Visit to Audiophile Bill to hear his horns project

[morricab]

Been running tests this evening using mono in one channel. Mainly getting a feel for where things might land here and testing the field coil motors.

For those of you interested. This cabinet is quite a special build in that it uses tone woods (spruce), is very lightweight, but also very rigid (with bracing). Inside, all manner of wood working madness has been employed to avoid standing waves. The build is also fairly advanced in that there is no screws or nails permitted in any part of the build anywhere at any location. Traditional joinery is used for everything such as tenons, mortise, rabbets, slots, dowels etc. This was done not only as a test of skill but also because I am building this in the ethos of an instrument rather akin to Ocellia Caliope approach namely don’t try to cancel all resonances and make a dead cabinet. Bracing and other key parts are in solid maple. The waveguide is a solid spalted beech blank. Here is the other channel - big fan of spalted beech but know not everyone’s cuppa:

View attachment 94583
Oh and for fun I could resist a nod to Shun Mook so included a motif on top also designed to breakup vibrations but on the underside is a specific feature to break up standing waves. The Mpingo disc lies at the precise location of highest resonant energy.
View attachment 94585

Still not a single driver with Whizzer cone fan but the cabs are awesome.

 

[Audiophile Bill]

Still not a single driver with Whizzer cone fan but the cabs are awesome.

Thanks Brad - appreciate it! Tbh you could load the Supravox EXC full ranger in here and include a small horn too either on top or below.

I am thinking to include a rear firing tweeter for my other drivers with less output beyond 16khz. I got a Phy tweeter that is lovely and smooth but works with paper full range drivers.

 

[the sound of Tao]

That’s looking lovely Bill, the details up on top make it nice and zen. Love the ideas coming through here. Has quite a deal of that whole spirit that we also see in the bespoke horn systems crafted in Japan. Your great horn exploration is travelling in some excellent directions and your designs have a mature feel all ready and love the care you put into them. Very nice work.

 

[Audiophile Bill]

That’s looking lovely Bill, the details up on top make it nice and zen. Love the ideas coming through here. Has quite a deal of that whole spirit that we also see in the bespoke horn systems crafted in Japan. Your great horn exploration is travelling in some excellent directions and your designs have a mature feel all ready and love the care you put into them. Very nice work.

Thanks so much, Graham. The Japanese influence is precisely where I have been drawing inspiration and studying a lot recently so you are spot on. The zen thing has been part of the build process too - strange to think that way but I have felt connected to this in a different way. My other build was gruelling. This feels like it flows somehow. I probably sound like I have been smoking stuff lol.

 

[the sound of Tao]

Thanks so much, Graham. The Japanese influence is precisely where I have been drawing inspiration and studying a lot recently so you are spot on. The zen thing has been part of the build process too - strange to think that way but I have felt connected to this in a different way. My other build was gruelling. This feels like it flows somehow. I probably sound like I have been smoking stuff lol.

Flow state in design for me happens when you let go a bit and follow your design instincts more deeply. Analysis is important still to but trusting your feel for where things will go and being open to be led by how things unfold in the process and how integrated it can be with enjoying where it takes you. This one seems like it’s come through with a strong singular clear inspiration at the core.

 

[the sound of Tao]

I’d add that flow state is where the horns that I love take you… it’s that quality of essential connectivity to music at the core that distinguishes for me great horns.

 

[cal3713]

Been running tests this evening using mono in one channel. Mainly getting a feel for where things might land here and testing the field coil motors.

For those of you interested. This cabinet is quite a special build in that it uses tone woods (spruce), is very lightweight, but also very rigid (with bracing). Inside, all manner of wood working madness has been employed to avoid standing waves. The build is also fairly advanced in that there is no screws or nails permitted in any part of the build anywhere at any location. Traditional joinery is used for everything such as tenons, mortise, rabbets, slots, dowels etc. This was done not only as a test of skill but also because I am building this in the ethos of an instrument rather akin to Ocellia Caliope approach namely don’t try to cancel all resonances and make a dead cabinet. Bracing and other key parts are in solid maple. The waveguide is a solid spalted beech blank. Here is the other channel - big fan of spalted beech but know not everyone’s cuppa:

View attachment 94583
Oh and for fun I could resist a nod to Shun Mook so included a motif on top also designed to breakup vibrations but on the underside is a specific feature to break up standing waves. The Mpingo disc lies at the precise location of highest resonant energy.
View attachment 94585

Amazing (and lovely) Bill. I'd love to see some pictures or diagrams of the internal design features if you're willing to share. No problem at all if you'd prefer to leave it at what's already stated. What a great design. I'm very jealous of the tools and skill set. Congrats.

