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Open Baffle Epiphany!

MJK uses two H-frames per side which is a great solution but that takes up lots of real-estate. MJK must have a very understanding wife.

Tolerant and uninterested wife of ~30 years. It really helped when I was "banished" to a bonus room above the garage about 20 years ago. The family and house guests do not see or hear my creations, nobody likes my classic jazz collection anyway especially the kids. I let her use the room's closets for clothes and quilting storage. It was a tough compromise to accept.

I have built several bigger speakers in the past. A few required my wife (5 feet 1 inches tall and all of 95 lbs) lifting one end to carry them up and down the two flights of stairs between the bonus room and the basement workshop multiple times for tweaking. Some required assembly in place.

My current Lowther OB and dual AE Dipole 15 H frame speakers seem almost compact to me.
 
Bonus room... bonus! ;-)

Mrs. H just loves helping to carry speakers around. I disassembled the Duplexes and moved them, myself, one at a time when we moved to NH...
 
What is the general opinion (if there is such a thing at this point) of OB Alpha 15A's vs H Frame Alpha 15A's?

I'm leaning more towards H Frame with OB on top rather than full OB.

My take on this is that if you are crossing the Alpha over under 100 Hz or so, just for low bass, then the H frame will make more bass with a smaller width than a flat baffle. If you are running the Alphas up into the midrange, then you do not want the diffraction effects of an H frame. Of course, you could always do a C frame, like I did. This puts the Alpha flush with the front panel.

It cannot be stated enough to mock up a quick prototype out of cardboard or some cheap wood before you go and build some nice baffles. You will learn relatively quickly what sounds good to you.
 
If you give the wife some ownership she'll become part of the solution rather than part of the problem. :D

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My take on this is that if you are crossing the Alpha over under 100 Hz or so, just for low bass, then the H frame will make more bass with a smaller width than a flat baffle. If you are running the Alphas up into the midrange, then you do not want the diffraction effects of an H frame. Of course, you could always do a C frame, like I did. This puts the Alpha flush with the front panel.

It cannot be stated enough to mock up a quick prototype out of cardboard or some cheap wood before you go and build some nice baffles. You will learn relatively quickly what sounds good to you.

I was indeed planning on crossing the alpha over at under 100Hz.

Like I mentioned earlier, I have the guts from a set of JBL 4612 OK pro speakers. So, two 8 inch midwoofers and a tweeter per side.

The 8 inch drivers are 16 ohms so they are used in pairs in the original box. They will go down to about 60 to 80 Hz.

I have the JBL crossover as well so one amp can drive the OB section and another can drive the H-frame. Active crossover.

I don't know if this will work well, but I already have them so "nothing ventured, nothing gained"
 
Before I get into this in any detail, I want everyone to be very clear that I hold SL in the highest regard.
Open baffle speakers reproduce bass with less room interaction. It is more articulate than from box speakers.

There is some truth here regarding the room interaction, but the differences are fairly minor. Back in the 90s when I was playing around with dipole bass initially because of the bass list, I read about the lack of interaction within the room and initially, my impression was that I agreed. Unfortunately, real world measurements did show a slight improvement in certain frequency ranges, the overall room interaction was still significant enough that the room still showed that it dominate the response. Distributed dipole bass did show some improvements similar to it's use with monopoles, but did prove to be a bit trickier implementing it. As far as the articulate comment, that's purely subjective and doesn't correlate well to my real world experience with a variety of different types of speakers. The cleanest, least colored, and most articulate bass I've ever experienced was monopole bass in a distributed bass system using AE drivers throughout. In terms of dipole bass, the carver amazing clones built by a DIYer with 8 15" dipole 15s was as good as it got for me. I believe there are pieces to perceived articulation that are more important than whether it's a dipole or monopole system.

If dipole behavior covers the full frequency range, then the room response becomes masked by the direct sound.

Yep, I'll buy that to some extent. What I believe he's getting at with the room response is the reflected content in the room has a different sonic character than the direct sound. If the reflected material has the same character as the direct, you can use it to your advantage rather than trying to cover it up or over come it in some way. Monopoles are only an issue in that regard if the designed in a way that allows them to be. With modern waveguides, the dipole advantage here is essentially completely nullified if not surpassed. While the radiation pattern of a dipole does reduce some of the content from the first reflection points, it doesn't get rid of all of it and in many cases (full range + bass augmentation designs), the polar response off axis doesn't approach constant meaning that the reflected material that still exists will have a different sonic character than the direct. This is where good waveguides can actually exceed the ability of a dipole to remove the room.

