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In the Forum: Horn-Loaded Speakers
In the Thread: Macondo’s Midbass Project – the grown up time.

Post Subject: It looks like how it worksPosted by Romy the Cat on: 6/5/2013

The effect indeed is very interesting. I think it has to do with some complex phase interaction what the high knee of ULF squashes the lower knee of midbass. From general perspective I would say that this is not good as I would prefer to observe summation not cancelation. However, this all happens at lower octaves where it very hard to manage anything phase related as the length of the wave is very long. Hypothetically one can run the ULF at a specific phase point. Like cheap subwoofers have a phase dialers that allow selecting any of the 360 degree point. Then we could dial in the exact phase, assuring that we have phase summation at midbass/ULF interaction. There are two problems with this approach. First it is impossible, or very hard to make delays with screwing with sound. At LF it is somehow possible but it is very, very, very hard. Second if we do have the proper midbass/ULF interaction then the midbass have to be build taking this ULF-inspired decay under consideration. It is practically impossible as to observe the effect possible ONLY after the midbass is build. Looking at the reality of a real life room and some absurd cannels positioning (like midbass in my room) it is unfeasible to predict anything in design stage.

In practical world I think the way how it is done in Macondo is very optimal. The midbass is made as it shell be but the ULF is sitting at transition slope. The fact that it is at transition slope made is very very flexible and it might run at virtually unlimited gain. So, sliding the ULF up and down of the transition slope I in reality modulate the ULF decay, do I do summation or cancelation, I do not really know if it is summation or cancelation and do not particularly case. This is not how I envisioned it before but it looks like how it works…

The Cat

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