Can Helmholtz resonators trap hot air?
The Law of Accelerating Returns
I totally agree this letter from the editor of A-S.
It makes sense if you have a $10,000 high quality integrated and stick a $500.00 TT with a $300 phono section, a $400,00 Topping DAC and stream through your phone you will never know the real potential of the $10K integrated. And don't get me going on speakers.
This article makes total sense but one must live within their means.
No you do not have to spend a left lung for great sound but it all needs to be balanced.
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@helmholtzsoul I clerified the simplified short version. We are on the same page. It is not the "ONLY" way to tune a room completely. Is it not better to NOT push power into frequencies that the room gets excited about because its dimensions and positions of speakers and sweet spot? Of course it is.
The Helmholtz for example is a fix on something that is after that we have created the issue. But it so a good treatment technology to have in the toolbox. The bottom line is who care about money of components or synergy of the level of the same, if the room is untreated.
It is funny to see the focus on price, the results is audiophiles bringing whole their life gear in and out of the same poor room. And expecting a better results.. ..but they just get different results. Talking about "sideways" moves. |
First this room "from Hell" is my laboratory, or dedicated room not a living room...
First Mechanical resonators are not DSP at all...Your comparison with DSP is flawed... «Such a Helmholtz resonator has some very The Master Handbook of Acoustics Fourth Edition by F. Alton Everest P.215
Also all my H.R. are of different size, not one is the same in neck, lenght, volume or perimeter....For exemple one is 8 feet in my 8feet high1/2 inches in my studio, they ALL Differ by some ratio... Also i had a set of specialized Helmholtz diffusers or H.D. , which are way less known devices, this H.D. are OPEN TUBES OR PIPES, all of different lenghts and perimeter , then differering in volume, with a FILTERING GAZE or cloth fabric of different densities then of different absorptions properties... One mouth is open the other FILTERED by this gaze of various fabric densities or by a set a set of various thinner STRAWS of different size.... This created a powerful diffusion in critical placement....In particular near listening position and on the speaker themselves at precise location DIFFERENT for each one speaker by the way... Guess why? 😁😊 Location is KEY.... Like i said in my previous post i use the Haas law of the first wavefronts to tune my sound for EACH ear from EACH speaker.... My speaker are modified by H.D. placement around them or on them in an asymmetrical way to increase some acoustic crossfeed of large bandwidth...I even use a double two section foldable screen behind me to increase the acoustic crossfeed by the speaker A on the phantom image of B and speaker A on the phantom image of A for each one of my ears... All the tuning was made on few months period daily, it was fun and very enlightening ...The work was exactly like a piano tuning but here it is a MUTUAL speakers/room tuning.... The H.D. and H.R. devices circle the room from the "HEAD" speker to the "TAIL" speaker with the "BELLY" of this acoustical SERPENT being my listening location chair with the FOCUSING lenses of the reflected waves of this foldable screen behind my head... «A sound field in a room is composed of direct sound and reverberation. The interaural correlation follows the sinc function corresponding to the subjective diffuseness
All my 8 headphones are in a closet now... Why ? When you correct the room with electronical tool unlike my mechanical devices which are part of the room, you cannot tune the room for TWO Listening locations like mechanical room tuning, and the tuning location with a microphone feed back and test frequency are valuable ONLY for a "sweet spot" which measure around one millimeter you bend the head and all ,easures are amok... In my room the sweespot are larger in nearfield listening (three feet) or my regular position (8 feet).... The regular position is more like regular speaker listening, the nearfield is nore headphone like , BUT in the two positions, acording to the recording album, the soundscape CIRCLE me almost and the listener is not in front of the music sometimes, but in the center with instruments sometimes around me...it is relative to EACH RECORDING effect... I can hears the acoustic bubble specific to each recording choices by the studio engineer...
Your description has nothing to do with my H. grid location RESONATORS AND DIFFUSERS size and precise working location function for psycho-acoustic effect and not only physical acoustic effect , these two devices are not the same thing also...
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---First, Helmholtz devices of any type are not mere TOOLS... You dont let tools scattered across a room after their use time... 😁😊 H.R. And H. D. are PART of the room, they modify definitively the pressures zones distribution of the room by staying in place ... A DSP tool and a microphone dont do that and after their job is done you remove them from the room...
--- Second , your warning about the modification of the sweet pot reveal you dont undertstand the way this grid work at all...The devices are there to mutually adapt the speakers and the room to one another...My sweetspot extended to a large part of the listener location than your mic/dsp method who has no value passed one millimeter or so.... I place some H.D. near the speaker bass driver or tweeter asymmetrically to help each ears to create the localization effect... I will not go into details ...
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First Helmholtz resonators and Helmholtz diffusers like said rightfully @helmholtzsoul are the main and ONLY mechanical way to modify a room and tune it and also tune each speaker for each ear by the way ... The greeks and Egyptians and Chinese and Helmlhotz the father of modern acoustic and of psycho-acoustic thought so... «In Helmholtz resonators, we have acoustical artifacts that far antedate Helmholtz himself. Resonators in the form of large pots were used in ancient times by the Greeks and Romans in their open-air Second, the fact that you use DSP confuse your mind...
DSP modify the speaker response only , the H.R. and H. D. modify the speakers and room relation by modifying each of them at the same time for psycho-acoustic effect for EACH ear from EACH speaker.... DSP AND MIC. are not an integral part of the room like H.R. or H. D. are in their working way....They are used to modify the source information to your taste and adjust in ONE chosen way the speakers response to the room...They dont modify the room response at the same time for the speaker sorry... My sweet spot is not IMPEDED at all by the mechanical tuning devices in the contrary, my sweet spot is created by them and not only by the precise location of my chair in a short one millimeter range but for a larger range ... Then i had a better sweetspot because he is effective in a larger dimension than one millimeter range and dont lost all his effective action after that ... And try to adress the Schroeder frequency and bass limitations with DSP... Good luck....Room passive treatment +DSP will not do it....It takes a mechanical control of the room whose pressure zones modification are possible with Helmholtz mechanical devices to reach a better dynamic, and a better bass clarity in small room......
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