An open baffle circumvents the box problem of delayed radiation through cone and enclosure panels. They occur typically in the mid-frequency range and are difficult to suppress.

Again this is true but there may be some implication that the theoretical problem is bigger than the reality.

Large panel radiators or long line radiators suffer from severe lobing at high frequencies. It manifests in critical room and listener placement.

I've heard this manifest itself in line arrays far more than line sources, but there is no denying that the lobing can exist. I've seen some nasty comb filtering at high frequencies in my measurements of line arrays and while measuring panels, the response often looks nastier than the sound. I think Atkinson mentions that it's more a measurable problem than a problem that is clearly audible. I've never done any research in this regard, but some elevator thinking in my head says that the source of the sound is coming from an essentially an infinite number of distances from your ears with the same signal and that could lead to a bit of time smearing. My guess is that we react well to that, though, and it doesn't bother us. Although, giving this a little more thought, I did hear a focused array positioned in a manner that had all the drivers equidistant from the listener and it did provide a little more pinpoint imaging. It's something to give more thought to.

Realistic bass levels can be obtained from dynamic drivers in open baffles, not from panels. For extreme SPL requirements the number of drivers could get very large and therefore below 50 hz they are more economically replaced by seal box subwoofers.

Perfectly reasonable. If you are listening at low volumes, the concerns I expressed about the performance of my h frames and open baffle bass with the 15A are reduced significantly. The best OB bass I've heard, as I mentioned earlier, used 8 15" AE dipoles. This is obviously not the least bit economical, but the results were among the best I've heard. I'd love to hear Martin's lowther/AE system with fewer drivers. Chances are, if someone can make a Lowther sound good, it will be him.

Open baffles reach deeper into the room and are less subject to room response if their polar response is well behaved.

I think I need a little more context on what reaching deeper into the room means, but it's good to see the validation of the importance of polar response. Polar response isn't typically a strength of the normal approach, but it would be decent in the case of the Orions. Some Orions with dipole waveguides would be really interesting to me.

The room is rarely at fault. If it is comfortable for conversation and living in, then it is also suitable for sound reproduction.

Again, more context is necessary. My first reaction is to think that there must be more to this message because it would be almost silly to make this comment. I bet a conversation would reveal the info I'd need and I'd probably have the eureka moment quickly, but as stated, I can't buy this argument.

Speaker placement to the inch based on some room acoustic calculation is nonsense.

To some degree, I agree with this. It's a bit like cartridge alignment, there is a meaningful amount of tweaking that will get you 99% there, beyond that, you are probably stressing about silly things with little practical results. That said, I do find it intriguing how a system like a TACT processor or Audessey can take two speakers in less than ideal placement and make an imaging mess snap into perfect focus by accounting for differences in distance. I can't be bothered over stressing over .25" differences or something to that effect, so I'm largely in agreement here.

Rooms should have lots of diffusive elements and not sound like a stuffed pillow if open baffles are used.

I agree, but that doesn't just apply to dipoles. A well treated room will not sound like a stuffed pillow. There is certainly a point that can be quickly reached where too much treatment has a negative effect on the sound. I quite like a lively room with speakers with controlled directivity like a dipole (so some extent) or a waveguide.

Placing absorbers at reflective points is the wrong approach. It only absorbs HF and increases the difference between the direct sound and the delayed room response. It works against perceptually masking the room response as merely a copy of the direct sound.

I'm on the fence and this clarifies his position on masking the room sound. My guess on his premise was correct. With the idea of using a dipole with well controlled polar patterns, I'd tend to agree with his statement. With other speaker styles, I'm not quite as on board.

Equalization is fraught with serious problems. DSP can do many things, but which acoustic inputs to take and how to process them is still very much a research stage. It will change the sound you hear.

This might be a statement that is a bit dated. Between TACT, Audessey, and other players in this market, there have been some really amazing advancements in the world of DSP. The addition of a TACT was one of those very few eye opening moments I've had during my 20+ years in the hobby as a DIYer and audiophile.

When I hear an unfamiliar loudspeaker in an unfamiliar room and it does not sound right, then I look for faults in the loudspeaker's design and placement long before I blame the room.

