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Title: Eaw Dx810 Digital Audio Mixers User Manual, Author: Rossie Erne, Name: Eaw Dx810 Digital Audio Mixers User Manual, Length: 5 pages, Page: 2, Published: 2013-05-29 Issuu company logo Issuu. The EAW COMMERCIAL DX810 is really an install only unit. All the connections in and out are Phoenix-style connectors, all the routing and processing is done with the software interface and a computer. The latest version of EAW Pilot for control of UX processors and U-Net-enabled powered EAW loudspeakers is now available for download. EAW Pilot 1.2.22 provides the following update: Updated Firmware for NT, NTL and NTS Products — Firmware build 001.005.032.142 significantly improves U-Net communication and audio stability for all JF-NT, KF.

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Summary

• EAW DX8 - page 1

  DX 8 OL 2 4 7 10 15 20 25 30 35 40 50 OL 2 4 7 10 15 20 25 30 35 40 50 OL 2 4 7 10 15 20 25 30 35 40 50 OL 2 4 7 10 15 20 25 30 35 40 50 OL 2 4 7 10 15 20 25 30 35 40 50 OL 2 4 7 10 15 20 25 30 35 40 50 OL 2 4 7 10 15 20 25 30 35 40 50 12 15 9 6 3 0 3 6 9 12 15 2 OL 4 7 10 15 20 25 30 35 40 50 A B LOCK MODE POWER COMM PORT 1 2 3 4 5 6 7 8 HI LO EQ ...

• EAW DX8 - page 2

  2 – DX8 1. SAFETY INSTRUCTIONS 1. Read Instructions — Read all the safety and operation instructions before operating the DX8. 2. Retain Instructions — The safety and operating instructions should be kept for future reference. 3. HEED ALL W ARNINGS — Follow all warnings on the DX8 and in these operating instructions. 4. FOLLOW ALL INSTRUCTI ...

• EAW DX8 - page 3

  DX8 – 3 2. INTRODUCTION The DX8 is a DSP-based digital audio mixer and signal processor designed for use in a variety of installations such as churches, courtrooms, convention centers, and hotels. It provides eight universal inputs and two balanced outputs allowing true 8x2 mixing for stereo or dual-zone applications. The DX8 includes powerful si ...

• EAW DX8 - page 4

  4 – DX8 OL 2 4 7 10 15 20 25 30 35 40 50 OL 2 4 7 10 15 20 25 30 35 40 50 OL 2 4 7 10 15 20 25 30 35 40 50 OL 2 4 7 10 15 20 25 30 35 40 50 OL 2 4 7 10 15 20 25 30 35 40 50 OL 2 4 7 10 15 20 25 30 35 40 50 OL 2 4 7 10 15 20 25 30 35 40 50 12 15 9 6 3 0 3 6 9 12 15 2 OL 4 7 10 15 20 25 30 35 40 50 1 2 3 4 5 6 7 8 HI LO EQ A MASTE TRIM BUS A U +20 ...

• EAW DX8 - page 5

  DX8 – 5 2 OL 4 7 10 15 20 25 30 35 40 50 A B LOCK MODE POWER COMM PORT B A MASTER DX8 DIGIT AL MIXER B REMOTE BUS A RECORD A B OUTPUTS LOGIC I/O TRIM 8 M I C G A I N 0 60 T URING DA TE COMM PORT 12345678 LINE MIC - 30dB +30dB U N 0 0 dB PHANTOM POWER 48V DC 12 1 +5V 11 G1 G + – G + – G + – INPUTS OUTPUTS ON MODE This switch changes the fron ...

• EAW DX8 - page 6

  6 – DX8 B REMOTE BUS TRIM BUS A U +20 -20 A TRIM 1 RECORD A B OUTPUTS LOGIC I/O TRIM BUS B U +20 -20 TRIM 2 TRIM 3 TRIM 4 TRIM 5 TRIM 6 TRIM 7 TRIM 8 M I C G A I N 0 60 – + SERIAL NUMBER MANUFA CTURING DA TE COMM PORT DIRECT OUTPUTS 12345678 POWER INPUT 22 - 28V DC, 3A MAX 2345678 1 – + G G + – MIC LINE LINE LINE LINE MIC LINE MIC LINE MIC ...

• EAW DX8 - page 7

  DX8 – 7 3. INST ALLA TION APPLICA TION DIAGRAMS B REMOTE BUS TRIM BUS A U +20 -20 A TRIM 1 RECORD AB OUTPUTS LOGIC I/O TRIM BUS B U +20 -20 TRIM 2 TRIM 3 TRIM 4 TRIM 5 TRIM 6 TRIM 7 TRIM 8 M I C G A I N 06 0 – + SERIAL NUMBER MANUFA CTURING DA TE COMM PORT DIRECT OUTPUTS 12345678 POWER INPUT 22 - 28V DC, 3A MA X 2345678 1 – + G G + – MIC LI ...

