Hi
Not too sure if this is the right place to post. But this is my first post I think.
Would like to know what makes different types of horns different from each other.
Conical, exponential, hyperbolic, Tractrix, LeCleac'h, Iwata etc.
Cheers
D
Not too sure if this is the right place to post. But this is my first post I think.
Would like to know what makes different types of horns different from each other.
Conical, exponential, hyperbolic, Tractrix, LeCleac'h, Iwata etc.
Cheers
D
Check this pdf document, page 7.
http://www.excelsior-audio.com/Publications/QTWaveguide/QTWaveguide_WhitePaper.pdf
http://www.excelsior-audio.com/Publications/QTWaveguide/QTWaveguide_WhitePaper.pdf
Only important aspect that concerns re Horns is that their FR and DB output is typically 'wild' .
Some designs/iterations are better controlled than others of course.
V few (if any imo) even approach flattish though.
Many examples can't go Low ie: 100hz with authority.. Not that was a surprise to me.
Horns are one of the holy grail myths of Audio.
But like all myths the reality can be elusive. Tread lightly.
Some designs/iterations are better controlled than others of course.
V few (if any imo) even approach flattish though.
Many examples can't go Low ie: 100hz with authority.. Not that was a surprise to me.
Horns are one of the holy grail myths of Audio.
But like all myths the reality can be elusive. Tread lightly.
Conventional drivers are known to not be able to go low, and need large bulky cabinets to work correctly. In addition they are horribly inefficient and generate massive amounts of distortion as well as having terribly limited frequency response, and dispersion that is frequency dependent. In addition cone drivers radiate off of both sides of the cone, and exhibit all sorts of break up modes, not to mention that under duress their voice coils have been known to separate from the former.
But like all myths reality can be elusive.. Tread lightly.. 😉
I hope you get the point. Like anything else the appropriate device needs to be chosen for the purpose and a certain amount of knowledge is worthwhile.
Here is one good place to start the journey to knowledge: http://www.audioheritage.org/intro.htm There are forums there where horn loudspeakers are discussed by knowledgeable individuals.
But like all myths reality can be elusive.. Tread lightly.. 😉
I hope you get the point. Like anything else the appropriate device needs to be chosen for the purpose and a certain amount of knowledge is worthwhile.
Here is one good place to start the journey to knowledge: http://www.audioheritage.org/intro.htm There are forums there where horn loudspeakers are discussed by knowledgeable individuals.
You've basically got your answer right there. It's the shape of horn, or its "profile". In some cases also the "Termination" or the way the mouth ends. Some are abrupt, some smooth or flared.
As to how they sound, that's a grey area, although the differences in directivity can be measured. The shape of the horn and the shape of the mouth can have important effects on the sound waves that come out of them.
Horns that have a slow expansion like the exponential and L'Cleach will have more loading around Fc of the horn, whereas a conical and tractrix does not.
Not having listened to any known expansion curves, so based only on reading horn design papers, I think the Tractrix is especially suited to MF and HF. The exp is more suited to MF and LF.
Outside their preferred range they would produce more distortion.
Outside their preferred range they would produce more distortion.
It depends on numerous design factors plus one can make a compression horn sound like a wave guide, but not vice versa due to throat flare differences, though one can get close by adding damping in the throat.
Horn design is very flexible in that it can be tailored to suit the needs of a wide range of apps, so different flares of the same frequency can be made to sound the same on axis, yet be very different as one moves off axis, ergo if designed to sound the same at some point off axis, then can be quite different as it moves to on axis.
Also, two horns of the same mouth area and length, but with different flare rates will be useful over different BWs, so will sound different due to having different XO points and maybe slopes too, yet if limited to a narrow BW where the two horns overlap, then they will normally sound the same to most folks.
Most horn systems though are designed for max SPL over as wide a range as practical and here the sonic differences become obvious between hyperbolic, exponential, tractrix and conical and the best way to hear them is to make one of each out of heavy cardboard or similar and have someone speak through them to hear how their different throat expansions distort the human voice.
This is just 'scratching the surface' of horn design/application though, so keep researching and do a bit of 'hands on' experimenting.
GM
Thanks. I've already got my horns. Just wanted to know more about what I have against the others.
You're welcome!
OK, but the answer to this specific question without knowing all the design details of your horns, speakers and intended app can only be answered in the most general of explanations already posted and even then one still needs to do a bit of experimentation with simple 'megaphones' of differing flare types to hear the core differences and for all we know you'll be one of those folks that won't like any of them.
GM
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