From 200 hz up, I'm on board almost completely. Under 200hz, I'd go as far as to say he's factually wrong.

Conventional box speakers are always omni-directional at low frequencies and increasingly forward directional at higher frequencies and thus the room reflections color the sound.

In principle, I agree with most of that. I could nitpick the generalizations expressed at bit, but I won't.

Unfortunately, marketing departments and dealers think that bass and high frequencies need to be emphasized for products to sell.

This isn't a pro-dipole argument, at all. It's anti-market and something I generally agree with, but a dipole system has no inherent immunity to this behavior and no inherent superiority in application.

Very few sales people of high end audio ever listen to unamplified life sound. They are highly susceptible to marketing department suggestions.

This is clearly offensive stereotyping and SL would be wise to remove that sort of comment from his website. He's too good for that sort of low level passive aggressive BS.

It is difficult to screw up an open baffle speaker design to where it sounds worse than your typical box speaker.

I must be good at accomplishing the difficult. My experience has shown that I am equally adept at screwing up open baffles just as well as box speakers. :) In reality, though, if given a set of drivers that worked well in boxes and a set equally well suited to OB, I'd likely be more effective at making a very good speaker in box than I would in an OB but that could be mostly experience talking. I've probably built 10 OBs and over a dozen times that many boxed speakers over the years.
 
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I would expect open baffles to be considerably pickier than any box (sealed or vented)/horn/TL in terms of room placement... as all of the rest do something with the back wave.
 
Before I get into this in any detail, I want everyone to be very clear that I hold SL in the highest regard.


There is some truth here regarding the room interaction, but the differences are fairly minor. Back in the 90s when I was playing around with dipole bass initially because of the bass list, I read about the lack of interaction within the room and initially, my impression was that I agreed. Unfortunately, real world measurements did show a slight improvement in certain frequency ranges, the overall room interaction was still significant enough that the room still showed that it dominate the response. Distributed dipole bass did show some improvements similar to it's use with monopoles, but did prove to be a bit trickier implementing it. As far as the articulate comment, that's purely subjective and doesn't correlate well to my real world experience with a variety of different types of speakers. The cleanest, least colored, and most articulate bass I've ever experienced was monopole bass in a distributed bass system using AE drivers throughout. In terms of dipole bass, the carver amazing clones built by a DIYer with 8 15" dipole 15s was as good as it got for me. I believe there are pieces to perceived articulation that are more important than whether it's a dipole or monopole system.



Yep, I'll buy that to some extent. What I believe he's getting at with the room response is the reflected content in the room has a different sonic character than the direct sound. If the reflected material has the same character as the direct, you can use it to your advantage rather than trying to cover it up or over come it in some way. Monopoles are only an issue in that regard if the designed in a way that allows them to be. With modern waveguides, the dipole advantage here is essentially completely nullified if not surpassed. While the radiation pattern of a dipole does reduce some of the content from the first reflection points, it doesn't get rid of all of it and in many cases (full range + bass augmentation designs), the polar response off axis doesn't approach constant meaning that the reflected material that still exists will have a different sonic character than the direct. This is where good waveguides can actually exceed the ability of a dipole to remove the room.



Again this is true but there may be some implication that the theoretical problem is bigger than the reality.



I've heard this manifest itself in line arrays far more than line sources, but there is no denying that the lobing can exist. I've seen some nasty comb filtering at high frequencies in my measurements of line arrays and while measuring panels, the response often looks nastier than the sound. I think Atkinson mentions that it's more a measurable problem than a problem that is clearly audible. I've never done any research in this regard, but some elevator thinking in my head says that the source of the sound is coming from an essentially an infinite number of distances from your ears with the same signal and that could lead to a bit of time smearing. My guess is that we react well to that, though, and it doesn't bother us. Although, giving this a little more thought, I did hear a focused array positioned in a manner that had all the drivers equidistant from the listener and it did provide a little more pinpoint imaging. It's something to give more thought to.



Perfectly reasonable. If you are listening at low volumes, the concerns I expressed about the performance of my h frames and open baffle bass with the 15A are reduced significantly. The best OB bass I've heard, as I mentioned earlier, used 8 15" AE dipoles. This is obviously not the least bit economical, but the results were among the best I've heard. I'd love to hear Martin's lowther/AE system with fewer drivers. Chances are, if someone can make a Lowther sound good, it will be him.



