christos77
Master of Diffusion
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και εγω ροζι νομιζα κανονικο φλιτ , να το παρω να φλιταρω πεντε, εξη, ΄΄αφυσικους΄΄ γειτονες.
Most visitors online was 2716 , on 5 Dec 2023
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Καλώς ήρθατε στο AVsite! Ελάτε στην παρέα μας κάνοντας εγγραφή!
Μηχανική γείωση, απομόνωση, ''αντικραδασμικά"
- Thread starter costas EAR
- Ημερομηνία δημιουργίας
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Συγνωμη Χρηστοεβδομηνταεφταρι θωρω ετονα το απαρχαιομενο μπουστο απου χεις στο αβαταρ σου και σκεφτομαι ηντα σχεση να χεικαι εγω ροζι νομιζα κανονικο φλιτ , να το παρω να φλιταρω πεντε, εξη, ΄΄αφυσικους΄΄ γειτονες.
δηλαδη γραμματικως ... μπουστο το να μπουστο τα λλο ....
christos77
Master of Diffusion
- Μηνύματα
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- 14.675
δεν παιζεσαι, κλαιω 
- Μηνύματα
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μρε δε μ αφηνει η πλατυφορμα ν ανεβασω εκιονα που θελω γιατι ναι λεει πολλα μεγαλοδεν παιζεσαι, κλαιω
... αλλλα εγω ρωτω γραματικως ξαναλεω μιας και ανε θυμουμαι καλως εχεις σχεσεις με φιλολογους - κι εγω ειχα μα με συνδεσανε με ντη βιβλιοθηκη στο κα"ιρο ....
dapost
Rehdeko & Harbeth lover
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- 11.438
After I attended the launch event for the Q Acoustics Concept 300 with John Atkinson, I found myself interested in this speaker's unique stands—which, as JA points out in his review, incorporate a sprung, low-pass vibration filter to isolate the speaker from its surroundings, much as a suspended turntable isolates the platter from floor-borne vibrations.
It's an interesting idea—especially in the context of a dynamic loudspeaker, which has drivers moving in and out over a wide range of frequencies. When a driver cone moves, its motion imparts a reactive force on the cabinet that holds the drivers (think: Newton's First Law). With rigid spikes, that recoil energy can escape into the floor. A sprung suspension—in contrast to rigid spikes—allows the loudspeaker to move in response to those forces, the motion limited only by its own mass/inertia. Transmission of that energy to the floor isn't possible above the corner frequency of the low-pass filter formed by the speaker's mass and the compliance of the sprung suspension. According to what some Q Acoustics engineers told me, that corner frequency is likely to be around 10Hz.
If your floors are made of wood and your loudspeakers have spikes, you may find that your floors make music, too: Turn up the volume and put your ear to the floor. Hear it? That sound is partly transmitted through the air (even so, with rigid spikes, some of that energy could make its way backinto the speaker with no isolation), but it is also due to the speaker coupling directly to the floor through the spikes. The floor is now part of your loudspeaker, but not a very good part, as the energy it radiates is delayed and distorted relative to the music the speaker drivers are producing.
What if your floor is made of concrete instead of wood? Then the floor will influence the sound in a different way; as a former resident of a concrete-and-steel condo building, I can attest that concrete can transmit low frequencies exceedingly well, and over long distances.
In other words, with rigid spikes, the floor affects how the speaker sounds in ways that can't be predicted reliably by the speaker designer.
If, instead, you isolate the loudspeaker vibrations from the floor as you would isolate a suspended turntable platter from the surface the turntable sits on—employing a low-pass filter so that higher-frequency vibrations don't pass—then the loudspeaker will behave the same way no matter what kind of floor it sits on.
The following comes from the Q Acoustics engineering team: "Spikes provide a mechanical connection/coupling to the boundary that the speaker is resting on, and the boundary will impart its sound characteristic to the overall sound in the room (and surrounding structures!). With the C300, we chose to isolate the speaker from mechanically coupling to foreign structures, thus controlling/significantly reducing any colorations/delayed sounds that can alter the pure acoustic signature of the speaker."
Two other designers I talked to told me that any reactive motion of the cabinet should be prevented—ie by rigid spikes—lest the cabinet motion smear the sound, especially that coming from the tweeter. Q Acoustics says such matters are managed by using a massive cabinet: That mass imparts considerable inertia, so it doesn't move much. One oft-cited sonic problem with such an approach is smearing of the stereo image—but apparently not here, since JA found the Concept 300's images to be "superbly stable" and "well-defined."
I like the idea of isolating a loudspeaker from supporting structures that will influence its sound in unpredictable ways, but I cannot judge what other effects this will have. Ultimately, whether Q Acoustics' suspension approach is, um, sound is up to your ears to determine.—Jim Austin
www.stereophile.com
It's an interesting idea—especially in the context of a dynamic loudspeaker, which has drivers moving in and out over a wide range of frequencies. When a driver cone moves, its motion imparts a reactive force on the cabinet that holds the drivers (think: Newton's First Law). With rigid spikes, that recoil energy can escape into the floor. A sprung suspension—in contrast to rigid spikes—allows the loudspeaker to move in response to those forces, the motion limited only by its own mass/inertia. Transmission of that energy to the floor isn't possible above the corner frequency of the low-pass filter formed by the speaker's mass and the compliance of the sprung suspension. According to what some Q Acoustics engineers told me, that corner frequency is likely to be around 10Hz.
