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acoustiColour

Music Technology, Audio Technology, Sound Design, R&D & Education.


Loudspeaker Design


Blueprint design 1st Nearfield Monitor Elektuur Luidspreker Special 11 Elektuur Luidspreker Special 11 blz. 77 Elektuur Luidspreker Special 11 blz. 78 Elektuur Luidspreker Special 11 blz. 79

Back in the days when things got serious...

(Design published in Dutch version of Elektor: "Elektuur Luidspreker Special 11")



...De Nearfield-Monitor heeft in het hoog een haarfijne precisie. Het laag is mooi strak, maar niet erg diep en zolang een audio-technicus dit terdege in zijn achterhoofd houd en bij het mixen de bassen niet teveel optrekt, is er niets aan de hand. "Ideaal dus voor bijvoorbeeld de audio-engineer die veelvuldig werkt in diverse, niet al te grote controleruimtes." Op het oog is de Nearfield een "dertien uit één dozijn"-luidspreker, maar schijn bedriegt. Door de juiste kastvorm voor de gekozen units te gebruiken en het filter optimaal af te stemmen, is een box ontstaan die uniek is in zijn soort. Veelal zijn de "echte" monitoren behoorlijk kostbaar. Voor deze geldt dat niet, terwijl hij zich wel kan meten met zijn duurdere broertjes. Een staaltje vakwerk waar we U tegen zeggen.

Quote: Elektuur Special 11 (url: Speaker & Co).


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Spherical Reference Monitor Loudspeakers


Spherical Monitor Loudspeakers

The spherical shape is considered as the optimal enclosure for the one-way loudspeaker with minimal diffraction (H. F. Olson, 1957).

A full-range loudspeaker driver unit is defined as a driver which reproduces as much of the audible frequency range as possible, within the limitations imposed by the physical constraints of a specific design...

Responses of my latest prototype closed loudspeaker enclosure (Ø = 340 mm., 14,2 l. custom made 1-piece spherical solid Italian Granite) are measured in two different anechoic chambers (...) at 1.0 m. and 2.0 m. distance.

  • For the first experiment utilizing the (discontinued) Creative Sound Solutions FR125-SR RoHS compliant 4.5” (125mm.) full range shielded driver featuring a curvelinear paper cone, rubber surround, & copper phase plug extremely suitable for High-End & Professional use.

    The flatter BL, lower distortion, low moving mass, & significant excursion provided by the XBL2 ™ motor topology, permit this speaker to perform very cleanly with a wide frequency response as well as almost unbelievable bass output for audiopurists who do not want a crossover in the signalpath of their music satisfaction!

    Measurements (anechoic):

  • For the second experiment utilizing the SEAS H1600-08 FU10RB RoHS compliant 4” (100mm.) full range driver offering an extraordinary performance and sound clarity.

    New Curv cone, a woven polypropylene with excellent internal damping together with perfectly matched moving parts gives a smooth, extended frequency response.

    The large, open weave fabric spider reflects very little acoustic energy to the cone, and offers excellent stiffness linearity.

    A stiff and stable injection moulded aluminum chassis keeps the critical components in perfect alignment. The pole piece is prolonged forwards and equipped with a deep drawn copper cap to ensure excellent linearity in the force factor and coil inductance.

    Small size combined with an excellent performance makes this driver the perfect election for any application where limited space is a critical parameter.

    Measurements (anechoic):

Curves show both the vertical and horizontal directivity measurements of the loudspeaker (θ = 0°), utilizing MBHO completely linear, omnidirectional reference microphone Type MBNM 550 E-L at δ = 0° (uppermost plot), 5°, 10°, 15° and 20°, 0.1 octave smoothed responses, offset 0 dB..

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Reference Monitor Loudspeakers (Passive)


Image Monitor Serie

Responses of my latest prototypes series-filtered, time-aligned loudspeaker enclosures (25 mm. MDF, Baffle 50 mm.) for precision studio monitoring applications are measured in two different anechoic chambers (...) at 1.0 m and 2.0 m distance.

Curves show both the vertical and horizontal directivity measurements of the loudspeaker (θ = 0°), utilizing MBHO completely linear, omnidirectional reference microphone Type MBNM 550 E-L at δ = 0° (uppermost plot), 5°, 10°, 15° and 20°, 0.1 octave smoothed responses, offset 0 dB.

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Reference Monitor Loudspeakers (Active)


Image Monitor Serie

Responses of my latest prototypes active (drivers by SEAS, powered and DSP by Hypex) loudspeaker enclosures (25 mm. MDF, Baffle 50 mm.) for precision studio monitoring applications are measured in two different anechoic chambers (...) at 1.0 m and 2.0 m distance.

Curves show both the vertical and horizontal directivity measurements of the loudspeaker (θ = 0°), utilizing MBHO completely linear, omnidirectional reference microphone Type MBNM 550 E-L at δ = 0° (uppermost plot), 5°, 10°, 15° and 20°, 0.1 octave smoothed responses, offset 0 dB.

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acoustiColour crossing borders, connecting knowledge, ..and getting inspired by art & science.