• EAW DX8 - page 8

  8 – DX8 B REMOTE BUS TRIM BUS A U +20 -20 A TRIM 1 RECORD AB OUTPUTS LOGIC I/O TRIM BUS B U +20 -20 TRIM 2 TRIM 3 TRIM 4 TRIM 5 TRIM 6 TRIM 7 TRIM 8 M I C G A I N 06 0 – + SERIAL NUMBER MANUFA CTURING DATE COMM PORT DIRECT OUTPUTS 12345678 POWER INPUT 22 - 28V DC, 3A M AX 2345678 1 – + G G + – MIC LINE LINE LINE LINE MIC LINE MIC LINE MIC L ...

• EAW DX8 - page 9

  DX8 – 9 B REMOTE BUS TRIM BUS A U +20 -20 A TRIM 1 RECORD AB OUTPUTS LOGIC I/O TRIM BUS B U +20 -20 TRIM 2 TRIM 3 TRIM 4 TRIM 5 TRIM 6 TRIM 7 TRIM 8 M I C G A I N 06 0 – + SERIAL NUMBER MANUFACTURING D ATE COMM PORT DIRECT OUTPUTS 12345678 POWER INPUT 22 - 28V DC, 3A MAX 2345678 1 – + G G + – MIC LINE LINE LINE LINE MIC LINE MIC LINE MIC LI ...

• EAW DX8 - page 10

  10 – DX8 B REMOTE BUS TRIM BUS A U +20 -20 A TRIM 1 RECORD AB OUTPUTS LOGIC I/O TRIM BUS B U +20 -20 TRIM 2 TRIM 3 TRIM 4 TRIM 5 TRIM 6 TRIM 7 TRIM 8 M I C G A I N 06 0 – + SERIAL NUMBER MANUFACTURING DATE COMM PORT DIRECT OUTPUTS 12345678 POWER INPUT 22 - 28V DC, 3A MAX 2345678 1 – + G G + – MIC LINE LINE LINE LINE MIC LINE MIC LINE MIC LI ...

• EAW DX8 - page 11

  DX8 – 11 Application Diagrams A: T ypical Stereo Application This diagram depicts a simple setup, using the DX8 in a stereo application. A microphone is connected to the MIC input on channel 1 for paging purposes, and several program sources are connected to the LINE inputs on channels 3 through 8. B: T ypical T wo-Zone Application This configura ...

• EAW DX8 - page 12

  12 – DX8 CONNECTIONS Connecting Balanced Sources Use high-quality three-conductor cable for balanced connections, such as Star Quad by Belden, Canare, Mogami, etc. The better the shield, the better the audio signal is protected from induced EMI and RFI. Note: With screw-down connectors, it's best to use stranded wire that is not tinned. Sold ...

• EAW DX8 - page 13

  DX8 – 13 Strip the wire back about 1/4' inch, insert the wire as far as it will go into the appropriate hole in the supplied Phoenix-type connector , and tighten down the screw with a small slot-head screwdriver . It is recommended that you use 20 or 22 gauge wire with the Phoenix-type connectors. The OUTPUT connectors are wired as follows: ...

• EAW DX8 - page 14

  14 – DX8 4. OPERA TION Set the Levels MIC and LINE Input T rim The analog trim controls on the rear panel are not adjustable via the control software since these are in the analog domain, prior to the A/D converters. T o adjust the MIC and LINE TRIM controls: 1. Start the program source playback for Input 1 or , if a microphone is connected, have ...

• EAW DX8 - page 15

  DX8 – 15 Bus A and B Input T rim There is no metering after the BUS A and B input TRIM controls. These controls must be adjusted by ear . Start the program source playback for all sources connected to the BUS A or BUS B input. Slowly increase the TRIM control to the center position (12 o'clock), which is unity gain. Then adjust the TRIM cont ...

• EAW DX8 - page 16

  16 – DX8 DIRECT OUTPUTS The DIRECT OUTPUTS provide an unbalanced line- level signal from each of the 8 Input channels. This signal comes from the output of the preamplifier stage on each input channel, prior to the A/D converter and subsequent digital signal processing. Use the DIRECT OUTPUTS to connect a continuous music source (e.g., satellite ...

• EAW DX8 - page 17

  DX8 – 17 The logic functions assigned to each individual logic input and output are configured using the DX8- PC application. In addition, each logic input and output can be assigned a descriptive name (up to 32 characters) for easier identification within the PC application. Note: Logic I/O functions are set from the PC application o n ly . Logi ...

• EAW DX8 - page 18

  18 – DX8 4. T ype <drive>:DX8-PCSetup in the command line (where <drive> is the letter assigned to the CD drive, i.e., D drive, or the location on your hard drive where the file was downloaded). 5. Setup will install the DX8-PC application onto your PC. Y ou can accept the default directory , or specify a different location to insta ...

