If the guy had earned a penny for every twin cone loudspeaker produced after his patent lapsed, he would easily have been a millionaire several times over. It was now that he began to produce the famous Voigt Corner Horn, which had a mains energised (200 volt, 42 watt) field coil, a single six inch cone, front mounted tractrix horn for the mids and highs and a quarter wave "bass chamber".Ī few years later, Voigt patented the "twin cone" cone. Voigt then left this outfit and set up his own company, Voigts Patents Ltd, after Edison Bell crashed in the Great Slump of 1933. It was here that Voigt patented an early condenser microphone and all electric recording cutting system, instead of the purely acoustic method. (which later became Edison Bell), manufacturing radios and records. R & K beat Voigt to the patent, thus denying Paul Voigt whatever fame and fortune was involved.Īt this time, Voigt was working for a small English company, J.E. Voigt.īack in the 1920s Voigt worked on the design of the moving coil loudspeaker, while unknown to him at the time, Rice & Kellogg were working on a very similar design, both using a medium sized 6 1/2 inch cone. It is based on the work initially of one gentleman, Mr. The Voigt Legacyīack to the thread, there is one speaker that is not hard to construct, is efficient, has output past 20 Khz, with no bloody treble ting or bass boom. One has to wonder how much better these loudspeakers could have been if the designers had used a cone tweeter instead _ presuming that any of the "big boys" in the loudspeaker chassis OEM market made any decent ones. Both speakers have a good reputation as far as imaging is concerned. Both speakers go out of their way to mask the diffraction and create a controlled dispersion pattern that at least tries to be in phase with itself. If you want good imaging, speakers SHOULD be directional, only then can they convey the original imaging data encoded in the original stereophonic signal. In practice this is a bit simplistic, but most seem to have ignored the facts, otherwise I am very sure the devilish things would not be so popular. So if you sit at an odd axis, the sound from the edge furthest away could be out of phase with the edge closest to you. Or more importantly, half a 10,312.5 Hz wave form.
Tannoy dual concentric ticonal alnico full#
16mm is the full wave length of a 20,625 Hz wave form. Imagine for a moment, you have a 16mm diameter voice coil dome tweet. The final problem with "domes" is the fact that most of the dome stays still, most of the sound comes off the edge of the voice coil rather than the mass of the dome. Stereo is supposed to be "3D", you do not need surround sound or quadraphonics to fill your room with "3D" sound. This gives the travelling sound wave a small amount of delay, which permanently "masks" the original fine imaging details of the recording, resulting in only LEFT - CENTRE - RIGHT imaging with no, or at least very little, depth of image. The problem is the sound "bounces" off the tweeter's face plate, the loudspeaker cabinet and nearby furniture. The idea of the dome is to disperse the sound as far as possible. Worse still, most makers add a "phasey" dome tweeter (any dome tweet, not just metal 'uns) to the act. 99% have crossovers in the 500-5000 Hz range, the area that your hearing and brain are most sensitive to. Getting hot under the collar? Cannot find that 100dB/watt speaker to use with yer flea powered single-ended tube amp? Fed up with power sapping crossovers, misaligned phase fouling multiway speakers? Tired of that metal dome tweeter ting and over Q'd bass? Well, read on. Reprinted with kind permission from Sound Practices #8 The Lowther-Voigt Legacy by Haden Boardman Lowther Club of Norway - TOWARDS PERFECTION
0 kommentar(er)
