Rerurn to Romy the Cat's Site

haralanov wrote:

Take a look at the video:

haralanov wrote:

To have a situation where there are no reflection surfaces, the compression driver must be radiating directly in the air. Loading it with a horn is equivalent of placing reflective surfaces around the exit of that driver.

Sorry to disappoint you but you are absolutely wrong about it. Loading a driver to a horn does introduce a front contras peruse that is not linear and that has a well designated name – throat reactance. One of the definitions of compression driver is that the driver is designed to deal with throat reactance and can’t work without it properly. The throat reactance is NOT a reflection but permanent force that participates in balancing of diaphragm damping. If driver feel an actula reflection from horn then it is juts shitty horn design and shall not be used.

haralanov wrote:

That’s because the wave cannot escape until it reaches the mount of the horn – it is surrounded by all sides. But that happens only at the lower working range of the horn. When you play some HF tones in let say 440Hz MF horn, the wavelength of these HF is small in comparison to the horn’s diameter and you have a lot of random uncontrolled reflections. If you don’t want to have reflections in the upper part of the working range, then you have to eliminate the horn surface, which means to eliminate the entire horn or to use it no wider that 1 octave.

Yes, ideally a horn shall have 1 octave bandwidth and optimal horn rate is a single point not a wide bandwidth, very similar to optimal ani-scatting for tonearm – it is perfect only for one single point on the record surface. Still, there is reality of practical implantations and those realities do allow to use slightly wider bandwidth by losing horns equalization. Still, in case of too HF loaded into to too large horn the problem that you will not will be NOT “random uncontrolled reflections” but absolutely different problems. Again, forget about random uncontrolled reflections in the horn (with exception of reentry in LF horns). They do not exists. The HF propagates as light – where do you see light get reflected back from the horn?

Jorge wrote:

Romy said "I think importance is not in sequencing but in relationship between listening practice and sound presentational geometry. The presentational geometry is very important but only for audio not for listening to the message." We have been talking about this "mechanical" or Geometrical audio effects, but have not looked at the ….

It was not what I was talking about. Let me give you a clue. The simple audio term “soundstage” has a number of levels of understanding.

At first level person recognizes soundstage as a geometrical virtualization of performing space. Most of the people are there

At second level person recognizes soundstage as a geometrical virtualization of own perception to performing events. Not a lot of people get there.

At the third level person recognizes soundstage as a melt, sort of alloy between virtualization of playback imaging and own perception. Think about conductor positioning his musicians in accordance to his interpretive objectives. Very very few people in audio get there.

The forth the level give a person a freedom to have any soundstage and by the force of own mind and creativity to override it in own perception to whatever she/he wants it to be. I know just 2 people who are able to do it in audio.

The last fifth level is the level of ultimate peace and maturity with soundstage where the perception of first level with the geometrical virtualization returns back but this time a person knows where, how and how much reconstructive powers she/she willing to dedicate of it his perception and how much he is willing to get sound presentation as is. Mitigating in his/her mind the force of own observation the person might deal with absolutely any soundstage results.

This illustrative above is given as a pattern to understand my quote above.

Rerurn to Romy the Cat's Site