• EAW DX8 - page 19

  DX8 – 19 OVERVIEW The DX8-PC software application provides real-time control and configuration editing for the DX8 using a laptop or other PC-compatible computer . In addition to input and output level control and output EQ gain control, which is available on the front panel, the DX8-PC application provides control over each individual channel EQ ...

• EAW DX8 - page 20

  20 – DX8 Advanced DX8 Unit Info This opens a dialog box that contains the following information about the DX8 that is currently connected: Firmware Upgrade This allows you to select an OS Upgrade File to upload to the DX8 as they become available. Click on the Select File button in the Firmware Upgrade window and the Select OS Upgrade File window ...

• EAW DX8 - page 21

  DX8 – 21 Windows About This provides information about the DX8-PC software application, including the version and personnel credits. Close Window (ESC) This closes the window that is currently selected (front-most) on-screen. Close All (Ctrl+/) This closes all windows that are currently open on the screen, leaving just the main window open. Graph ...

• EAW DX8 - page 22

  22 – DX8 Presets The DX8 stores up to 16 presets, which can be recalled via the Presets drop-down box. Select a preset in the drop-down box and the settings are instantly recalled from the DX8 memory . Save T o Preset Click this button to save the current mixer settings on the DX8 to a preset. The 'Save T o Preset' window opens. Enter a ...

• EAW DX8 - page 23

  DX8 – 23 BUTTONS Views These four buttons open the Graphic EQ, Parametric EQ, Output Compressor , and Automix views, overlaid across the input section. Graphic EQ Click this button to open the 31-Band Graphic Equalizer window for the A and B outputs. Click and drag on a slider knob to adjust the EQ. The selected band ’ s GAIN and BAND (frequenc ...

• EAW DX8 - page 24

  24 – DX8 Compress • Ratio: This determines the change in output level as a function of the change in input level, once the threshold has been exceeded. It is calibrated in decibels, with a range from 1:1 (off) to 20:1. Thus, if it is set to 10:1, an increase in input level of 10 dB (assuming the input is above the threshold level), results in a ...

• EAW DX8 - page 25

  DX8 – 25 Each individual channel is attenuated by an amount, in dB, equal to the difference, in dB, between that channel ’ s level and the sum of all the channel levels. This keeps the overall system gain constant, and allows the system to deliver maximum acoustic gain without feedback. There are three parts to the automixing feature in the DX8 ...

• EAW DX8 - page 26

  26 – DX8 Use a control group to adjust the volume of two or more channels at the same time. All faders that are assigned to a control group will have their gain settings modified by the amount the control group fader is increased or decreased. For example, a control group might be used to adjust the overall volume for all the choir mics in a chur ...

• EAW DX8 - page 27

  DX8 – 27 Action Definitions Momentary means that the logic function is active as long as the Logic Input is held active. When the Logic Input is inactive, the logic function is inactive. Latch On means that the logic function is active and stays active once the Logic Input changes from inactive to active (logic high to logic low). Changing the Lo ...

• EAW DX8 - page 28

  28 – DX8 Mid Peaking EQ These two knobs control the gain ( ± 15 dB) and the center frequency (20Hz-20kHz) of the channel mid- frequency peaking EQ. Click and drag up or down to increase or decrease the settings of these controls. The actual settings are displayed in the two boxes above the knobs. Low Shelf EQ These two knobs control the gain ( ? ...

• EAW DX8 - page 29

  DX8 – 29 Output Strip Meter The output meter indicates the output signal level just after the output gain control and just prior to the D/A converter stage. These meters indicate the signal level in real time relative to maximum output level (+18 dBu) and follow the meters on the front panel, with the exception that they don't indicate gain ...

• EAW DX8 - page 30

  30 – DX8 DIRECT OUTPUT CHANNEL 1 32-BIT DSP CHANNELS 2-8 (IDENTICAL TO CH 1) INPUT METER INTERNAL DIGITAL BUSES ADC 24-BIT PHANTOM POWER +48 VDC DAC 24-BIT 31-BAND GRAPHIC EQ 5-BAND PARAMETRIC EQ MUTE ALC AUTO ALC AUTO A B TRIM +5V PC OR OTHER CONTROL DEVICE (OPTIONAL) PC OR OTHER CONTROL DEVICE (OPTIONAL) REMOTE CONTROL (OPTIONAL) DX8 OR eNET16 ...

• EAW DX8 - page 31

  DX8 – 31 DX8 SPECIFICA TIONS INPUTS / OUTPUTS Inputs 1-8: Balanced, Phoenix-type terminals Bus A and B: Balanced, Phoenix-type terminals, Direct to Mix Buses Master Outputs: Balanced, Phoenix-type terminals Record Outputs A/B: Unbalanced, RCA Direct Outputs 1-8: Unbalanced on DB15 (bottom row is signal return) Logic Inputs: 10 Inputs on DB25 Seri ...