I think I need a little more context on what reaching deeper into the room means, but it's good to see the validation of the importance of polar response. Polar response isn't typically a strength of the normal approach, but it would be decent in the case of the Orions. Some Orions with dipole waveguides would be really interesting to me.



Again, more context is necessary. My first reaction is to think that there must be more to this message because it would be almost silly to make this comment. I bet a conversation would reveal the info I'd need and I'd probably have the eureka moment quickly, but as stated, I can't buy this argument.



To some degree, I agree with this. It's a bit like cartridge alignment, there is a meaningful amount of tweaking that will get you 99% there, beyond that, you are probably stressing about silly things with little practical results. That said, I do find it intriguing how a system like a TACT processor or Audessey can take two speakers in less than ideal placement and make an imaging mess snap into perfect focus by accounting for differences in distance. I can't be bothered over stressing over .25" differences or something to that effect, so I'm largely in agreement here.



I agree, but that doesn't just apply to dipoles. A well treated room will not sound like a stuffed pillow. There is certainly a point that can be quickly reached where too much treatment has a negative effect on the sound. I quite like a lively room with speakers with controlled directivity like a dipole (so some extent) or a waveguide.



I'm on the fence and this clarifies his position on masking the room sound. My guess on his premise was correct. With the idea of using a dipole with well controlled polar patterns, I'd tend to agree with his statement. With other speaker styles, I'm not quite as on board.



This might be a statement that is a bit dated. Between TACT, Audessey, and other players in this market, there have been some really amazing advancements in the world of DSP. The addition of a TACT was one of those very few eye opening moments I've had during my 20+ years in the hobby as a DIYer and audiophile.



From 200 hz up, I'm on board almost completely. Under 200hz, I'd go as far as to say he's factually wrong.



In principle, I agree with most of that. I could nitpick the generalizations expressed at bit, but I won't.



This isn't a pro-dipole argument, at all. It's anti-market and something I generally agree with, but a dipole system has no inherent immunity to this behavior and no inherent superiority in application.



This is clearly offensive stereotyping and SL would be wise to remove that sort of comment from his website. He's too good for that sort of low level passive aggressive BS.



I must be good at accomplishing the difficult. My experience has shown that I am equally adept at screwing up open baffles just as well as box speakers. :) In reality, though, if given a set of drivers that worked well in boxes and a set equally well suited to OB, I'd likely be more effective at making a very good speaker in box than I would in an OB but that could be mostly experience talking. I've probably built 10 OBs and over a dozen times that many boxed speakers over the years.

I would expect open baffles to be considerably pickier than any box (sealed or vented)/horn/TL in terms of room placement... as all of the rest do something with the back wave.

I think the way to look at it is what the open baffle speaker does with the back wave, as aluminuml speaker designs have to do something with the back wave. Infinite baffle physically isolates it in a brick wall fashion. Acoustics suspension also attempts to isolate and load the speaker suspension at the same time. But the cost is dealing with cabinet resonances. Ported and transmission line use the rear wave to augment bass performance. Seems to me that open baffle looks to diffuse and disperse the rear wave, and lower its energy at the listening position to where it is diminished greatly compared to the front wave. From my very limited experience placement is certainly a factor, but not as finicky as one would expect it to be. Couple this with a lack of box resonances and reflection of the rear wave through the woofer diaphragm, and it is a viable method is speaker design with its own unique set of strengths and limitations. As with any audio component at the price points I can afford, it is an exercise of defining priorities, learning what you can live without and what cannot be compromised. In short, how good of a sound a person can afford.

Regards
Mister Pig
 
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I would expect open baffles to be considerably pickier than any box (sealed or vented)/horn/TL in terms of room placement... as all of the rest do something with the back wave.

Maybe I'm just misunderstanding you, but if you're suggesting OB's don't do anything with the back wave then what factor makes them so picky about placement?

I don't disagree with your statement regarding the placement of dipole designs being more demanding than the other designs you mentioned (my experience with Maggies, Acoustats and DIY OB's has consistently confirmed this), but if it weren't for the rear wave the placement issue wouldn't exist nearly to the degree it does.....actually the issue would be practically nonexistent. Take away the rear wave and you're left with a monopole and the less demanding placement requirements inherent to the design. So the thing a dipole does with a rear wave, which is disperse it to whatever boundary layer resides behind it so the sonic content can be reflected or, ideally, diffused back into the room, is the something OB's do with a rear wave. It's arguably the something that is responsible for their unique sonic character. :)

- Michael
 
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Ever use a ripple tank in physics class in high school to study interference?

