Tapped Horn. Possible to explain its advantages in basic terms?

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  • frascati
    Member
    • Nov 2009
    • 82

    Tapped Horn. Possible to explain its advantages in basic terms?

    I'm not inviting controversy. I'm sincere. First off, I have no formal training in physics or acoustics and am not even what could be considered intermediate with regard to speaker design. I'm posting this here since htguide members seem to represent a realtively smaller, and relatively less broadly esoteric (i mean that in the most complementary way...fewer threads about cryogenic treatment of sintered unobtainium speaker spikes) approach to design. I hope that means any discussion is more likely to stay reasonable and stay on the rails.

    I've generally been aware of a minority of tapped horn enthusiasts on the boards. An interesting category of approach to design. But recently I've had reason to look farther into it, specific to subwoofers, and am not, at present, very comfortable with some of the claims being made. To the point... If a 35 dollar eight inch woofer in a smaller (relatively) TH cabinet can equal or exceed the performance of a high xmax, high quality,150 to 300 dollar subwoofer driver such as the Dayton RSS, Peerless XXLS, Shiva, Acoustic Elegance, RythmikAudio, etc,... and 95 percent of subwoofer builders/designers out there are utilizing the latter drivers in sealed or reflex cabinets, then have all the latter simply just not gotten it yet? Including the majority of commercial designers? Including the majority of pro-sound designers/vendors/users? I don't mean sarcasm there. It's a serious question. The threads dedicated to TH sub builds lay claim throughout of "measuring flat to xx Hz" with small, high excursion drivers, using 1/6 of the wattage of simpler sealed or reflex designs, in TH cabinets equal in size or smaller. They appear to have all the data and graphs to back the claims.

    It's sometimes noted that build complexity accounts for the relative lack of interest. But looking at many of the skills and effort put into most peoples subs I kind of doubt that is what's keeping them off. Quite often the bracing alone in such builds is more complex than the tapered baffles in a TH. Harder to model? Again, many designers are making use of software for such. So, with such demonstrable superiority, is the tapped horn going to dominate the landscape in short order?

    Perhaps my non technical background allows me to wonder from the very start. The theoretical jargon means very little to me so I just skip to the end of the story. And I'm left trying to digest a claim similar to "this 35hp vehicle, at 70mpg, due to the continuously variable transmission, chassis design, and advanced aerodynamics, will equal and/or exceed, by all measures, the performance of your 280hp, 20mpg vehicle. Here are the graphs and testimonials to prove it." And my well earned consumer skepticism tells me pretty quickly to beware... I may not getting the full story here. Am I missing some fundamental of acoustics/physics that can only be gained in the classroom?

    I'm familiar enough with motor vehicles, having driven dozens of makes and models in widely varying circumstances over the course of thirty years to make some pretty accurate guesses as to where that 35hp vehicle will not equal or exceed the 280 hp model. I'm far less acquainted with the performance of speaker systems of varying design. Maybe my analogy is poor. My laptop is 1/1000th the size of the 1946 ENIAC, consumes 1/1000th the energy, and performs 100,000,000 times better, by all measures. But a laptop's performance is not actually quantified by energy (spl, acceleration, torque) on the order of a subwoofer or automobile. So what am I missing?
  • Bear
    Super Senior Member
    • Dec 2008
    • 1038