• EAW DX8 - page 32

  32 – DX8 DX8 DIGITAL MIXER DX 8 Crosstalk (1kHz relative to 0 dBu, 20Hz-20kHz bandwidth, any line input to adjacent Direct Out): T rim to unity: < – 90 dB Frequency Response Mic input to any output: 20Hz – 20kHz, ± 0.5 dB Equivalent Input Noise (EIN) Mic in to Direct out, max gain, 150 ohm termination: – 129.5 dBm unweighted Common Mode ...

• EAW DX8 - page 33

  DX8 – 33 DISCLAIMER EA W Commercial continually engages in research related to product improvement, new materials, and production methods. Design refinements are introduced into existing products without notice as a routine expression of that philosophy . For this reason, any current EA W Commercial product may differ in some respect from its pub ...

• EAW DX8 - page 34

  34 – DX8 Appendix B: Logic Output Functions Logic Output Function Parameter Condition Inactive None None Inp Sig Present Input 1-8 Input Signal > – 40 dB Out Sig Present Output A Output A Signal > – 40 dB Output B Output B Signal > – 40 dB Input Chan Open Input 1-8 Input Gain > – 40 dB Output Chan Open Output A Output A Signal ...

• EAW DX8 - page 35

  DX8 – 35 DX-SW4 Remote Switch Control (4-button/4-LED) Switch Positions ID 1 through 8 Function Control 1 Control 2 Control 3 Control 4 0 00000000 Mute Input 1-4 (1) Mute Input 1 Mute Input 2 Mute Input 3 Mute Input 4 1 10000000 Mute Input 1-4 (2) Mute Input 1 Mute Input 2 Mute Input 3 Mute Input 4 2 01000000 Mute Input 5-8 (1) Mute Input 5 Mute ...

• EAW DX8 - page 36

  EA W Commercial A LOUD T echnologies Inc. Company EAW Commercial | Bldg 11 | One Main Street | Whitinsville, MA 01588 USA | TEL toll free within US/Canada 888.337.7404 TEL outside US 425.892.6503 | F AX 425.485.1152 | www .eawcommercial.com © 2004 LOUD T echnologies Inc. All Rights Reserved. ...

Documents that we receive from a manufacturer of a EAW DX8 can be divided into several groups. They are, among others:
- EAW technical drawings
- DX8 manuals
- EAW product data sheets
- information booklets
- or energy labels EAW DX8
All of them are important, but the most important information from the point of view of use of the device are in the user manual EAW DX8.

A group of documents referred to as user manuals is also divided into more specific types, such as: Installation manuals EAW DX8, service manual, brief instructions and user manuals EAW DX8. Depending on your needs, you should look for the document you need. In our website you can view the most popular manual of the product EAW DX8.

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A complete manual for the device EAW DX8, how should it look like?
A manual, also referred to as a user manual, or simply 'instructions' is a technical document designed to assist in the use EAW DX8 by users. Manuals are usually written by a technical writer, but in a language understandable to all users of EAW DX8.
A complete EAW manual, should contain several basic components. Some of them are less important, such as: cover / title page or copyright page. However, the remaining part should provide us with information that is important from the point of view of the user.
1. Preface and tips on how to use the manual EAW DX8 - At the beginning of each manual we should find clues about how to use the guidelines. It should include information about the location of the Contents of the EAW DX8, FAQ or common problems, i.e. places that are most often searched by users in each manual
2. Contents - index of all tips concerning the EAW DX8, that we can find in the current document
3. Tips how to use the basic functions of the device EAW DX8 - which should help us in our first steps of using EAW DX8
4. Troubleshooting - systematic sequence of activities that will help us diagnose and subsequently solve the most important problems with EAW DX8
5. FAQ - Frequently Asked Questions
6. Contact detailsInformation about where to look for contact to the manufacturer/service of EAW DX8 in a specific country, if it was not possible to solve the problem on our own.

The pure essence of music at Kipnis Studios (KSS). Review By Jeremy Kipnis “If your desire is to connect with your music, then you probably already have a substantial investment in your audio and, dare we say, video system. But even if you don’t, you might be surprised how obviously superior some speakers are to others. And that superiority can take many forms: size, shape, sound, and how they make you feel. Well, with the PureAudioProject’s latest loudspeaker design, the Quintet15 Horn1 takes its place among a cherished handful of great examples of speakers that are true music instruments. Donald Shaulis, from StereoTimes Review and Most Wanted Components Award, 2015′: “The PureAudioProject bridges the gap between pure DIY and completely hands-off prebuilt by shipping flat-packed open-baffle speakers which the buyer assembles.

