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A loudspeaker enclosure based on the concept was proposed in October 1965 by Dr A.R. Bailey in Wireless World magazine, referencing a production version of an acoustic-line enclosure design from Radford Electronics Ltd. [16] The article postulated that energy from the rear of a driver unit could be essentially absorbed, without damping the cone ...
That speaker sold for $220,000 a pair when it was discontinued. The developers of the Tri-Ergon sound-on-film sound film system had developed a primitive design of electrostatic loudspeaker as early as 1919. David JansZen, son of Arthur JansZen, using his father's papers and designs introduced his own version of electrostatic hybrid speakers.
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).
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.
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.
Passive radiators are used instead of a reflex port for several reasons. In small-volume enclosures tuned to low frequencies, the length of the required port becomes very large. [5] They are also used to reduce or eliminate the objectionable noises of port turbulence and compressive flow caused by high-velocity airflow in small ports.
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The braking effect is critical to speaker design, in that designers leverage it to ensure the speaker stops making sound quickly and that the coil is in position to reproduce the next sound. The electrical signal generated by the coil travels back along the speaker cable to the amplifier.