might suggest by the volume by having a wooden floor. So Far I've been in two venues with a wooden riser for either FOH or a very small stage and both increased the tactile sensation manifold compared to the tarmac floor. You're also fooled to percieve a higher volume. The second occasion where I noticed this has to do with room cancelations; in our studio to be precise. We have a small dip around 63Hz and another dip at 75Hz, which I EQ'd out. Now the FR itself is pretty flat but you feel an increased tactile sensation from these frequencies. That's a bad thing for the studio environment I've already isolated the sub from the ground mechanically, so it's pure acoustic tactility.
  10. There is a nice paper by Electro Voice on different sub arrays and their dispersion patterns. Correct delays are the key for larger events. Controlling noise pollution is also a big topic for open air events. Beam forming also helps achieving a more even coverage. Many examples are impractical space-wise, but I liked the V setup. On the DIY side, I never felt like adding a second SKHorn to my HT :P Was planning on building two SKRams for my live setup, since the SB18 are not always available, but I'll likely just go with my own design. It's smaller and I really wanna see how it performs.
  11. Not a massive Tool fan, but I think I should give the record a spin. Had a listening session with my uncle lately and Pink Floyd's "Shine On You Crazy Diamond" just sounds so very clean and impactful. Now I couldn't help myself and had to turn it up again. Gotta say the fast kick drum on The Algorithm's "Trojans - Hard Mode" hits pretty hard. Celldweller's "Faction 14" is my go-to track for any system and it gives the subs some nice workout. SKHorn takes it like it's nothing thou 😎 Reducing the amount of compression/limiting would not be a good thing for 99% of the audio systems around. Most of the time people listen to music as background "filler", crazy dynamics might be pretty distracting, one might assume.
  12. Quick comparison of the Eminence vs IPAL in my cab. The slightly higher Xmax gives the IPAL .5db over the Eminence when excursion limited, but you can see that the IPAL is about 2db more efficient over the relevant output spectrum. Red means excursion limited, green is 10KW fed into the driver. So this is an efficiency graph basically. Red/Green in the Eminence, blue = IPAL. Edit: Just for reference, the DS hits 130.5db before exceeding Xmax at 45Hz
  13. Built the cab in Inventor today and simmed it according to the CAD model. First graph is the Eminence at 1W into Znom. The DS also models very nicely (for system EQ) because it looks like only two PEQ points would be needed. In all the models I made (also from the big design) I noticed that the Eminence seems to drop off a little earlier compared to the DS or IPAL. The interal volume ended up at 40L less than I anticipated, which is why the tuning rose to 33Hz. I will probably make it a little larger and shorten the port (currently 60cm long, no bend). The pic is 300L external, 60kg with the driver. As comparison, here is a sim more to my liking: 30L more rear chamber volume, 5cm shorter port, 21DS115-4 at 2V: Looks like a pretty neat cab if not EQ'd for rock live shows. Just don't cross it over any higher than 80Hz to avoid that nasty spike at 170Hz. I'll make a separate thread once I gathered more info and tested the actual cab. F10 is at 24Hz, roll off is about 26db/octave and group delay about 1 cycle at Fs. Looking good so far
  14. DIY is definitely the way to go if you want the most for your money. You said that you'd love strong reproduction down to 20Hz, so a vented design tuned to 20Hz or a little lower would be your best bet. There are a few smaller designs on AVS, like the smaller ones from the Marty line which is pretty popular. They also seem to be very budget friendly and are not hard to build, plus I think you can also get flat packs. Add an NX3000D and you're golden. As for your thoughts about 18" vs 2x12".. 2x12" will probably about equal the 18" in SPL, be more expensive but allow you to be more flexible with placement, so you can get a better room coverage. That being said, your room is actually pretty good for bass. The ceiling not being parallel to the floor for some parts of the room reduces room modes. In any way, if you're fine with manual labour, I highly recommend getting into some woodworking. It's a lovely hobby 😊
  15. You can see parts of it in the SKHorn thread where I illustrated the vent blocks. Will probably be long til I can even think about building one, but I modeled a downsized version with only a single driver and it looks like I'm at least building a prototype within the next few months. The hornresp model shows a voltage sensitivity averaging 98db from 30-100Hz with the 21DS115-4 and it's +-3db from 30-150Hz in the ballpark of 250-300L external volume. I'm basically aiming for a "compact" 21" cab which is not a direct radiator. This is the first Hornresp simulation I've done without actually recreating the cab in Inventor, but it should kinda work. For the big version it was the other way around, I just had this crazy idea and built it in Inventor. Then measured it and put in the parameters into Hornresp and started tweaking. IPAL models best, no surprises here. Crazy good driver, but also crazy heavy, crazy expensive and amp-crazy.
