joetama
5,000+ posts
The British Ear
Transmission Line Design... //content.invisioncic.com/y282845/emoticons/rolleyes.gif.c1fef805e9d1464d377451cd5bc18bfb.gifwhatcha google exactly?
Transmission Line Design... //content.invisioncic.com/y282845/emoticons/rolleyes.gif.c1fef805e9d1464d377451cd5bc18bfb.gifwhatcha google exactly?
I'm serious...funny man //content.invisioncic.com/y282845/emoticons/tongue.gif.6130eb82179565f6db8d26d6001dcd24.gif


Both of those rules are not good to follow and are way over generalized. That is just like saying:Two basic rules...
Ready...
TL area should be equal to or a little greater than the Sd of the drivers.
TL length should be 1/4 the wavelength of the Fs...
i replied to your pm last night broBoth of those rules are not good to follow and are way over generalized. That is just like saying:
Ported enclosures for 12" subs should be between 2-2.5 cubic feet.
Ported enclosures for 12" subs should be tuned between 32-35hz.
It's a terrible over generalization that may work out occasionally but will very rarely be optimal.
That's why I called them Basic... //content.invisioncic.com/y282845/emoticons/fyi.gif.9f1f679348da7204ce960cfc74bca8e0.gifBoth of those rules are not good to follow and are way over generalized. That is just like saying:
Ported enclosures for 12" subs should be between 2-2.5 cubic feet.
Ported enclosures for 12" subs should be tuned between 32-35hz.
It's a terrible over generalization that may work out occasionally but will very rarely be optimal.
I admit that I don't know much about TL's. I'm doing reading and trying to understand them. Several places that I have found list these rules as 2 basic principles that make up a TL. Is that wrong?But they do more harm than good. //content.invisioncic.com/y282845/emoticons/fyi.gif.9f1f679348da7204ce960cfc74bca8e0.gif
Spreading around information like that leads to people thinking they know what's going on when they really are just making a pipe organ chamber with a sub that drives it into resonance.
I've always found transmission lines intriguing, not only because of their attributes, but also because for so long their design was cloaked in mystery and conjecture, rules of thumb, and sometimes outright bunk. The recent works of Martin King and Augspurger, among others, have removed the veil on proper design-or at least made it somewhat more transparent.
Although their design process can be tricky, transmission lines provide an alternative solution to some basic acoustical challenges. Half of a driver's acoustic energy radiates from the back of the cone. In a sealed design, an attempt is made to dissipate this unwanted energy by absorbing it in stuffing, but in many cases a significant amount of energy reenters the cone- delayed in time, and revealed as response peaks due to internal standing waves. All of these effects cause distortion of the original signal.
A transmission line functions by using this wasted and unwanted acoustic energy in a positive manner. By encouraging standing waves of a single low frequency, and providing an opening (or terminus) out of which these standing waves can escape, the bass response of the driver can be extended. At the same time, the transmission line reduces the energy that reenters the cone and causes distortion. I chose the classic tapered transmission line design for its characteristic nearly linear impedance, uncolored sound, good bass extension, and simplicity of construction.