Turns out that Full Range Single Driver Speakers are making a comeback in the audiophile world. Coupled with an. Given that speaker enclosures can be quite complex and that I am not gifted enough with wood working tools to really make a beautiful enclosure I opted for an open baffle design. These designs are in. The object of the exercise with these speakers was to overcome these limitations, and to accomplish this with an affordable open back design. The drivers I chose were the 8' Dayton Audio PS220-8 full range driver, mounted on a simple open back baffle at ear-level (35”) above a 15' H-frame Eminence. Open baffle loudspeakers reproduce bass with less room interaction. It is more articulate than from box speakers. If dipole behavior covers the full frequency range, then the room response becomes perceptually masked by the direct sound. The radiation from the rear of the cone must not be absorbed, but the distance to the.

This results in providing drivers and crossover components at a level of quality unprecedented even at several multiples of the Trio10 MundorfAMT’s price. PureAudioProject removes the guesswork and provides the opportunity for audiophiles to be involved in creating speakers that out-perform speakers costing much more”.

“The sound from these speakers (Trio15TB) was incredibly airy and effortless while the bass was surprisingly deep and robust. For this level of sound quality I would normally expect to pay five figures, which is why my jaw dropped to the floor when Ze’ev told me that the price is $3500. This speaker easily gets my vote for Best Speaker Value of the Show”, Malcolm J. Gomes, “PureAudioProject’s Trio15 TB speakers sounded more musical than almost every five-figured speaker at the show” “I found your room to be one of the very best in the Show. Accordingly, I am happy to ‘award’ (how pretentious) your room with a ‘Best in Show’ designation.”, Tim Smith. “I have been pinching and kicking myself for the past several weeks as I have been romancing the Trio15 PAP-Horn1; pinching myself to see if this is not an illusion, that the experience is as magical as I’m hearing”, Douglas Schroeder, DAGOGO, “I am blown away by the openness and the continuity from top to bottom.

I’m still breaking them in but Ludwig Streicher on his double bass is tactile, you can feel the room shake like a real double bass but with excellent detail and string feel. As it breaks in it is starting to give me the feeling of my Everest’s for 1/20th the cost and I can lift them, the JBL’s require 4 people.” Harry Weisfeld, founder of VPI Industries and an owner of, US “I have the Trio15 Voxativ and must say they are by far the best speakers I have heard or owned!!”, Greg A., customer, US ” These speakers – Trio15 Voxativ – are just absolutely Spectacular!!!

DIY Visaton BG 20 Single Driver Full Range. The BG 20 high efficiency full range drivers are excellent choice for. They were an open baffle design with closed.

The sound stage is “immense”, with so much depth and the detail is incredible. Every instrument and voice occupies it’s own space and blends together so beautifully, just so right ”, Scott L., US “Just like everybody will write: I am shocked!!”, Tony L., Customer, Taiwan.

“These speakers (Trio10 MundorfAMT) had it all – superb soundstage, perfect tonality, super open spacious sound that just destroys the walls in the room, all things that great open baffle speakers give you. But, what set this system apart was the laser like focus and lack of “misty” presentation almost every OB speaker has. Plus BASS SLAM.

I know you never thought you’d see the words bass slam and Open Baffle ever uttered together. But there it is. I am an OB lover, it’s what I’ve run in my home system for years and years and so I’m a bit jaded about them. But this room raised the bar substantially over every other available OB system I’ve heard. Massive congrats to them for this achievement”, Tyson. Self-assembly – modular – upgradeable – interchangeable Choose your size We offer three modular Open Baffle Platforms: • Trio10 – for medium and smaller rooms. 42cm [16.5″] wide 100cm [39.4″] high, W/W/T (Woofer/Woofer/Tweeter) configuration with PAP(Morel)1075 10″ Open Baffle Woofers and a variety of Tweeters or Full Range drivers • Trio15 – for medium and large rooms.

More feedback from customers: “Well, I’m now the proud owner of these wonderful speakers! My god, how good does it get?! We had several audio enthusiasts over a day after bringing these home and everyone was simply amazed! My system already sounded good, but these speakers are something special! I had never heard open baffle speakers before.

One of the people who listened to these was the actual manufacturer of my amps (OTL’s) – Peter McAllister of McAllister Audio. He was almost speechless! The ease of how these speakers work, the soundstage, the naturalness has elevated my system to a level I never thought possible. Drums sound like drums, pianos sound like pianos, etc., etc., etc. I have to listen to my whole library again!

“, Eldon D, Customer, Canada “Needless to say, I continued to be thrilled w/what the PAP Horns have brought to my system how much enjoyment they provide. My decision to purchase PureAudioProject speakers is reinforced every time I sit down to listen!”, Ray S., USA “Well, I finally finished my Open Baffle I wanted loudspeaker especially for my tube amp, I found them! I will not give you all the superlatives that your OB deserve, but it’s been a kind of shock that I waited a long time, in fact since I design loudspeaker! I listened to several systems about CHF 50’000.- but I had never really been seduced, it was good but not great, just a bit more balanced and a little more defined than what I was doing. And then, while I do not expect a big surprise as the OB are criticized, the slap! A scene, the live music! A real dream!”, Joel A., DIY Enthusiast, Switzerland “ All I can say is it took the speakers (Trio15 Voxativ) to a “much much” higher level, I mean beyond amazing.

