*G* I appreciate the support that I receive here and at the other forums I haunt. As for 'variations on the theme', I'm certainly finding that to be true. There's a number of 'enhancements' that I'd like to try on just a 'simple' version to see and hear what differences may be made on how it sounds, how it reacts.
I feel I'm close to having a 'baseline' version that could be dealt with:
-A 'common driver' that's robust enough to be 'pushed' without frying it's voice coil due to heat if played loud with a variety of 'source material'.
-A cone material that's not too exotic that will withstand 'exuberance'; I've seen and heard of the early Walshs' succumbing to that, wrinkling. I've had cones come loose from the voice coils, cone seams opening up and beginning to 'buzz'. Towards that....
-Adhesives have to be strong and capable of withstand the range of vibrations and the stresses of being pushed/pulled and generally vibrated incessantly. One learns; fortunately when one builds it, you can repair it easily enough (well, more or less, easier...)
-A surround material that 'damps' the descending 'waves' of vibrations, but still allows for a certain amount of compliance. Zero compliance would stress the voice coil such that it's lifespan would measure in hours; terribly impractical... Early versions I've done can be 'toyed with', placing your fingers on the surround and changing the nature of what's heard from the cone. Amusing to have a 'physical eq' element, but not one you'd want to employ on a regular basis....;)
-Choice of 'base treatment'. I have them on columns because I 'like the look', and it allows for a number of variation there. Damped, undamped, ported, unported, even no base at all...
-Interior cone treatments. The originals had their 'mystery goo' which, unfortunately, had a limited lifespan. Hardening, falling off... What it was is known, and not to be replicated. But it opens up a variety of variations; treatments applied to the interior of the cone surface, some simple, others not so much. I'm currently playing with a variation that's not on the cone itself at all, suggested by a patent that predates the Walsh patent. Something 'that works' that doesn't need to be 'on' the cone has appeal; it won't have to put up with the rigors that the adhesives are put through....
It's a Quixotic Quest, to be sure. I lack the budget of the 'big guys', nor any staff to build, test, change, retest to arrive to the compromise that satisfies 'enough' of the parameters above to be listenable, reasonably accurate, exhibit no major flaws, and be robust enough to be played hard in the way we all do periodically and yet be subtle enough for those passages that invoke reverie they way they do...
I never get the time to totally immerse myself into it....stolen time, late hours, the occasional day. Collecting the parts, making hardware, assembly of these elements into a whole, and holding one's breath when the time of 'First Song' is sent through the wires.
If it flies, letting it 'break in', like any new speaker you've pulled from the box. What will it sound like 'later', when the 'new' wears off...? What happens when you get the gumption to really Crank It Up?
This is my take on the 'audio hobby', my version of 'truth', my search for 'nirvana'. I'm enjoying myself immensely. And it can't and won't be taken from me even if it only serves to please me, even if I'm the only one that has the pleasure of listening to them. So far only a handful of people have heard them; all impressed to varying degrees. None of which are what I'd consider 'audiophiles', so I take that response with a large grain of salt.
I have an open invitation to anyone would like to hear them. I'd welcome some 'educated ears' to give a critique, good or bad, just not indifferent.
They're omnis, after all....not to everyone's taste. But, still....
I will persist...to borrow the phrase from Samsung's ad:
"
Do what you can't."
You bet....;)