AcoustiColour Logo (Design: Hidde van Dijk ©1994)

Because music is art & sound science, in 1988 acoustiColour is founded by musictechnologist (multidisciplined & certificated: electronics-, audio-, recording-, mix-, mastering engineer, composer, sound designer) and teaching musician Marcel Wardenier.

(Call +31 6 26 46 20 88 or email me).

(...who is also having problems with beliefs and much prefers to let physics do the talking! (John Watkinson on Slaying Dragons)).

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Inspired by some of the most groundbreaking innovative audio pioneers/gurus acoustiColour created bootable CD/USB/VM images with clean builds of a hardened Debian Server for experimental dedicated realtime DSP Low-Latency JACK Audio Server Applications.

Disclaimer: as is, because this is work in progress.. (Altough functioning 99.99% stable in my audiolab 24/7!)
Please: don't forget to check out the tutorials & RTFM's!!

(And if you do read them, you'll notice how easy the concept is ported to other hardware platforms ☺!!)

(...acoustiColour simply loves the power of Open Source Software and Debian installed on a nowadays old useless-, but relatively silent Mac Mini 2,1+. Easily 'build' your own DSP power house running 16/24 bits 44.1/48/(96*) kHz., syncing on WC via S/PDIF signal using one of these instant functioning DSP bootable disk images.

(*) Dependent on production date of Mac Mini 2,1+


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Books:
AES Anthology Microphones AES Anthology Stereophonic Techniques AES Anthology Time Delay Spectography AES Anthology Loudspeakers Vol 1 AES Anthology Loudspeakers Vol 2 H.J. Pain, The Physics of Vibrations and Waves M.P. Stavrou, Mixing with your mind Ken C. Pohlman, Digital Audio B. Owsinski, Mixing Engineers Handbook F. Everest, Acoustic Techniques for Home and Studio F. Everest, Master Handbook of Acoustics F. Everest, Critical Listening Skills for Audio Professionals E. Winer, The Audio Expert - Everything You Need to Know About Audio B. Katz, Mastering Audio - the art and the science B. Katz, iTunes Music - Mastering High Resolution Audio Delivery T. Holman, 5.1 Surround Sound - Up and Running Templeton/Saunders, Acoustic Design for the Home Studio T.J. Cox/P. D'Antonio, Acoustic Absorbers and Diffusers - Theory, Design and Application G. Ballou, Handbook for Sound Engineers - The New Audio Cyclopedia D. de Vries, AES Monograph - Wave Field Synthesis R. Nicol, AES Monograph - Binaural Technology E. B. Brixen, Audio Metering - Measurements, Standards and Practice J. D'Appolito, Luidspreker Meettechniek J. L. Murphy, Introduction to Loudspeaker Design F. E. Toole, Sound Reproduction: The Acoustics and Psychoacoustics of Loudspeakers and Rooms V. Dickason, The Loudspeaker Design Cookbook R. R. Sanders, The Electrostatic Loudspeaker Design Cookbook Dipl.Ing. W. J. Tenbusch, Grundlagen der Lautsprecher M. J. Lawrence, High-Quality Loudspeaker Engineering T. Görne, Tontechnik: Hören, Schallwandler, Impulsantwort und Faltung, digitale Signale, Mehrkanaltechnik, tontechnische Praxis T. Görne, Mikrofone in Theorie und Praxis P. M. Pfleiderer, Zeitrichtige, klangrichtige und akustisch hochwertige Musik in Konzertsälen, in Wohnräumen, in Tonstudios, sowie mit Lautsprechern oder Kopfhörern durch PfleidRecording und Pfleid-Marot-Mixing M. Senior, Mixing Secrets for the Small Studio C. Nocke, Raumakustik im Alltag: Hören - Planen - Verstehen E. Mommertz, Akustik und Schallschutz: Grundlagen, Planung, Beispiele A. Friesecke, Studio Akustik: Konzepte für besseren Klang W. M. Willems, Schallschutz: Bauakustik: Grundlagen - Luftschallschutz - Trittschallschutz (Detailwissen Bauphysik) Ulf-J. Werner, Handbuch Schallschutz und Raumakustik: für Theorie und Praxis (Bauwerk) S. Weinzierl, Handbuch der Audiotechnik (VDI-Buch) B. Owsinski, The Recording Engineer’s Handbook S. Turnidge, Beyond Mastering: A Conceptual Guide B. Owsinski, The Mixing Engineer's Handbook B. Owsinski, The Mastering Engineer's Handbook T. Görne, Microfoons - in theorie en praktijk P. Swarte, Introductie tot de Electro-akoestiek R. Römer/G. Schwamkrug, Luidsprekers - fabels en feiten H. Baggen, Praktische Filtertechniek D. Doepfer/C. Assall/M. Marass/R. Langer, MIDI in theorie en praktijk J. Dunn, Audio Precision application note #5: Measurement Techniques for Digital Audio B. Metzler, Audio Precision - The Audio Measurement Handbook

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All design and content are ©1972-2017 by: Marcel Wardenier / acoustiColour / Wardenier Web Work, except where otherwise noted. Link to it all you want, but please don't take it and publish it elsewhere. I will consider writing something similar for your site, if you ask. I might even do it for free, under the right circumstances... but ya gotta ask!

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