I can’t stress enough how much better they sound now. Such a full rich deep smooth detailed sound, absolutely beautiful, goose bumps good, best I have ever heard by far. “, Scott F.L. Chinon Sound 7000 Manual. , Read more and Feedback.

I've been looking around doing some research on some full range open baffle speakers. These will be for music only and I may end up putting them on my pc for listening to lossless audio but even if I don't they will be for light use. No high spl's. I'm wanting to do this more for experimenting more than anything. Single driver, no crossover, open baffle so no enclosure resonances or other colorations, cheap, simple to make, easy all around.

I do want to do it decently right. I don't want to buy a closeout $2 driver and hope it works.

From the looking around I've done I will have to have a driver with a QTS higher than.5 and at least a couple or more mm of excursion. I'll only want these to respond down to 60 hz maximum and 120 hz minimum.

I figure I can build a cheap small sub to work below that. Fostex or seas drivers look the way to go. The fostex drivers are a little over $100 each and have a high sensitivity of 96 or 97 db/w. I'm a big researcher so I will probably spend the next month or more looking into this before I cut a hole in a board. Originally Posted by brandonnash Thoughts? I'm a big researcher so I will probably spend the next month or more looking into this before I cut a hole in a board.

To date I've not heard any OB designs I've liked (dynamic, electrostatic), and missed the chance on the w/e past to hear another set that might change my mind. Martin King has a couple of well written articles on his site using Fostex and Eminence A15 that you should read.

I'd also suggest trying to hear some first if you can: you may love 'em, you may hate 'em. Originally Posted by brandonnash I've been looking around doing some research on some full range open baffle speakers. These will be for music only and I may end up putting them on my pc for listening to lossless audio but even if I don't they will be for light use. No high spl's. I'm wanting to do this more for experimenting more than anything. Single driver, no crossover, open baffle so no enclosure resonances or other colorations, cheap, simple to make, easy all around.

I do want to do it decently right. That'll take at least a 2-way (to reach 100Hz) and either low sensitivity (accept 80dB/2.83V/1 meter) with expensive passive components or line-level compensation for dipole roll-off. Otherwise you end up with a multi-lobed polar response mess that doesn't sound natural or good even when running $40,000 a pair field coil Feastrex drivers. Originally Posted by A9X-308 To date I've not heard any OB designs I've liked (dynamic, electrostatic), and missed the chance on the w/e past to hear another set that might change my mind. Martin King has a couple of well written articles on his site using Fostex and Eminence A15 that you should read.

I'd also suggest trying to hear some first if you can: you may love 'em, you may hate 'em. I'd love to hear some. No one around me has any. That's the experimentation part. I figure if I don't like the sound I can sell the speaker or just the drivers.

Or try to keep them for a full range back loaded horn. I'll have a look at that link. Originally Posted by Drew Eckhardt That'll take at least a 2-way (to reach 100Hz) and either low sensitivity (accept 80dB/2.83V/1 meter) with expensive passive components or line-level compensation for dipole roll-off.

Otherwise you end up with a multi-lobed polar response mess that doesn't sound natural or good even when running $40,000 a pair field coil Feastrex drivers. Build something like Linkwitz's PMT1. Note the narrow baffle, low cross-over to the dome tweeter, and passive line-level shelving filter.

How would I have a polar response mess? I don't know why that's the only reason I'm asking. It would seem that (without seeing an impedance graph) the response overall would be prett linear and placement or acoustic treatments should be key in defeating any dipole reflections from walls. Like I said, I don't know and this is just for trying out more than anything. I'm not looking for an end all speaker system, but if there is potential I'll further experiment. One of the designs that at least in theory looks good is on.

The zen open baffle. It uses a hollow chamber to resonate lower frequencies much like blowing across the top of a coke bottle. That to me sounds at first like it shouldn't work (single frequency resonance) but he says the interior design acts nearly like a horn and catches a more broad band. Not sure how much I believe that but I guess if justin beiber, however you spell his name, can make a career singing horrible music to 8 year olds then anything is possible. Problem with his design is it uses his driver exlusively.

The driver is odd looking. Has some either huge magnet or odd attachment to the frame that makes it about 3x as deep. Originally Posted by brandonnash Get some discussion going here that's unusual. In that case, GREAT!

These boards could use some variety. I just heard some OBs on saturday. Can't say what the drivers were now. Heard a lot of speakers that day of the full range variety. Probably about 15 sets of full range all from the same designer of these OBs. And well, they weren't good.

They had a huge baffle made of plexi. They were run wide open without any filtering. They were interesting.

