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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).
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.
Some speaker designs also use a spiral or elliptic spiral shaped duct, usually with one speaker element in the front or two speaker elements arranged one on each side of the cabinet. Depending upon the drive unit, and quantity and various physical properties of absorbent material, the amount of taper will be adjusted during the design process ...
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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.
All speaker drivers have a means of electrically inducing back-and-forth motion. Typically there is a tightly wound coil of insulated wire (known as a voice coil) attached to the neck of the driver's cone. In a ribbon speaker, the voice coil may be printed or bonded onto a sheet of very thin paper, aluminum, fiberglass or plastic.
Generally, line level signals sit in the middle of the hierarchy of signal levels in audio engineering. There are weaker signals such as those from microphones (Mic Level/Microphone Level) and instrument pickups (Instrument Level), and stronger signals, such as those used to drive headphones and loudspeakers (Speaker Level).