http://www.tectonicaudiolabs.com/benefits/acoustical-performance/
Wow - everything I ever knew was wrong.
Wow - everything I ever knew was wrong.
Pointing an SPL meter at the Tectonic Plates is not an accurate measurement of excessive system output, as the DMLs are not producing a pistonic audio energy wave into the room; ie. not producing ‘Sound Pesssure’ that a meter is expecting to measure. SPL meter readings of the Tectonic Plates typically read about 7dB less than actual system output.
I was expecting them to use the word "Vortex" somewhere.
Yeah, why spend all that time and effort building wave-guides and stuff to have a coherent wavefront when a diffuse field is so much better?
And clearly, random transducer surface movement is much better than transducer break-up, everyone can see that. :thumbup:
Now can someone at Tectonic explain why their stuff is better than a panel full of 4 inch transducers, which surely is a lot simpler to implement? :roll:
The materials say that above 7kHz they use a ribbon with a wave guide, Per. I guess they won't completely ignore current standards.
Honestly if it works I'll be plenty excited to see someone other than Danley being creative.
The materials say that above 7kHz they use a ribbon with a wave guide, Per. I guess they won't completely ignore current standards.
Honestly if it works I'll be plenty excited to see someone other than Danley being creative.
The ribbon drivers are from the dutch company Stage Accompany, type SA8535 without horn (since TectonicAudiolabs claims only 103dB/1W/1m for the ribbon). I have some SA Champ C24S (12" + 8535 ribbon driver with horn). Sounds great! SA ribbon specs: http://www.stageaccompany.com/support/downloadnew/8535_techdoc.pdf.
Where did you find the crossover frequency (7kHz)? That's quite high. A lower crossover frequency (1-2kHz) would make the claim of covering a 5000 seat venue with several ribbons/plates unrealistic, but this high crossover frequency could enable handling the load for the ribbons.
Can't wait to hear them in real life...
Link?Preliminary specs on this page.
Link?
So how is 165° below 7Khz (assumed crossover based on posts here) and 10° vertical above 7KHz a "good thing"?
So how is 165° below 7Khz (assumed crossover based on posts here) and 10° vertical above 7KHz a "good thing"?
That means that only a few people will get the top octave.
Maybe I am missing something---------------------
Ivan - I need your expert opinion on something.
I know the common sense answer but I need something a bit more scientific.
Take a 18 inch by 20 inch aluminum honeycomb panel, stick a few surface transducers on it
Now shake the thing at 2khz. Assuming that the whole surface is moving at the same time in the same direction (in phase), what does the polar plot look like?
What does it look like if the whole wall is oscillating?
This is a big "it depends" and would really require measurement to see what is actually going on.
A lot of it will depend on the placement of the drivers (in relation to each other and the edges of the plate and the freq being used.
It the whole plate was moving like a piston-that would be one thing, but I don't see anyway that it can-because of all of the different starting places of sound-just like a "unmentionable type of cabinet ". So the polar "I suspect" would have lots of finger lobes.
A single driver in the middle would have a lot less "lobing".
Yes sound travels much faster though a solid than through air the normal spacing equations don't work. But I don't see how a piece of material with several "starting points" could move truly as a piston. Maybe kind of, but not as well as with a single driver attached to it. But of course a single driver probably does not have enough strength to make enough sound pressure as desired.
Since the freq will vary-so will all the resonant modes (additions and cancellations)
A "guess" would be that you would get a lot of "free sound" (sound that did not go into the device) as a result, but I have no experience with this and this is purely conjecture.