@atdavid...yup, there's the points where the driven surface has to slow down, stop, and accelerate in the opposite direction. 'X' x per second, constantly varying....
I'd get distorted too, which occurs with far simpler motions.*L*
There's various 'this 'n that' applied to compensate, but none make it 'go away' completely.
The above is why a Walsh radiator appeals to me. Pistonic motion is primarily converted into a radial radiation at the voice coil/cone interface.
It doesn't 'go pistonic' until the waveforms descend further down the cone, where the diameter of the cone is less likely to radial excitation of the surrounding air...
Think of a bell...stuck, it vibrates radially. In this instance, the cone needs to be light but physically stiff to endure the induced waveforms. That requires a driver that is under a considerable amount of resistance. Which translates into heat...which will fry most voice coils.
I've lost a couple that way...a finger on the magnets' backside gets hot to the touch.
That's one thing that I've worked to address, as well as the cone materials, cone interior reflections, surround material selection, et all...
Even the choice of structural material is not typical; stiff, yet absorptive.
There are those that consider omni's 'non-starters', but consider the nature of 'live music'. It doesn't exist as a sound from a plane; it's omni by nature, as you are. You hear from all around you, reflections and all.
Crossovers don't exist either...*s*
Yes, omni's are a bitch to set up in a given space. *shrug* But, given that many spend big $ to 'condition' their listening environment, what's the diff?
I'm a fan of Linkwitzs' comment: "Ignore the room."
Which is why I approach the issue by 'going 5.1', a surround array with a sub.
Direct overrules reflections when you're in the midst...;)
I'd get distorted too, which occurs with far simpler motions.*L*
There's various 'this 'n that' applied to compensate, but none make it 'go away' completely.
The above is why a Walsh radiator appeals to me. Pistonic motion is primarily converted into a radial radiation at the voice coil/cone interface.
It doesn't 'go pistonic' until the waveforms descend further down the cone, where the diameter of the cone is less likely to radial excitation of the surrounding air...
Think of a bell...stuck, it vibrates radially. In this instance, the cone needs to be light but physically stiff to endure the induced waveforms. That requires a driver that is under a considerable amount of resistance. Which translates into heat...which will fry most voice coils.
I've lost a couple that way...a finger on the magnets' backside gets hot to the touch.
That's one thing that I've worked to address, as well as the cone materials, cone interior reflections, surround material selection, et all...
Even the choice of structural material is not typical; stiff, yet absorptive.
There are those that consider omni's 'non-starters', but consider the nature of 'live music'. It doesn't exist as a sound from a plane; it's omni by nature, as you are. You hear from all around you, reflections and all.
Crossovers don't exist either...*s*
Yes, omni's are a bitch to set up in a given space. *shrug* But, given that many spend big $ to 'condition' their listening environment, what's the diff?
I'm a fan of Linkwitzs' comment: "Ignore the room."
Which is why I approach the issue by 'going 5.1', a surround array with a sub.
Direct overrules reflections when you're in the midst...;)