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RE: Danley SH50 better than Avantgarde Trio's ?

Posted by tomservo (M) on October 28, 2007 at 08:23:08

In Reply to: Danley SH50 better than Avantgarde Trio's ? posted by angeloitacare on October 28, 2007 at 05:10:54:

Hi

Heard them, you bet, I mean I would have been the first person to have them haha.
The fellow in that link had posted here last week in another thread..
http://www.audioasylum.com/forums/prophead/messages/3/38077.html

The speaker is very different, its shape and design driven entirely by the acoustics and overall goals.
The design was driven by the desire to fix the “self interference” that multiple sound sources produce when they are spaced more than about ¼ wl apart. You know, just like when a woofer is less than ¼ wl apart from a second woofer, they add coherently, same is true all the way up..
If multiway hifi speaker’s radiation were ever measured in the spherical domain (where does the sound actually go), one would find that at crossover in particular, the two ranges interfere and produce lobes going every which way.
In particular, multi-way horn systems generally suffer even more from “self interference” than direct radiators, as the sources tend to be larger and farther apart at crossover.
Contrary to what one might think, these acoustic problems in location in the H and V planes cannot be “fixed” with DSP.

The approach I used for combining all the ranges within the horn follows the following approach.

A horn (or its acoustic gain is among other things) is like a high pass filter based on the rate of expansion in area.
What one see’s with a simple conical horn is that the expansion rate is very rapid at the apex, a very rapid expansion equals a high frequency horns. As you move away from the apex, the expansion rate slows, making for a lower frequency horn.
If one taps into the side of a conical horn, one finds the lower limit is still set by the local expansion rate while a limit at the upper end exists as you approach the frequency where the reflected wave from the closed end returns out of phase (1/4 wl distance).
The idea is to divide a single horn flare up into its logical sections, driven by a driver suitable for that frequency range and with all the drivers being less than ¼ wl apart in there arrange of operation, they combine coherently into one source.
You notice the drivers are separated front to back as well with the tweeter being farthest to the rear. This separation off sets the phase shift and intrinsic delays of each range so that the system will reproduce a square wave from about 220Hz to 2600Hz (traversing all three frequency ranges).
One last detail, all drivers produce distortion at multiples of the input frequency.
Here, each of the cone drivers passes the sound through an acoustic low pass filter which is made from the trapped front volume and holes that couple into the horn.
That acoustic low pass corner is just above the electrical crossover and has the effect of not passing distortion components, which are above crossover.

The bottom line is that they have time response similar to a Manger but have orders of magnitude less harmonic distortion and go orders of magnitude louder, go down to 50Hz and have constant directivity. There is a white paper and CLF data & viewer at the web site as well as some goofy stereo recordings I made.
While not meant for the living room, they were developed there and I could never go back. What remains is to convince my partner that hifi is somewhere we should be.
Best,
Tom Danley

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