    #2
    Originally posted by frascati
    If a 35 dollar eight inch woofer in a smaller (relatively) TH cabinet can equal or exceed the performance of a high xmax, high quality,150 to 300 dollar subwoofer driver such as the Dayton RSS, Peerless XXLS, Shiva, Acoustic Elegance, RythmikAudio, etc,... and 95 percent of subwoofer builders/designers out there are utilizing the latter drivers in sealed or reflex cabinets, then have all the latter simply just not gotten it yet? Including the majority of commercial designers? Including the majority of pro-sound designers/vendors/users? I don't mean sarcasm there. It's a serious question. The threads dedicated to TH sub builds lay claim throughout of "measuring flat to xx Hz" with small, high excursion drivers, using 1/6 of the wattage of simpler sealed or reflex designs, in TH cabinets equal in size or smaller. They appear to have all the data and graphs to back the claims.
    I don't have the level of expertise to settle your questions, but perhaps I can help frame them a bit more for others to pick apart. What you seem to be wrestling with is a few interrelated factors, but the biggest of which is known simply as Hoffman's Iron Law (from J.A. Hoffman -- the "H" in KLH...). Hoffman's Iron Law essentially says that there is a tradeoff between efficiency, cabinet size and "reach" for a woofer/subwoofer.

    Jim Salk has a pretty good article talking about it:


    When talking about subwoofers, the typical cabinets have often been sealed or vented. A sealed cabinet works best when it acts fully as a sink for the energy from the backwave of the driver. In other words, the sound generated by the rear of the driver is completely absorbed. A theoretical driver would lose half of its maximum output from this, but the reality of magnets and frames (aka masking) mean that this theoretical maximum isn't real. It also means that there are some important questions not asked about the horn (foreshadowing).

    A vented enclosure is a helmholtz resonator, which means that there is reinforcing sound created by air moving across the mouth of the vent. Here is a decent explanation of what's going on Using the Google quickly:



    Note, again, that this design also isolates the rear wave (mostly) from entering the room. People more knowledgeable than I am can chime in on how the rear wave interacts with the mouth of the vent inside the box.

    Contrast these to the Tapped Horn. Horns are well known, and for bass response, they have tended to be Really, Really BIG! Since we can't get around thermodynamics, what you get in increased efficiency from a horn is a concentration of the energy (think about the change from 4pi to 2pi space when talking about baffle step or with "constant directivity" line arrays -- now go from 2pi to something much less...). Basically, what you are doing in a horn is focusing the wave.

    The tapped horn model is like the above, but with the added effect of recapturing the energy from the back wave. The problem here is that we now introduce constructive and destructive interference into the equation right in the heart of the loudspeaker. Constructive interference is when two waves are synchronized in their phase (when one wave is at its peak, so is the other). This leads to the amplitudes being additive.

    Destructive interference is the converse. When two waves are completely unsynchronized (one's peak is another's valley), then the energy cancels out, and the wave dies. When people talk about "comb filtering", this is a practical result of constructive and destructive interference. A tapped horn is essentially trying to use constructive interference in a narrow frequency range to generate more sound from a given power input.

    Here's the Wikipedia entry on Interference:


    The question, then, is whether this is really any good, right? The theoretical models show decent gain within a relatively narrow passband that seems well-suited for subwoofer use. However, most/all of the frequency response graphs posted look like utter garbage outside of that limited passband. When thinking about integrating one of these into higher-frequency reproduction, this becomes material.

    Then you have to think about distortion. It would be good to see not only the frequency response graphs, but also distortion products. All of that interference will also have effects on the harmonic distortion, and that's before you get to the issues from having the rear of the driver structure create diffraction. For a tapped horn, a typical heavily-masked long-throw subwoofer with a huge magnet structure isn't going to be the best choice to stick into the middle of your wavefront. You'd want something with a wide-open frame and a small, powerful magnet structure to minimize these issues.

    So, to my limited understanding, what you tradeoff by going the route of the tapped horn is sensitivity and reach for things like distortion, directivity and frequency response. While I expect almost all of what I've written, above, to be torn apart, hopefully it can help further the discussion into some of the technical issues others are more qualified to discuss.
    Welcome to Rivendell, Mr. Anderson.

    Comment

    • frascati
      Member
      • Nov 2009
      • 82

      #3
      I don't have the level of expertise to settle your questions
      With that, if you don' t have the expertise, then I'm so far behind this curve that I may as well give up

      If/when, anyone is brave enough to really take this on from a solid engineering background, I'm hoping that they will include some answer to the core question. Why, if it incorporates such extraordinary cost savings in weight and driver cost, is it not dominating the commercial/diy/professional designs by the numbers? The ideas have been around for while. What does everyone know that I don't?

