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Two-inch port tube installed in the top of a Polk S10 speaker cabinet as part of a DIY audio project. This port is flared. Unlike closed-box loudspeakers, which are nearly airtight, a bass reflex system has an opening called a port or vent cut into the cabinet, generally consisting of a pipe or duct (typically circular or rectangular cross section).
Jon Risch states in an article on classic transmission line design, that the hard part was finding the best stuffing density along the line's length, because "the line stuffing affects both the total apparent line length AND the total apparent box volume simultaneously". He summarized the state of design at the time as: [26]
The design is often described as non-resonant, and some designs are sufficiently stuffed with absorbent material that there is indeed not much output from the line's port. But it is the inherent resonance (typically at 1/4 wavelength) that can enhance the bass response in this type of enclosure, albeit with less absorbent stuffing.
Examples of transmission line (TL) related technologies include the (mostly obsolete) speaking tube, which transmitted sound to a different location with minimal loss and distortion, wind instruments such as the pipe organ, woodwind and brass which can be modeled in part as transmission lines (although their design also involves generating ...
Its relatively low adoption in commercial speakers can mostly be attributed to the large resulting dimensions of the speaker produced and the expense of manufacturing a rigid tapering tube. The Voigt pipe was designed in 1934 by Paul G. A. H. Voigt and is also referred to as a tapered quarter-wave pipe (TQWP) or tapered quarter-wave tube (TQWT).
Moving iron speaker. The original loudspeaker design was the moving iron. Unlike the newer dynamic (moving coil) design, a moving-iron speaker uses a stationary coil to vibrate a magnetized piece of metal (called the iron, reed, or armature). The metal is either attached to the diaphragm or is the diaphragm itself.
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The preamplified signals then pass into the amplifiers. Depending on local practices, these amplifiers usually amplify the audio signals to 50 V, 70 V, or 100 V speaker line level. [16] Control equipment monitors the amplifiers and speaker lines for faults before it reaches the loudspeakers.