A little diyaudio story, part 1 

My oldest daughter has a stereo system in her room, and when she started cranking out all the tunes kids today listen to it was, despite the somewhat lacking choice in music, a proud moment for me.
Here is a very short summary of the setup and the story behind that particular build.

It was in the year 2012, and I had some issues with room modes with my 312 liter TH (tapped horn) sub (more about that in a future post).
I was considering building some new subs with the port/aperture and driver further away from corners and side walls. The general idea was to reduce the potential for "room loading", as sound changes because of reflections, causing disturbances through phase shifts. Nulls and peaks at various points in the intended pass band is the most commonly observed result of this phenomenon.

Through the help of fellow members at diyaudio I was able to decide on a specific design: T-TQWT (Tapped-Tapered Quarter Wave Tube), and some very nice but cheap drivers: Beyma 12BR70.

Here is the input for the hornresp simulation, hornresp is a wonderful program created by David Mcbean. He probably most active in a sticky thread under the subwoofer section of diyaudio.

Here are some pictures of the enclosures, before sanding and finishing.

And the wonderful Beyma 12BR70 drivers

And lastly, here is a picture of the subs + tops in their current living arrangements.

Living a happy life in the room of a soon-to-be 9 year old girl. In the near future I will dust off some minidsp boards I have laying about, and see if they can be put to use. For amplifiers, in this setting, I will probably put together a TPA3255 in SE mode, which will enable the use of 4 separate channels, perfect for the old minidsp 2 x 4 kits I have some of.

 

That's it for this time, if there is any interest I will try to make a short summary of my other systems as well.

- KaffiMann

Kaffi 101

KaffiMann

This is a collection of some tunes from KaffiMann. The selection is meant to be an easy introduction to his sound signature, and the variations he's come to rely on for rhythm and melodies. He is not averse to playing with variying levels of distortion and intensity. As opposed to most other music today, his approach to mastering and general sound signature is to avoid compression and limiting. There are no automated processes in any patterns or sounds. It is all done carefully and slowly, gentle tweaking throughout each and every track.
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