  16. Constant voltage modeled at 1W into Znom for voltage sensititivy tests and amp limited to 10KW for the maximum output models. 10KW into two series IPALs should be achieveable with a K20 (one channel) or X4L. This cab is the type of cab that doesn't depend on amps, the amps depend on the cab 😅 I'm very excited about it but I won't spill the beans before I haven't built a prototype and actually measured it. The model uses Ricci's tricks to get to the accurate SKHorn simulation and uses complex inductance, so I tried everything to get it as reliable as possible and it looks damn nice. Just need more drivers, more free time and lots of plywood. Already got the CNC 😁
  17. After doing some modeling in Hornresp on my own cab design, it looks like the IPALs are still a hair above this driver. The latter costing quite a bunch less, having basically the same weight and about half an inch less mounting depth makes it very attractive thou. What I like the most is that it seems to boost the 30-50Hz region in my cab while still modeling pretty smoothly. This is a great addition to the market. It's about 2/3 of the way from the 21DS115 to the 21IPAL imo, judging from the models. Can't wait for the other manufacturers to up their game in the 21" market. A ~2.5KW 25mm Xmax low inductance driver under 1 grand would be heaven, still kind of realistic and a serious statement.
  18. Man Jesal, these subs almost look small in the pic. It looks like the top of the screen is at about 1.5m, but then you see the full sized door behind it... I should really get my sub design tested. Seeing how well these types of cabs perform (in combination with the 21" drivers) excites me. I would just build a prototype of the cab I designed but I need more drivers and A LOT of wood.. there are some other things further up the list (like a Bordeaux build or three..)
  19. MSRP was/is about 200$ more
  20. I have a Blackmagicdesign Ursa Mini 4k outfitted with two Neumann KM184 and I absolutely love that combo, but it's way overkill and probably far out of any reasonable budget if just for show recording.
  21. Depending on the model it drops off quite a bit down low. In an example iPhone 5 calibration file I saw 30Hz being down by 15db. Mine is similar, there is basically nothing below 25Hz, but I couldn't find the cal file in the system to have a look at it
  22. Got the ok from @Ricci to post the metric SKHorn plans I made. It's a compact 4 pages and I built my cab with these. I made the horn bracing from one piece as I found that to be less work, even without a CNC. SKHorn Metric Drawings.pdf
  23. Can't want to see what you're up to! When I think about the SKHorn I think about large venues with the capacity for over a thousand people, and there probably only the first two or three rows might notice vent noise. The roundovers are not much work thou, so why not just add them. I also placed roudovers on my current 12" project at vent entrance and exit, as far as it was possible for me. Very easy job with a roundover bit.
  24. Are you talking about the SKHorn or a different project? I don't think flared ports are gonna save you from vent noise (below 20Hz) when running with the 1 vent per side config, and I also don't think that flared ports are needed when you're running with 2/3. I can push the drivers to Xmax at 20Hz with 1 vent open per side and not get any air noise.
  25. If you did it like this, the port block could sit on the area marked in red, which could be lined with gasket tape to make a perfect seal. Maybe you can find hex inserts small enough to screw into the vent braces (make these from 1" ply maybe?) and it would be made to last, easily interchangable and would not wear out.
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