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Everything posted by peniku8

  1. I think he is planning to run a double bass array, which works best if everything is perfectly symmetric. I'm not sure how well this particular arrangement would work, but I guess it wouldn't hurt to try.
  2. 200€ for the 184.03 is very good, it's about 240 where I usually order. 8 sealed 18" drivers with some 15mm of one way excursion will probably be enough to dig below 20Hz. Maybe not below 10Hz, but that's better handled by dedicated TR devices anyways.
  3. CEA2010 seems straightforward in theory, but is a real PITA in practice. So much so, that people are saying that you can't compare measurements made with different setups/by different people. The results can vary as much as several db, even when everybody thinks their setup is perfect. There is an interesting read on ASR on how temperature influenced bass response and the differences are quite big. I'm certain that would also show up in large signal distortion measurements. I've read somewhere that Don Keele compared his measurements with a loudspeaker manufacturer and somebody from an audio magazine and their results were up to 3db apart at some frequencies. It might've been in the paper I attached, but it also might've been elsewhere. So it's generally advisable to approach and compare those measurements with care. CEA2010 Average.xls CEA-2010.pdf
  4. That's what I tell people as well. Make the sealed sub as big as you can, until you can reach Xmax at Pmax. Usually the cab will be smaller than what it takes to do so, so it doesn't make sense bothering with a HPF, unless you wanna reduce the load on the sub, like when you HPF it at 15Hz because your sealed 12" sub won't have meaningful output below that anyways. Was it a 5400?
  5. When doing roomEQ I try to avoid positive EQ points of a Q of higher than 2 or 3, because it starts sounding bad quickly. In my studio I have a point at 31Hz which goes to -35db (almost round room), adjustments of this magnitude are normal. Where are you crossing the sub to the mains? The way the graph looks, you might have the sub on wrong polarity crossing at 60Hz, but it might also be a room issue as well. Try to flip the phase of the sub and see what the new measurement looks like.
  6. Burning subwoofer cabinets; been there, done that. Feels bad man.
  7. Pretty sure you'll be fine with just the Othorns and the PM90s. @dsl1 uses them with two SKHorns and is pretty happy with them, so I've heard. Also, I'd say 100Hz is more upper-bass than mid-bass. If crossing the Othorn at 80Hz or higher, remember to take care of the spike at 108Hz, but other than that, the combo should perform nicely over the crossover region.
  8. The 18N862 is 670€ while the 21DS115 can be had for 450 (430 each if you buy two), but I think both of those would be overkill for a music setup. I recently bought a 15TBX100 for a friend, which is just 200 bucks. It will perform nicely in the available space.
  9. peniku8

    CNC services

    I could probably do it, but I'm booked out at least until the end of October. Had a glance at your assembly and it's quite a big project with all the bracing going on and stuff. Also, I'm not exactly sure how I'd ship that flatpack from Germany to the UK and if that would be a reasonable thing for you to do. Shoot me a PM and we can talk about the details.
  10. I can only talk about the SKHorn, but I'm happy with the output in the 1/3 vents configuration down to 20Hz. Air velocities get out of hand below that, but above 20Hz it's certainly enough for me. A single cab might have a hard time at or below 20Hz, even if it's bigger and has more vent area compared to half the SKHorn. I never got around trying the SKHorn in the config with only one vent blocked, but I like it the way it is now. I actually have quite usable output down to almost 10Hz when listening to music at low levels, the track below sounds surprisingly clean, even if distortion grows quite quickly below the tuning point (I think it goes down to 13Hz or so; so much for "you can't hear below 20Hz"). Integration with sealed should be fairly easy if you stay away from the tuning point (I'd tune it to ~25Hz and cross at ~40 with a 4th order or higher slope). It will take A LOT of sealed subs to keep up with that cab's mid bass thou
  11. When going with the larger angle (60°) I‘d move the drivers as close together as possible, simply for the space efficiency. In that case, you could basically reduce S1 to like 500 and also substract 1000qcm from the other cross sections. Ftc and Atc are left empty in my case because that section is integrated into S2. You can try to shape the rear, similar to what Ricci did in the Othorn, but I don‘t think it‘s gonna have any real impact with the 60° angle and after moving the drivers close together. It‘s a bit annoying to manufacture those parts for sure. For the AE drivers you‘d have to find the complex inductance parameters; I think you could eventually use these from the 15“ unit Ricci measured. This is a special case, in which I‘d not fully trust HR to simulate it by itself, since these have an exceptionally low inductance (double clicking Le which turns it RED and enables semi-inductance simulation).
  12. You used an offset driver alignment and specified two drivers in series (electrically) in hornresp. As such, you also need to combine both back-chambers into one in hornresp. Looked to me like you calculated the outer volume of a single chamber. I approximated the inner volume of two chambers with the drivers installed, which would reflect the finished cab as it should be. In your model, at 75V, each driver is fed 37.5V, as they're 'connected' in series.
  13. We should have a look at the cab itself first. If you want to mount the HS24 at a 45° angle to create a 90° offset between the drivers, you'd need mount the driver at about 17-18" into its baffle (otherwise the magnet won't fit in the rear chamber), which results in a 5" gap of unusable throat in the back, which would not be ideal. The highest you can go while having the driver mounted as far back as possible is an offset of about 60°. The slot itself is too small imo to contribute meaningful output in your range of use, so I'd take w/e is the least spiky in response. How did you calculate the rear chamber volume? I end up with 300l. One chamber is about 180l, minus the driver volume probably around 150l. And that times two of course, since you have two back chambers. Keep in mind that the examples below have the same back chambers, which means the one with the widest driver offset will be the largest cab. I'd personally prefer the 60° offset version. The 20-40Hz sensitivity is a little less compared to the straight slot, but the spike at 100Hz is basically gone, which lowers distortion. I added the Hornresp file to this post. HS24sealedX2.dat
  14. Btw, here is a comparison of a sim I did with the approach mentioned above, in a cab similar to yours, but with only one driver plus a vented back chamber. The real (half space) measurement is the wavy line. The purple line is the Hornresp export (scaled quarter space; not much different from the og half space export) and the cyan-green line, which is closest to the measurement, is the Hornresp export plus baffle gain exported from Edge. The baffle gain was scaled to half space (twice the baffle area). These were not gain-matched, but voltage matched, so the final simulation is pretty spot-on with the actual result. I did another design on the same principle and it was within 1db of the predictions.
  15. If you want to get a better understanding of T/S parameters, I'd recommend finding out how each parameter is measured and understanding what that measurement process tells you about it. That'll give you a pretty good understanding of what's going on and makes it easier to interpret data, instead of just working with numbers using abstract units. I thought I had a pdf about it somewhere, but couldn't find it now.
  16. To my knowledge, the throat chamber is the volume in front of the membrane until it enters the actual horn/slot section, not the entire horn section itself. Think filling up the driver with water with the membrane facing up. For a back-mounted 21" driver that's about 350cm² is cross section, which I add to S2 (Ricci's trick). I guess it's similar for the front-mounted (I guess?) HS24. This is what my inputs look like:
  17. Welcome to the data-bass! Do you have a schematic of the cab(s)? I'm unsure if you're planning to - Build two sealed 24" cabs which will be placed with the drivers facing eachother, creating a slot similar to an IB manifold in the baffle wall - Build a single cab with two 24" drivers in a similar configuration to the above, which basically creates a band pass As for the AE drivers, it sounds like you're planning on doing the latter, but you mention that the drivers would be placed at an angle, so I guess kinda like SKHorn without the front panel and sealed, plus I guess the intended angle would be more like 45-90°?
  18. peniku8

