Romy the Cat wrote:

jessie.dazzle wrote:

I just ran the calculations again and came up with a figure of 13.8 cu ft (for a QTC favoring transient response, not lowest F3). Then I measured the boxes and they do in fact come out to just under 14 cu ft, once wall thickness, volume for driver and bracing are subtracted. Plugging in a QTC which favors lowest F3 results in a box about half the size.

msaudio wrote:

Romy You have not done your main test yet, And you are ready to get rid of your LF array's to soon or maybe you did it and did not post it or say anything about it. The way i would troulble shoot this problem is to a test referance of 3 foot from Lf array first With RTA, use that along with the overall room test specs then mod my LF enclosure before more money was spent if that would be the case. If you have done your 3 foot ref test of your Lf array, Please post picture of it so everyone understands the over all problem at hand. Every 1 will not learn from this without all the the facts.   Preaching Horn Religion    MSAUDIO

jessie.dazzle wrote:

You might find that you don't need that much power. When I first built the ULF channels I assumed they would require loads of power, so I bought a single, mono, 1KW class D amp to use in testing. Then I tried driving them with a pair of M1.1s that I had planned to sell; even with 94dB sensitivity in a large room, the 2 x 100w turned out to have been easily more than necessary; I decided to continue using them.

msaudio wrote:

Your Typical Acoustical Suspension-type Loudspeaker enclosure witch has less then 90 db at 1 watt does not belong with a horn system that starts at 110db at 1 watt, even when you ad more then 1 driver, it is still way to far off to even consider using. It is like talking about the devil in church, they should be kept on the bookshelf because they suck. Why would anyone want a Acoustical Suspension-type speaker because they donot have the space for a better option. I am 47 years old and i was born listening to good speakers, from my first generation that had good audio taste and since the First AR speaker hit the market they have all sucked and were ment to be used for 1 thing a bookshelf. Then all these magazines started pushing small low output mailorder, cheap Japanease-later chinease junk speaker componetes with the rubber surrounds and thick cones and ceramic magnets, the sheep were eating them up because they donot no what music sounds like. It was all about making something small that sounds halfway desent that could be sold at a larger profit, made shipping easy and cheaper. It is so bad the recording studio's half to use them for monitoring to get a referance of shit for your typical boombox sound witch the people want for there RAP-CRAP sound. The hay day of sound was the 40,50,60, witch audio engineer mixed horns with acoustic suspension speakers? None that would be like witchcraft, these guy's that wrote the books on audio would all meet at the audio clubs, they all new eachother they had pride and they were trying to out do 1 another. They had shows just like they do now witch brought all the best to hear and look at, and make fun of the junk and that was AR. Talk to the old timer's that had horn systems they no a lot of the old story's. I am from california, my dad use to work for Altec pre anaheim then worked at a motionpicture sound house as chief engineer and went to all the clubs, so i herd all the story's and then some you would not believe.  Preaching Horn Religion   MSAUDIO

MsAudio, I am not sure why you have a rant about Acoustical Suspension here. It is not that you are incorrect but rather that you’re your correctness is not truly applicable in my case. I am not a big fan of Acoustical Suspension as it was used in end of 70s but the way how they did it was just one very narrow application of Acoustical Suspension. Any sealed enclosure is acoustically suspended. The question is what kind drivers, how suspended. You can suspend drivers very loose or very over damped, you can make sipping suspension as it become fashionable with some people nowadays. Yes, an Acoustical Suspension as it was in 70s was the option to get from bad driver and small box more bass BUT it is not all. Any infinite baffle in sealed box is suspended to a degree, the question is how. If Jessie circulation’s about Aura and 13 cub feet are correct then what you use your aura in 23 cub feet then your Aura was also suspended in the very end of it’s exertion. It was near open baffle configuration – some drivers work better and some worse in this application. Generally for open baffle you need very hard suspended drivers with short throw – it will be not Aura.

I guess I did not get a memo that box bass boxes do not match with horns.  I would be VERY happy is in my new room I will be able to get the same bass I had in my old room – and I had the “acoustical suspension-type enclosure which has less than 90 db at 1 watt”. It was very good and I had no desire for anything better – it  was very proper bass.

If you look at the park of available options for complimentary lowest frequency sections for horn MF systems then what is available. I do not believe in the LF bass horns. The ported configuration, all of them are out of attention. The large open baffles are must not be used with lowest octaves. I do not like dipoles – they are for teenagers. What is left besides offensively made/powered sealed enclosures? Well, any sealed enclosures will be in a way Acoustically Suspended driver. You might not USE the Acoustically Suspended gain but I do feel that it is very fine what the driver in the end of it’s run is slightly taped by the volume of the box. Different drivers and different amps react differently to it – fine the configuration that does better to you and I think it is a right direction to go for lower octave.