 

[christoph]

Been running tests this evening using mono in one channel. Mainly getting a feel for where things might land here and testing the field coil motors.

For those of you interested. This cabinet is quite a special build in that it uses tone woods (spruce), is very lightweight, but also very rigid (with bracing). Inside, all manner of wood working madness has been employed to avoid standing waves. The build is also fairly advanced in that there is no screws or nails permitted in any part of the build anywhere at any location. Traditional joinery is used for everything such as tenons, mortise, rabbets, slots, dowels etc. This was done not only as a test of skill but also because I am building this in the ethos of an instrument rather akin to Ocellia Caliope approach namely don’t try to cancel all resonances and make a dead cabinet. Bracing and other key parts are in solid maple. The waveguide is a solid spalted beech blank. Here is the other channel - big fan of spalted beech but know not everyone’s cuppa:

View attachment 94583
Oh and for fun I could resist a nod to Shun Mook so included a motif on top also designed to breakup vibrations but on the underside is a specific feature to break up standing waves. The Mpingo disc lies at the precise location of highest resonant energy.
View attachment 94585

Yet another wonderful showpiece of your artistic craftsmanship

How did you find the location of the highest resonant energy?
Did you use an acceleration sensor or "by hand/ear"?

And what is the geometry of the waveguide?
It looks almost a little like some form of Le Cléac'h, bending back so far...?

 

[Audiophile Bill]

Yet another wonderful showpiece of your artistic craftsmanship

How did you find the location of the highest resonant energy?
Did you use an acceleration sensor or "by hand/ear"?

And what is the geometry of the waveguide?
It looks almost a little like some form of Le Cléac'h, bending back so far...?

Hi Chris,

Highest resonant energy point was constructed deliberately inside the cabinet using joinery methods / bracing coupled to thicknesses like in guitar / violin builds. Have a quick Google of sound posts and bass bars in violins.

Waveguide is one I have been concocting in Hornresp and based on 2 geometries. The deliberate massive round over on the edge is an attempt to reduce edge diffraction.

 

[morricab]

Hi Chris,

Highest resonant energy point was constructed deliberately inside the cabinet using joinery methods / bracing coupled to thicknesses like in guitar / violin builds. Have a quick Google of sound posts and bass bars in violins.

Waveguide is one I have been concocting in Hornresp and based on 2 geometries. The deliberate massive round over on the edge is an attempt to reduce edge diffraction.

Your back horn is an exponential horn with the mouth opening in the back or is it a form of TQWT?

 

[Audiophile Bill]

Your back horn is an exponential horn with the mouth opening in the back or is it a form of TQWT?

Is a back loaded horn (not exponential) and opens to the floor. In the photo the feet aren’t on it yet.

 

[morricab]

Is a back loaded horn (not exponential) and opens to the floor. In the photo the feet aren’t on it yet.

That's a lot like my Odeons!

 

[Audiophile Bill]

That's a lot like my Odeons!

What is the name of your Odeons? Will have a look. I am not au fait with the Odeon range.

 

[morricab]

What is the name of your Odeons? Will have a look. I am not au fait with the Odeon range.

They are old ones not in current production. Model is La Boheme.

 

[Audiophile Bill]

They are old ones not in current production. Model is La Boheme.

Ah that looks like what I was theorising above in my response to you when I said you could use an 8” Supravox back loaded with a small tweeter horn above it.

 

[morricab]

Ah that looks like what I was theorising above in my response to you when I said you could use an 8” Supravox back loaded with a small tweeter horn above it.

Indeed! It is a simple concept once you think about what makes good sound but since they are horns not simple to get right. Odeon got these really, really right. IMO, they are still the best speaker the company ever made.

 

[Audiophile Bill]

Indeed! It is a simple concept once you think about what makes good sound but since they are horns not simple to get right. Odeon got these really, really right. IMO, they are still the best speaker the company ever made.

How high do you have the footers from the horn opening to the floor? I have to do testing.

 

[morricab]

How high do you have the footers from the horn opening to the floor? I have to do testing.

About 13cm

 

[Audiophile Bill]

About 13cm

Thanks very much - really helpful!

 

[morricab]

Thanks very much - really helpful!

Edit: 11.5 cm exactly...just measured it.