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  #11  
Old 12-16-2011, 03:55 AM
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Nothing against PMC in particular, but I find the.model nomenclature of many British speaker brands exceptionally confusing what with PMC OB1i, Harbeth P3ESR, Audio Note AN-E SPe, etc., it's like trying to keep track of the various models of Harley-Davidsons.
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  #12  
Old 12-16-2011, 11:13 AM
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Quote:
Originally Posted by Puma Cat View Post
Length of the transmission line.
I was looking for a little deeper answer.
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  #13  
Old 12-16-2011, 12:00 PM
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Quote:
Originally Posted by BuffaloBill View Post
I was looking for a little deeper answer.
I can't give you the technical answer as I'm not a speaker builder but here is a brief answer as why they play low.....PMC Ltd scroll down to techically speaking....maybe Ian can add to this.
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  #14  
Old 12-16-2011, 12:02 PM
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Quote:
Originally Posted by BuffaloBill View Post
I was looking for a little deeper answer.
Sorry, hope my answer didn't come across as supercilious.

I don't know very much about transmission line speakers, but my understanding is that the transmission line functions as a "folded horn" inside the cabinet, allowing a smaller driver to produce a lower fundamental bass response than other non t-line designs, e.g. acoustic suspension.

In particular, "transmission line" is the name of a specific audio speaker enclosure topology, in which sound from the back of the bass speaker chassis passes along a long (generally convoluted) path within the speaker enclosure. The energy is absorbed on this path, or emerges from the open end in phase with the sound radiated from the front of the driver, enhancing the output level at low frequencies. Note the key word in this description is a "long" path.

http://upload.wikimedia.org/wikipedi...ssion-line.png

Note that in this diagram, the bass driver is mounted up high in the cabinet to help provide additional length to the t-line, just as it is in the 24.

The reason this toplogy has not been utilized to the extent that acoustic suspension or bass reflex designs have is that it requires a more complex internal cabinet structure and therefore is more expensive to manufacture. For mass-produced low or mid-fi speakers, it simply cheaper to put a larger driver in a simple enclosed or ported box.

So, while my answer may have at first seemed supercilious, it is in fact the length of the t-line that allows a small 6.5 bass driver to produce bass response down to 28 Hz. . The design, shape, folding and port relationships are also critical adjustment parameters for the critical functional response, namely the bass response.

Hey, Jerome, it just occurred to me that one could apply Design of Experiments (DOE) here, too! (see my thread on DOE for sub integration in the general audio discussion forum).
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Last edited by Puma Cat; 12-16-2011 at 12:51 PM.
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  #15  
Old 12-16-2011, 12:09 PM
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Stephen.....click the link I provided above, simple but should shed a bit more as to why they get the low numbers....
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  #16  
Old 12-16-2011, 12:14 PM
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Quote:
Originally Posted by Puma Cat View Post
Nothing against PMC in particular, but I find the.model nomenclature of many British speaker brands exceptionally confusing what with PMC OB1i, Harbeth P3ESR, Audio Note AN-E SPe, etc., it's like trying to keep track of the various models of Harley-Davidsons.
You forgot to list Dynaudio
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  #17  
Old 12-16-2011, 12:35 PM
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Well, admittedly Dynaudio's lineup nomenclature isn't the clearest on the planet either, but there is some semblance of logic behind it, you have four basic product lines that are well differentiated from one another from a marketing, performance and price perspective: Excite, Focus, Contour, and Confidence (I'm specifically excluding the über-high end Evidence line which has only two speakers).

Then within a line you have a simple numbering system that goes from small to large as the speaker gets larger. For example, Focus 110, 220, 360 or Confidence C1, C2, C4, etc. Perhaps not the simplest nomenclature, but way less cryptic than many of the British manufacturers, IMO.
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Last edited by Puma Cat; 12-16-2011 at 12:45 PM.
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  #18  
Old 12-16-2011, 12:49 PM
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Quote:
Originally Posted by A/V Solutions View Post
Stephen.....click the link I provided above, simple but should shed a bit more as to why they get the low numbers....
Thanks, Jeff, I will definitely do that...I admit I am fascinated by this speaker design approach as it lends itself to DOE.
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Last edited by Puma Cat; 12-16-2011 at 12:52 PM.
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  #19  
Old 12-16-2011, 01:10 PM
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Quote:
Originally Posted by Puma Cat View Post
Sorry, hope my answer didn't come across as supercilious.

I don't know very much about transmission line speakers, but my understanding is that the transmission line functions as a "folded horn" inside the cabinet, allowing a smaller driver to produce a lower fundamental bass response than other non t-line designs, e.g. acoustic suspension.

In particular, "transmission line" is the name of a specific audio speaker enclosure topology, in which sound from the back of the bass speaker chassis passes along a long (generally convoluted) path within the speaker enclosure. The energy is absorbed on this path, or emerges from the open end in phase with the sound radiated from the front of the driver, enhancing the output level at low frequencies. Note the key word in this description is a "long" path.

http://upload.wikimedia.org/wikipedi...ssion-line.png

Note that in this diagram, the bass driver is mounted up high in the cabinet to help provide additional length to the t-line, just as it is in the 24.

The reason this toplogy has not been utilized to the extent that acoustic suspension or bass reflex designs have is that it requires a more complex internal cabinet structure and therefore is more expensive to manufacture. For mass-produced low or mid-fi speakers, it simply cheaper to put a larger driver in a simple enclosed or ported box.

So, while my answer may have at first seemed supercilious, it is in fact the length of the t-line that allows a small 6.5 bass driver to produce bass response down to 28 Hz. . The design, shape, folding and port relationships are also critical adjustment parameters for the critical functional response, namely the bass response.

Hey, Jerome, it just occurred to me that one could apply Design of Experiments (DOE) here, too! (see my thread on DOE for sub integration in the general audio discussion forum).
Very well explained Stephen !
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  #20  
Old 12-16-2011, 01:26 PM
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Quote:
Originally Posted by C220MC275 View Post
Very well explained Stephen !
We scientists can be useful around the house!
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Lumin P1 streamer/DAC/preamp, Constellation Inspiration integrated TT: Michell Gyro SE MkII, SME V, Koetsu Urushi Vermilion, EAR324. Harbeth 30.2s, REL R-305, Shunyata Alpha V2 ICs, Alpha V2 SPs, Sigma XC, Sigma NRv2, Omega QR-s & Alpha NRv2 PCs, segmented Altaira SG stack w/ Alpha & Omega CGCs, Everest 8000 PD. Remote Server Room: Uptone EtherREGEN, AfterDark Master Clock & LPS, Alita, Battle Angel, (Akasa NUC Roon Core), iFi DC Purifiers (for SMPS used for Alita & router), Shunyata Gemini combo power distributor & Altaira-type CG GP-NR hub, Venom & Alpha CGCs, Shunyata NRv14 power cords for digital components.
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