    Vortex & Kraken

    Yea, which would be more expensive than a 21DS115 here. US imports are crazy expensive in Europe.
  19. peniku8

    Vortex & Kraken

    Seen this a few days ago, but it didn't quite impress me. Especially since it'll be more expensive for me than a 21IPAL and well.. ferrite magnets are unattractive to me.
  20. peniku8

    AE Techron

    Afaik Ricci had two of their older models, which were identical to some Crown amp. I think you can combine multiple of those newer amps to gain even greater power. But it‘s pretty apparent that they‘re not designed with moving around in mind
  21. Non-dsp amps will not cause latency issues. The K line dsp, as an example, has a latency of 6ms, which equals 1/3rd of a wavelength of 55,6Hz (below 1/3rd of a wavelength delay, signals will combine well). Having the same amps is good for flexibility, usability, serviceability and peace of mind. Using different amps will require some work (gain matching in your case) and if you change the setup, it might not be as straight forward as with the same type of amps. If you don't change your setup much and nobody messes with the volume controls, I doubt you'll have any issues with running two different amps.
  22. Ask for a trade on AVS. I'm sure somebody there has 8 Ohm drivers and would prefer 4 Ohm. Make your 6 subs 8 Ohm and run them in parallel, 3 off each channel of the K10 for a ~2Ohm(?) impedance minimum. Maybe a stupid question, but have you tried running 3 of your current subs parallel on a K10 channel? Ricci ran even lower impedances on the K20 which basically only resulted in sustained output power loss iirc. Maybe try it out and see if it works for you.
  23. peniku8

    quieting a pro amp

    That's why I suggested making a new top plate if he doesn't want to cut to original one. The layout of the heatsinks make cooling like that really easy and efficient. The fans just need to touch the fins to turn the heatsinks into closed-off paths for the airflow. If theres too much of a gap, the fans will draw air from the sides and cooling won't be efficient.
  24. peniku8

    quieting a pro amp

    I'm not 100% sure about the cooling system in the K line, as the radial fans don't give a great insight on air flow, but if you took those out and mounted a few 80mm fans to the heatsinks (with the fans blowing air up), leaving the top panel off, or better: making cut outs for the fans, the cooling would likely be better and very quiet. If you don't want to cut holes into the top panel, make something out of acrylic for example. That guides the cold air through the components and the hot air ventilates through the fans in the top. Keep in mind that this solution will require additional dust filters at any point where air can be sucked into the amp (like the holes in the back after removing the og fans).
  25. peniku8

    Rob's Amp tests

    I measured the idle power draw and it looks like it went up to 160W (from 115). I can only measure in 0.1A steps, which is 23W, so the possible difference ranges from 23W to 69W. Not really a good sign, but it's not a huge amount either, so I'm not necessarily concerned about it. Their 4 channel amp draws almost 200W in idle. One reason for me to not switch the TSA1400 in the theater back out for the FP13000.
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