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Will a svt 18e support a 810 cab?
- Thread starter Matt sroka
- Start date
Yep, I've been an engineer for the past 40 years. (Goodness! Where did the time go??)
And to answer your question about the "headphone phenomenon", please see Agedhorse's post #40, particularly the words "each point on the wave." That's why your ears can be *anywhere* along the wavelength. You don't need to be 28 feet away from a 40hz source to hear the full sound. The full sound occurs anywhere along that wavelength. That's why headphones and earbuds work. There is no "full wavelength" needed. Btw, @agedhorse is an engineer as well.
And with that, good sir, I will take this opportunity to apologize to you for failing to effectively teach. My failure in that regard is quite clear. So I will end our conversation with one of my favorite quotes from Neil deGrasse Tyson: "The good thing about science is that it's true whether or not you believe in it."
Take care fourstring. I wish you well!
I don’t understand how you can’t hear an 810?! I’m 6’1” and play a 212 combo that sits on the floor and hear it just fine.
Always good to break thread with you my friend. As we say in the punk world... Anything worth doing winds up hurting like Hell.Army, I like how you roll!
Well I hope that you don't have an expensive amp. It would've been a terrible shame to waste all of that money on your knee caps.
Science. The angle of dispersion is inversely proportional to the size of the radiating plane. Since the height of the radiating plane of a 212 combo is about 1/3 to 1/4 that of a 810 it will have between three and four times the vertical dispersion of an 810. It's not a problem for the audience, they're far enough away to be within the cone shaped radiation pattern of the 810, but a taller player standing close to it may have all the mids and highs pass below his ears.
Or whether or not you understand it.
Does cone depth (actually I'm thinking the angle of the cone) also effect dispersion?
I don't know, I've never seen any data on that. It does affect the high frequency response, since there can be 180 degrees of phase shift between what's coming off the dome and what's coming off the edge of the cone. Say the dome is three inches behind the cone edge. That's 180 degrees at 2250 Hz. An eighteen could have that much cone depth, but you shouldn't use an eighteen that high anyway, because an eighteen will beam above 800 Hz or so.
Well, I tried to help you understand, but feel free to believe what you wish, good sir!
Here's a fun test for ya: I googled "40hz tone" and found the link below. Play it on your computer speakers. If you can't hear anything until you are at least 28 feet away from your speakers, then you are correct about needing 28 feet for the 40hz sound wave to develop. But if you can hear it any closer than that, then you will have learned.
Unfortunatelly the vid has absolutely nothing in common with different phase shift of cabs
You are correct! That vid was addressing an entirely separate issue that one of the posters brought up.
See posts 13, 16, 18, 20, 21, and 22 in this thread.Interestingly there is this effect of "pressure chamber effect" that makes it possible to hear low frequencies in a small room where the chamber on its own is to small to emerge an acoustical wave. There is no more acoustical wave present but, there is still pressure that makes low frequencies possible, like it happens with headphones.
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okcrum
in your chest
Just think if you had to back off a microphone a few feet to let those low notes form before they hit the diaphragm! Gigs would turn into visual comedy. Every band (even the dad bands) would be jumping around like wounded ducks, as Kid Rock would say. 
I'm laughing now at the mental image of this.
I'm laughing now at the mental image of this.
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Yeah, the Bass Player from the killers does it with big HiWatt cabs.(I think they're 8X10's)
That's what I'd lean towards. Get it? Lean?
The pun is no good if you have to explain it!!
