Desert Sunset Theater Build - Page 11

Looks great! IF I end up having to remove my dricore AGAIN, I'm going with the Delta-FL. I think, though, that I would use plywood instead of OSB. The one thing I notice is that OSB REALLY soaks up water.


I hauled in a about 20 bags and then paid some. uh, shall we say, "guest workers" to haul in the other 30 AND my 200 panels of dricore. Next to drywall hanging, finishing and painting, it's the best money I've spent so far!

I hope you don't find out, either. I CERTAINLY don't wish it on anyone else. I'm really hoping I can save it this time.

The B&C-DE250, and AE LF driver is a known, state of the art combo. You could always build them w/an outboard passive Xover, and eventually get into an active, dsp contoured, bi-amplified system. Power is cheap, dsp processing/ active Xovers are cheap. With the passive unit, you could have a known target, then voice to it.

Another option is the passive eD Cinema debut,...very reasonably priced. Another will be Mark Seaton's diy offering when it's released. It's a high end, diy cabinet, for an AE 12", and a comp HF.




The measure of directivity control that the horn/waveguide units offer is what could be of benefit. Not only does the waveguide offer directivity, but the larger 12" driver handling some MF energy, offers controled beamwidth at freqs approaching it's diameter.


Yes, HOM, or higher order modes, as discovered and layed out by Earl Geddes. The intra-horn reflections, prior to even exiting the horn, do exhibit some psycho-acoustic nastiness with some designs. Geddes addresses this with patented technique of open cell foam within the waveguide, thus attenuating side to side energy less than the energy directly exiting.


All this is academic, as you've got some superb loudspeakers. We all preach higher output designs etc., but those PBN's are some of the finest speakers around Most would be quite envious.


Good luck

He and I spent considerable amount of time visiting, while at CEDIA. One of the items we talked about was the DIY offering. They should be very nice, magnetic grills, nice cabinet, nice veneer, etc. Everything he does, he does very well.

I believe the eD offering is available now. IMO, it should be a steal,...for what it should be able to accomplish. But, the cool thing about the 3pi's, is Wayne's support,...another very bright audio guy.

The eD cinema's, are availed to us stock, or with upgraded drivers. I don't know the LF driver, however the HF upgrade is the ubiquitous B&C-DE250. Also, I'm aware of eD's customer service issues in the past. I've not heard of any problems in some time,..actually, quite the contrary. That said, anything can happen. WRT quality drivers if you do go horn/waveguide; I couldn't agree more. If you consider waveguides/horns, do it in the best way possible,..like you said, good quality drive units.

The B&C DE-250 is far and away the best, reasonably priced comp HF driver out there. Geddes uses them, with great success, in his work. Generally, everyone prefers it over others in it's price range. Above that you've got to explore BMS (really sweet, especially the coax compression), and then all the way up to TAD (stupid expensive, however they do things others can't). for a long time, I used TAD comp tweeters in the HF section of mains for live work. Wonderful, absolutely wonderful.


You've likely heard of Hales,..superb HiFi loudspeakers, over the past 20 years. Well Paul Hales has immersed himself into high output cinema territory. Generally, hifi stuff, brought into HT world can really suffer dynamically when attempting to fill a room with realistic levels. Well Hales new company, ProAudio Tech has some killer pieces. I sought them out, and I've heard their lower end products, and they're stunning. Their top line stuff is what I'd make if I were making my own DIY, cost no object. BMS coax, in a waveguide for pattern control, in the middle of a big MTM config. Anyway, check them out Pro Audio Tech. They've got full commercial cinema screen channel mains, all the way down to in-walls, which they demoed at CEDIA. They were unbelievable. Everything they do, employs compression HF. In their main demo room at CEDIA, they used their smallest product, a double 5" two way, in-wall. It certainly opened my eyes. It was highly capable.

My faves of their's that I'd like to hear are their double 15" MTM here. Nice pic here. One important aspect I feel is Hales' intimate understanding and experience with the importance of the cabinet's contribution. Bringing this to the high output arena, and combining his previous techniques with these superb drivers should yield outstanding results.

While visiting with the Pro Audio Tech staff at CEDIA, they explained how many mastering rooms, screening rooms, both commercial and private are adopting these loudspeakers. Those BMS coaxs are sweet. Combining them with solid cabinets, those waveguides, and dsp contouring is awesome.


Sorry for the OT post, thought you may be interested.

Good luck with that stage

I don't think they are that affordable,...they are absolutely top flight.

Wow, how did you learn to do all that? pretty impressive so far. Tagging along for the ride.

Looking very good so far. How wide and tall are the soffits?

Search is your friend!

Wow. Flying now. A relief I'm sure that everything is working. That skelton of the rear soffit looks impressive.

Soffits looking good.


I discovered the same thing. With music, (4)18"s aren't going to move much since the frequencies encountered aren't deep enough to really task them. With the exception of some synth tones, or huge pipe organ, only the deep/extended low special effects frequencies, played at higher levels will get those cones moving. I've found full spectrum rock music, guitars, bass, and drums, played back at live levels will tap the amps reserve way before the drivers are stressed. This clip light flickering is preferred over a nasty driver bottoming. Over-kill on the driver side of the equation is a good thing.



Nice idea, as much bass trapping as you can get without overly deadening the space in the MF/HF. Any additional bass traps? The other soffits perhaps? I did notice the panels straddling the front corners.



Good luck

btw; I'll bet you can't wait to get those PBN/Montana's in there

Nice soffits! What are you going to fill them with for bass trapping?

Nice work on the soffits and stage.. the room is coming together very nicely.

How wide did you make your hush box?

I remember that, those drivers are incredibly stiff,...prior to any extended use. Good luck with the bass traps.

I read somewhere that the typical 1/2" gypsum, 16" centers 2X4 wall actually provides some bass control. I would assume that the addition of mass for sound proofing hinders this affect, making extensive bass trapping even more essential. Not quite a cement bunker but close.
All the effort you have put in, plus all the effort it will take to acheive the results you are looking for...makes me even more content with my mediocrity.
Good luck and I look forward to seeing how you tame the beast.

Yes, there are porous absorbers, and pressure based absorption. Porous absorbers, like fiberglass, etc. bass traps, work ideally at the 1/4 wavelength point (the point of highest velocity). And yes, pressure based absorption, like a diagrammatic wall you're describing, is helpful in mitigating modal issues in small rooms by being a pressure based absorber and dissipating LF energy.

The actual spectral balance of the attenuation of a drywall/wood stud constructed wall, is outlined in Everest's Acoustics, as is other wall construction methods,...good read in tandem with Toole's Sound Reproduction.

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Stockmonkey,

Those 3 sides tri-corner traps look interesting, is that an off the shelf item, or is that a DIY effort? Do you have more?

Thanks

A man with some real knowledge. Thanks for articulating that which I only half remember and barely understand.