That's only one example. Just for the sake of discussion. Like I said, I heard a lot of stuff that day. For the money, the CSS EL70 wins hands down over and over. I listened to Alpairs, Fostex, Tang Bands, of all sizes and enclosure types. Some were better, barely, but for the money.

A number of people walked away buying the EL70s. Just not sure how suited they are to OB. They make crazy bass for a 4' though. I bought a pair to put on my desktop. Here's my measurement of the EL70 when I borrowed a pair a while ago: Spliced at 350hz nearfield in ported enclosure.

I wish someone would have a hifi show closer to TN. I'd like to be able to hear dozens of different designs in one day. All I can get here close to that is a ht/car audio shop. They have some high end stuff, but its all dynamic or electrostatics or klipsch reference lines. Nice stuff, but all pretty much run of the mill stuff.

The idea of the full range open baffle is what gets me. I'll post some links in a few that have some open baffle designs that look promising, but very very few I have seen anywhere incorporate full range drivers along with them. I'm running horn loaded on all 5.1 channels now and really enjoy the extra dynamics, but if there's an easy way to diy a bit of extra resolution out of a recording I want to try it.

Originally Posted by brandonnash How would I have a polar response mess? I don't know why that's the only reason I'm asking. Acoustic dipoles have a nice cosine-alpha polar response (-3dB at 45 degrees, -6dB at 60 degrees, -12dB at 75 degrees, etc.) with 4.8dB of directivity through about.25 v/D Hz with v the speed of sound and D the path length separation which approximately equals baffle width on rectangular baffles. Above that point the response broadens (reaching a 6dB on-axis peak at.5v/D Hz) and breaks down into a multi-lobed pattern approaching the dipole's first on axis null at v/D Hz. At.17 v/D the dipole's output matches a monopole's at the same excursion.

Solving for a domestically friendly foot wide baffle we find this occurs at 192Hz. The 'simple' solution is to use a wider baffle, with a two foot wide baffle pushing that point down to 96Hz. That produces a first dipole null at 565 Hz which is not the sort of thing you want to hear in the midrange.

The right solution is to use narrow baffles, boost the drivers' low ends electronically to get more bandwidth in fewer ways, and cross-them over to the next higher frequency driver before the polar response deteriorates. You get more wiggle room where the drivers are close to baffle width and are becoming directional on their own. You want to read Siegfried Linkwitz's web site (note the flower-shaped polar response at the first null) and John Krevosky's where he puts the upper limit of dipole usability somewhere between d/w (d path length separation, w wave length) =.5 and d/w = 1. It would seem that (without seeing an impedance graph) the response overall would be prett linear and placement or acoustic treatments should be key in defeating any dipole reflections from walls. Like I said, I don't know and this is just for trying out more than anything.

I'm not looking for an end all speaker system, but if there is potential I'll further experiment. I rank every open baffle speaker I've heard with an acoustically large baffle somewhere between bad and mediocre. As much as I like Nelson Pass (he's a great lecturer, really supportive of the DIY community, and does fine things with analog electronics) I include his big baffles (Bob?) in this category even when fitted with the $40,000 Feastrex field coil drivers run both full-range and crossed to dipole sub-woofers. If you want to use full-range drivers, try narrow back-loaded horns.

That can net subjectively great, natural sounding results (especially with the smaller drivers) and some bass. If you want to build dipoles (I built/own Orions, have heard v4, and listened to other similar speakers - all have been 'excellent' or better) accept acoustically narrow baffles, multiple drivers, and low-frequency equalization. I speculate that my subjective impressions come from what's going on with polar response (narrow baffle = excellent, acoustically large = bad; same driver in a box without the dipole issues = better; hearing of other speakers with more uniform polar response). Originally Posted by Drew Eckhardt Acoustic dipoles have a nice cosine-alpha polar response (-3dB at 45 degrees, -6dB at 60 degrees, -12dB at 75 degrees, etc.) with 4.8dB of directivity through about.25 v/D Hz with v the speed of sound and D the path length separation which approximately equals baffle width on rectangular baffles. Above that point the response broadens (reaching a 6dB on-axis peak at.5v/D Hz) and breaks down into a multi-lobed pattern approaching the dipole's first on axis null at v/D Hz.

At.17 v/D the dipole's output matches a monopole's at the same excursion. Solving for a domestically friendly foot wide baffle we find this occurs at 192Hz.

The 'simple' solution is to use a wider baffle, with a two foot wide baffle pushing that point down to 96Hz. That produces a first dipole null at 565 Hz which is not the sort of thing you want to hear in the midrange. The right solution is to use narrow baffles, boost the drivers' low ends electronically to get more bandwidth in fewer ways, and cross-them over to the next higher frequency driver before the polar response deteriorates. You get more wiggle room where the drivers are close to baffle width and are becoming directional on their own.