The back wave is comin' out of the back of the drivers, interacting with the front wave (superposition) out beyond the baffle boundary and bouncin' around the room.

Monkey coffins are notoriously sensitive to room position and LF performance in typical home settings - and they have only the front wave (again, to quote Pfish) bouncing around the room.

I would expect a fairly pronounced, millimeter by millimeter change in the in-room behavior (i.e., output SPL as a function of frequency at any given point in the room) for an OB in a typical rectangular room as the OB is moved in three-space.

No, I haven't fiddled much with 'em.

I did, as you know, play with OBs - and will do so again - due to a surfeit of high Qts drivers and a near-complete lack of carpentry skills.

I'd say the corollary of Dr. Linkwitz' dictum, quoted above, is "it's easy to make an OK sounding open baffle" based on my experience.

Based on the recent threads at AK, it is extremely difficult to make a great sounding one...
 
More diddling about.

Speaker components courtesy of a Sansui LM-330. A different kind of sound, but an interesting experiment. The soundstage is very large and a little diffuse, bass isn't deep, but it's there. Tonally it's somewhat congested, but these drivers haven't been used much for several years.

 
I'd say the corollary of Dr. Linkwitz' dictum, quoted above, is "it's easy to make an OK sounding open baffle" based on my experience.

Based on the recent threads at AK, it is extremely difficult to make a great sounding one...

What would you consider the most difficult sonic hurdles to overcome...compared to DIY-ing a conventional monopolar box design?
 
More diddling about.

Speaker components courtesy of a Sansui LM-330. A different kind of sound, but an interesting experiment. The soundstage is very large and a little diffuse, bass isn't deep, but it's there. Tonally it's somewhat congested, but these drivers haven't been used much for several years.


Do you have any place you can set them up where they aren't crammed into a corner? What you have going on there is a bit counterproductive in terms realizing the intended methodology of the design. I'd bet the walls are, in essence, behaving like an undamped enclosure for the drivers.....and could be the cause of that tonal congestion you detect. :scratch2:
 
Based on the recent threads at AK, it is extremely difficult to make a great sounding one...

I would agree if you are just picking drivers, sticking them in a convenient baffle, and then dicking around with the crossover trying to tune by ear. Many things can bite you.

But if you select appropriate drivers, measure their T/S parameters, and then run simulations to design the system (baffle and crossover) then it is not that hard to get a really great sounding result. In other words engineer the design, don't wing it. Designing an OB is much easier than designing a two way boxed speaker.

The effort you put in is easily heard in the final speaker system.
 
Do you have any place you can set them up where they aren't crammed into a corner? What you have going on there is a bit counterproductive in terms realizing the intended methodology of the design. I'd bet the walls are, in essence, behaving like an undamped enclosure for the drivers.....and could be the cause of that tonal congestion you detect. :scratch2:

Yes the back wave is released into the room, and it is going to have a degree of interaction. But the rear wave in a boxed speaker is not isolated either. It can import energy into the cabinet or reflected back through the driver cone. There are problems with this arrangement also. A vented enclosure has timing issues with the front wave and port output. Either way the back wave is problematic, and there is no perfect way to deal with it. What is worse a diffused rear wave that has allot of energy dissipated, or one that creates cabinet resonances and early reflections back through the cone? Not sure what the best answer is. Although I do know I like large format horns also.......

Regards
Mister Pig
 
What is worse a diffused rear wave that has allot of energy dissipated, or one that creates cabinet resonances and early reflections back through the cone? Not sure what the best answer is.
Regards
Mister Pig

Cabinet resonance is unwanted coloration. And anything that creates interference, in any form, with the driver's ability to reciprocate freely seems, in theory, much more detrimental to me. But still, there are some highly regarded box designs out there that manage to work around those potential potholes.
 
Cabinet resonance is unwanted coloration. And anything that creates interference, in any form, with the driver's ability to reciprocate freely seems, in theory, much more detrimental to me. But still, there are some highly regarded box designs out there that manage to work around those potential potholes.

Sorry didn't mean to quote your post it was an accident. Posting from my kindle waiting for my wife to come out of surgery.

Regards
Mister Pig
 
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