      Comment

      • BOBinGA
        Senior Member
        • Mar 2009
        • 303

        #4
        Interesting questions. If I understand tapped horns (and I have very little understanding), you need a tunnel 1/4 wavelength of the lowest frequency you want. For 20 Hz, that would be 14 ft. No matter how you fold it, it's still going to be huge. So WAF is probably the primary reason they are not more commercially viable. Second, tapped horns play loud, but not low (unless you make them huge). I can get 20 Hz out of a 2 cu.ft. ported box and a ten inch woofer (albeit not nearly as loud), so I'm faced with small box, deep bass, 100db vs. huge box, deep bass, 115 db (Hoffman's Iron Law). I'm guessing that most people would chose small box and give up the extra efficiency. Am I correct in my assumptions about the size of a horn? If I'm wrong, maybe I will reconsider horns.

        -Bob
        -Bob

        The PEDS 2.1 mini system
        My A7 Project - another small desktop speaker
        The B3 Hybrid Dipole - thread incomplete and outdated

        Comment

        • Bear
          Super Senior Member
          • Dec 2008
          • 1038

          #5
          Originally posted by BOBinGA
          Interesting questions. If I understand tapped horns (and I have very little understanding), you need a tunnel 1/4 wavelength of the lowest frequency you want. For 20 Hz, that would be 14 ft. No matter how you fold it, it's still going to be huge. So WAF is probably the primary reason they are not more commercially viable. Second, tapped horns play loud, but not low (unless you make them huge). I can get 20 Hz out of a 2 cu.ft. ported box and a ten inch woofer (albeit not nearly as loud), so I'm faced with small box, deep bass, 100db vs. huge box, deep bass, 115 db (Hoffman's Iron Law). I'm guessing that most people would chose small box and give up the extra efficiency. Am I correct in my assumptions about the size of a horn? If I'm wrong, maybe I will reconsider horns.

          -Bob
          No, you are not wrong. The deep bass monsters that seem to be prevalent in the DIY community are still pretty sizeable beasts (think refrigerator, not shoe box). With a long excursion woofer, a smaller sealed box and acres of amplifier power, you can get similar results that are much, much easier to integrated sonically into your main speakers. Yes, you have to use a fair bit of EQ to flatten the response curve, but that's probably less objectionable than needing a ton of EQ to effect a crossover such that the mid-bass isn't flabby and your lower midrange isn't garbled.

          The best analogy that I can think of is this: do you want to drive a Top Fuel Dragster or Funny Car, or do you want to drive an F1 car? If your sole consideration (as I understand it) is loud, deep bass, then go with a horn. If you want something that can accelerate, brake, turn corners, and have a decent top speed, then go with a sealed sub. Vented might be NASCAR to continue the analogy...

          Originally posted by frascati
          With that, if you don' t have the expertise, then I'm so far behind this curve that I may as well give up
          Often wrong, never in doubt. ;-) I've learned A LOT, but I have a truly staggering amount yet to learn to even begin to consider myself vaguely knowledgeable.

          If/when, anyone is brave enough to really take this on from a solid engineering background, I'm hoping that they will include some answer to the core question. Why, if it incorporates such extraordinary cost savings in weight and driver cost, is it not dominating the commercial/diy/professional designs by the numbers? The ideas have been around for while. What does everyone know that I don't?
          I really want to see the distortion measurements. That's where I expect the rubber to meet the road for the "cheap driver" vs. "expensive driver" stuff. If I have a speaker with garbage at 40Hz, then I get less objectionable garbage at 80Hz (F2) that is still hard to localize. However, my higher-order distortion products (F3, F5) are all easily audible and easily localizable.
          Welcome to Rivendell, Mr. Anderson.

          Comment

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