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Everything posted by Ricci

  1. Hope everything is good with you Luke. Good luck with the sale.
  2. HIL is still in effect. There's no way around it. I probably won't. The limited bandwidth of TH's or the added complications and size to the cabinet to be able to deal with the upper band resonances via tuned resonators limits their usefulness to getting much below 25-30Hz. IMO. It's just my own variation on a 6th order bandpass mixed with a rear ported horn or whatever you want to call it. It's nothing new really, but the way I design them differs a lot from the way I had always seen them done. The most similar are pro audio designs with a big emphasis on the horn section and a por
  3. I've been messing with a more compact single 21" version more similar in size to the half Skhorn that was originally planned. It won't be drastically smaller but I'm hoping to chop a few inches off here and there without losing too much performance.
  4. Are you sticking with the box dimensions posted earlier of 20x26x29.35"? It sounds like you would be placing the driver and ports on the 20x26" face?
  5. It's hard to say exactly what is going on since there are so many variables. What voltage is being applied to the terminals during the measurement? Is the impedance really 15 ohms or greater? Is this 2 8 ohm drivers in series? Are you using a generic mic sensitivity spec or do you have an SPL calibrator? Mic sensitivity specs can be suspect in my experience. Pressures inside a cab can get very high especially if testing for system output capability. Finding a mic or sensor and mic pre-amp that can take it won't be easy or cheap most likely. Don't forget that despite subs bein
  6. Here is what the response for the sealed SHS-24 in 300L (10.5 cu ft) would be and the excursion profile at 126.5 volts, which is the maximum for the SP1-6000. Specs are based off of what I measured from my D2's but scaled for D1's so the impedance is correct. Semi inductance specs are used. Basically this is a 28" cube. As you can see this looks nothing like winisd. I'd suggest learning HornResponse if you are serious about designing speakers. I wouldn't worry about the excursion passing 50mm below 4Hz. No driver is linear with power out to that level and content that low in freq is very unli
  7. 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 simila
  8. Hey man...Unfortunately what you would be building would be nothing like the winisd sim... You are looking more at something like this.
  9. I've been thinking about this myself. The SHS-24 is a tough driver to tune really low and port well. It moves a ton of air but it doesn't really call for a very big enclosure for a smooth response. Big air spaces cause a large peak at the port tuning. It's difficult to get enough power on it to effectively use the excursion also. It really depends on your goals and how much you are willing to compromise. The cab you've specified is about 850L with a vent area of about 871cm and a vent length of 169cm. Tuning is around 12.2Hz. Personally I would not use a vent that long. It puts the
  10. I believe I described how I determine port length earlier in this thread, or perhaps it was the Skhorn thread. I can't remember where exactly. I use line sketches in SW's and previous experience to determine the functional length. I'll see if I can find the post. Edit: It was on page 10 at the bottom of my long post. I'm surprised that you have ended up with an even longer length.
  11. Droogne I've done square ports before and they work well. The ideal is round and heavily flared or shaped which I've also done where it makes sense. Have you read the available AES and other papers on ports? There are many. Compression and chuffing noise do not necessarily correlate. There are also papers which point to some possible advantages with multiple smaller vents despite the increased skin effect. In the case of the Skhorn and Skram variable tuning is an integral part of the design that I considered fundamental. That is why they have many smaller vents instead of a larger single.
  12. 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
  13. 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
  14. 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.
  15. You will have 4 when these are done?
  16. 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.
  17. 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.
  18. 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.
  19. 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.
  20. 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.
  21. 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 buil
  22. 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 th
  23. 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 o
  24. 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.
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