about what

about what?

worum gehts?

hear the underestimated sense - at night to be able thereby to see

HiFi horn loudspeaker                      My optimum
- Listening area room size 20-80 qm                         - point source
- distance 2,5-8 meter                                            - no crossover network
- SPL max. 100 dB                                                - horn housing

less is more !

the DIY benefit
Up to 80% of the manufacturing costs for a bass horn are in the housing.
If then still trade profit margins and transport in addition come !?
Both falls with the self's building away or better said you takes over the job.

Connections:

- the loudspeaker is with distance the weakest member in the Hifi chain,
  on the average comes an LS on under 1% efficiency, i.e. 99% are warmth
  the remainder sound.
- an inexpensive LS lead of 1,5 qmm is completely sufficient up to 10 m.
- connection terminals are never better than the wire.
- the sale price of the loudspeaker should be approx. 70% of the whole chain.
- the standard tuning tone a has the frequency 440 Hz
- the note lies nearly in the center of the violin key
- nearly 90 % of all played notes are 2 oktaven over and under this note

- your amplifier has straight times 1 Watt impulse e.g. with the bass drum
  impact if the volume control stands on "10 o'clock"!!
- a normal speech has about 60 dB
- a bad admission, is not be corrected by the best chain.
  Unfortunately only approx. 2 is well taken up of 10 CD's.

- I keep a strong directive sound effect because it is positive for the
  today's furnishing (leather, parquet, shutters, glass).
- if you sit with the head closely (40-70cm) at a wall, you should use
  behind your head a "wall carpet" approx. 4cm before the wall.
- bad areas can checked through hand gossips of a person in front of
  the LS diaphragm during the other person sits at the listening place,
  e.g. by the flutter echo you hear your room damping.
  By space corner damping and e.g. 3/4 filled bookshelfes in opposite
  of the LS, it is possible to improve the room acoustics.
- the room acoustics and the listening place are very important,
  first of all because you can take influence on it.

- if you are lucky with the sound, if you get an emotional dragging
  along and or relaxing listening experience, then the sound is also correct.
- extremely laymen should listen to a something similar good speaker
  in your listening room for comparison.

An important building material for my horn
constructions is the soft fiber, usually
11-13 mm thick and on a side with a paper
layer pasted, always glue with this page.
You can work on the material with a
carpet knife easily. Also called sound
reducing board and is much low-priced,
it is used with bass horns to silence
1/4 Lamda over 100 Hz.

Why?
A horn is the most natural and efficient way to produce sound.
With horns, the moving mass can be reduced about 90% and the
performance is able to make up to 15 dB more SPL, this is why the
bass playing faster and livelier because only very small membrane
movements are needed. That is the main reason for my hobby since
1972 with various speakers variants, since 1980 only horns.
The art in the development of a speaker is to omit, minimize and simplify,
the play has less distortion, and can also follow smallest pulses, since
each component unnecessary changes the signal and distorted music playback.
A speaker amplifier provides for each one, from the music signal-dependent load,
by the more complex stroke and components, this is the greater impact of forces
back to the amplifiers with a negative signal processing consequences.
Therefore, I almost use just fullrange driver without crossover in horns.

Why do I mostly use small bass speaker?
The inertia of membrane mass slows the music signal, the smaller the volume level,
in living room areas usual, the pronounced damped the moving mass of the diaphragm
signal playback, the main reason for the lack of serious bass resolution of heavy
weight bass membranes.

How to get progress?
Through the courage of the developer, supposedly irrefutable principles to question and
own paths, the series of dual horns are the prime example for innovation by horns and
minimize enclosure sizes.

What makes the membrane movement cross setting and bass horn mouth distance?
An extension of the low-transmission area by at least one octave, reducing the housing volume by
up to 50%, in comparison to a single driver solution. Indirectly right / left radiation and bass horn
mouth distance prevents sound pressure increase over 100 Hz, reduction and linearization of
membran stroke gives a very fast, tight, contoured and clean bass response, with outstanding
properties. The double horns here presented are an unexpectedly sensational development of
the horn principle, that "less is more" once comes so true I could not expect.
The theory may now in some areas relativized and rewritten.

My research shows clearly: in normal living rooms is the funnel constante and length
of a bass horn far more important than the horn mouth opening.
That nobody got this the last century is absolutely incomprehensible.

Particularly me in the subsequent search of psycho acoustic effect of
residual tone by triad orgel sounds, Wiki:
"This phenomenon has long been used in organ:
At the same time use of the 8-foot and 51/3-foot, which is about a fifth,
You can hear the 16-foot, that is one octave below the 8-foot.
It can be a lack of fundamental simulate, in which two sound generator
on the octave, and the pure twelfth to the real root nonexistent concert at the same time. "

By the double horns the microphone measured the sound, so it can not be a
psycho effect. That the horn lengths are very close to the organ example,
seems to be a compelling optimization effect of the simulation, in real the
double horn works at least one octave below in the single simulations
expected frequency range.

Why is the bass of the double horns so tight, effortlessly and fast?
By membrane cross setting there are more bass, by bass horn mouth distance
no rise above 100 Hz. So the press chamber can be extremely small, both horns
are extremely small, also the air mass in the horn, also the wall distance in the horn.
That are also two reasons for the fast, contoured bass reproduction
and the relative small enclosure size.

sorry for translation errors

Explain test:
By parallel wiring
the two different
horns, the driver
of the long horn
controlled the
stroke of the
driver in the
short horn,
the little horn
goes not in the
acoustic short
circuit, but
creates sound
pressure,
amazing here,
more pressure
as the long
horn below 40 Hz.
At the same time,
the impedance
peak of the
lowest octave
eliminated by
non-entanglement,
below 50 Hz~4 Ohm.

See system horn
mouth measure-
ment and single
simulation of the
CORNET and
Impedanz.

Membran
movement
cross setting:

My haptic
verifications
show a rather
linear membrane
movement,
similar an
averaging.
What could be
less large
"change press ",
which again
the mechanical
membrane charges
minimized and so
sound and SPL
maximized.

Still a funny phrase out of quantum mechanics, one word exchanged yields:
Two or more horns called cross setted if it can�t be described independently from each other. ;-))
"Without music life would be a mistake," F. Nietzsche