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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.
Older descriptions explained the design in terms of "impedance mismatch", or pressure waves "reflected" back into the enclosure; these descriptions are now considered outdated and inaccurate as technically the transmission line works through selective production of standing waves and constructive and destructive interference (see below).
A late 19th-century speaking trumpet used by firefighters A small sports megaphone for cheering at sporting events, next to a 3 in (8 cm) cigarette lighter for scale. From the Ancient Greek era to the nineteenth century, before the invention of electric loudspeakers and amplifiers, megaphone cones were used by people speaking to a large audience, to make their voice project more to a large ...
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).
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 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.
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