You want to read Siegfried Linkwitz's web site (note the flower-shaped polar response at the first null) and John Krevosky's where he puts the upper limit of dipole usability somewhere between d/w (d path length separation, w wave length) =.5 and d/w = 1. I rank every open baffle speaker I've heard with an acoustically large baffle somewhere between bad and mediocre. As much as I like Nelson Pass (he's a great lecturer, really supportive of the DIY community, and does fine things with analog electronics) I include his big baffles (Bob?) in this category even when fitted with the $40,000 Feastrex field coil drivers run both full-range and crossed to dipole sub-woofers.

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If you want to use full-range drivers, try narrow back-loaded horns. That can net subjectively great, natural sounding results (especially with the smaller drivers) and some bass.

If you want to build dipoles (I built/own Orions, have heard v4, and listened to other similar speakers - all have been 'excellent' or better) accept acoustically narrow baffles, multiple drivers, and low-frequency equalization. I speculate that my subjective impressions come from what's going on with polar response (narrow baffle = excellent, acoustically large = bad; same driver in a box without the dipole issues = better; hearing of other speakers with more uniform polar response) Would the same hold true for on axis and nearfield? And also do you have the same response in half space? Just trying to understand a bit more and if all the polar response anamolies are induced by room reaction or not. But overall a full range AND open baffle won't work too well but individually they're at least decent. Originally Posted by brandonnash Would the same hold true for on axis and nearfield? You still have the on-axis alternating pattern of nulls and +6dB peaks until the drivers become acoustically large with increased directivity and less sound wrapping around the baffle where it interferes destructively.

It's unclear how much of the problems are coming from on-axis response ripples, how much total power response helps mask that, how much disparity between on and off-axis hurt, and how that would change as you move into the near field where things your brain might identify as reflections have more delay and attenuation. Thanks for the replies Drew.

I think I'll decide on a decent set of full range drivers that will work ultimately in a rear loaded horn and may try them out first in a makeshift baffle just to see what happens. Won't hurt much or cost much to find out and I like learning and being proved wrong because from then on I won't be Any suggestions on a starting point for a nice full range driver?

I've been looking over on parts express and the dayton reference 8' has caught my eye. I love that the dayton as well as the fostex are so sensitive. Their power handling is not great but would be enough to seemingly reach 105-110 db so for my normal listening distortion should be rather low. EDIT: Now looking at the specs I don't think any of those full range will work. Q is too low but the xmax may be enough to work with.???? I guess what I'm trying to say is what benefit does open baffle vs baffless present! It takes fewer drivers to achieve the same bandwidth and SPL.

For instance, it will take two unbaffled 10' drivers to match the output of a single 10' driver in a 20' deep H-frame. The baffle gives you additional control over polar response. Note Don Maurer's measurements from his 30 prototypes The baffle also reduces diffraction ripple magnitude when crossing over to a conventional tweeter with an acoustically large mounting flange. Hi Jim, Believe it or not your speakers are what got me thinking of this in the first place. When I get an idea in my head it usually ends up being a 3 or 4 a.m.

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Night from reading and it just kind of snow balls. Hours of reading and watching youtube vids.

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I'd love to come up and have a listen sometime if that would be alright. I have a friend in nashville (also a long time avs member)that also has never heard an open baffle setup that would like to. I was explaining to him what I was wanting to do and he said he'd love to experience something like this. If you ever want to listen to the other spectrum of audio (full horns) I have a horn loaded 5.1 system. Every channel including subwoofer is horn loaded. Originally Posted by Drew Eckhardt A speaker with 'no' baffle still has the driver diaphragm and any surrounding basket structure. It takes fewer drivers to achieve the same bandwidth and SPL.

For instance, it will take two unbaffled 10' drivers to match the output of a single 10' driver in a 20' deep H-frame. The baffle gives you additional control over polar response. Note Don Maurer's measurements from his 30 prototypes The baffle also reduces diffraction ripple magnitude when crossing over to a conventional tweeter with an acoustically large mounting flange. Thanks for the response. Just Talked got an email from John at Acoustic Elegance about that same topic and he highlighted a lot of the same points. Apparently he will be doing his own build of ob speakers using his own dipole6, dipole15, and raal tweeter.

Im in between waiting to see johns design and building a DIY version of The Orion 4 Speakers by Linkwitz. Thanks For your help Dante. Would you consider coaxial drivers? If not, I hear good things about the 8 inch pioneer paper full range driver (if you can find it?) otherwise the tang band kapok drivers supposedly measure well.- The underhung design will keep inductance low alowing the driver to play higher and keep good bass output (in theory) You mention high qts- If i remember correctly- If you accept a high qts without controling the cone movement by putting it in a small box you are also accepting lower resolution to get you the low end extention. A wide baffle will increase the bass output, but horn loading the back and or front would do more.

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Lots of compromises to be decided between! Personally, I havent found a 'classic' full ranger that Im happy with. The closest is the old tannoy 15' monitors- but they are coaxial. Just my 2 cents.