If your floors are made of wood and your loudspeakers have spikes, you may find that your floors make music, too: Turn up the volume and put your ear to the floor. Hear it? That sound is partly transmitted through the air (even so, with rigid spikes, some of that energy could make its way backinto the speaker with no isolation), but it is also due to the speaker coupling directly to the floor through the spikes. The floor is now part of your loudspeaker, but not a very good part, as the energy it radiates is delayed and distorted relative to the music the speaker drivers are producing.
What if your floor is made of concrete instead of wood? Then the floor will influence the sound in a different way; as a former resident of a concrete-and-steel condo building, I can attest that concrete can transmit low frequencies exceedingly well, and over long distances.
In other words, with rigid spikes, the floor affects how the speaker sounds in ways that can't be predicted reliably by the speaker designer.
If, instead, you isolate the loudspeaker vibrations from the floor as you would isolate a suspended turntable platter from the surface the turntable sits on—employing a low-pass filter so that higher-frequency vibrations don't pass—then the loudspeaker will behave the same way no matter what kind of floor it sits on.
The following comes from the Q Acoustics engineering team: "Spikes provide a mechanical connection/coupling to the boundary that the speaker is resting on, and the boundary will impart its sound characteristic to the overall sound in the room (and surrounding structures!). With the C300, we chose to isolate the speaker from mechanically coupling to foreign structures, thus controlling/significantly reducing any colorations/delayed sounds that can alter the pure acoustic signature of the speaker."
Two other designers I talked to told me that any reactive motion of the cabinet should be prevented—ie by rigid spikes—lest the cabinet motion smear the sound, especially that coming from the tweeter. Q Acoustics says such matters are managed by using a massive cabinet: That mass imparts considerable inertia, so it doesn't move much. One oft-cited sonic problem with such an approach is smearing of the stereo image—but apparently not here, since JA found the Concept 300's images to be "superbly stable" and "well-defined."
I like the idea of isolating a loudspeaker from supporting structures that will influence its sound in unpredictable ways, but I cannot judge what other effects this will have. Ultimately, whether Q Acoustics' suspension approach is, um, sound is up to your ears to determine.—Jim Austin
Q Acoustics Concept 300 loudspeaker A Sprung Suspension on a Loudspeaker?
Sidebar 1: A Sprung Suspension on a Loudspeaker? After I attended the launch event for the Q Acoustics Concept 300 with John Atkinson, I found myself interested in this speaker's unique standswhich, as JA points out in his review, incorporate a sprung, low-pass vibration filter to isolate the...
- Μηνύματα
- 55.300
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- 137.983
Αυτοί πρέπει να διαβάζουν avsite...
JOHN MARKOU
Münchhausen
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- 28.830
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Καλά κάνω γω και τα έχω σε ροδάκια τα ηχεία και έχω το κεφάλι μου ήσυχο. Και τα πάω και όπου θέλω.
Παλιό πάτωμα καρφωτό σε καδρόνια .
Παλιό πάτωμα καρφωτό σε καδρόνια .
- Μηνύματα
- 2.118
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- 3.628
Το θυμιζω:μολις εβαλα τα λαστιχα στα ηχεια για μηχανικη αποζευξη κραδασμων,η διαφορα στην καθαροτητα του ηχου και στην ταχυτητα του χαμηλου ηταν μεγαλη.After I attended the launch event for the Q Acoustics Concept 300 with John Atkinson, I found myself interested in this speaker's unique stands—which, as JA points out in his review, incorporate a sprung, low-pass vibration filter to isolate the speaker from its surroundings, much as a suspended turntable isolates the platter from floor-borne vibrations.
It's an interesting idea—especially in the context of a dynamic loudspeaker, which has drivers moving in and out over a wide range of frequencies. When a driver cone moves, its motion imparts a reactive force on the cabinet that holds the drivers (think: Newton's First Law). With rigid spikes, that recoil energy can escape into the floor. A sprung suspension—in contrast to rigid spikes—allows the loudspeaker to move in response to those forces, the motion limited only by its own mass/inertia. Transmission of that energy to the floor isn't possible above the corner frequency of the low-pass filter formed by the speaker's mass and the compliance of the sprung suspension. According to what some Q Acoustics engineers told me, that corner frequency is likely to be around 10Hz.
If your floors are made of wood and your loudspeakers have spikes, you may find that your floors make music, too: Turn up the volume and put your ear to the floor. Hear it? That sound is partly transmitted through the air (even so, with rigid spikes, some of that energy could make its way backinto the speaker with no isolation), but it is also due to the speaker coupling directly to the floor through the spikes. The floor is now part of your loudspeaker, but not a very good part, as the energy it radiates is delayed and distorted relative to the music the speaker drivers are producing.
What if your floor is made of concrete instead of wood? Then the floor will influence the sound in a different way; as a former resident of a concrete-and-steel condo building, I can attest that concrete can transmit low frequencies exceedingly well, and over long distances.
In other words, with rigid spikes, the floor affects how the speaker sounds in ways that can't be predicted reliably by the speaker designer.
If, instead, you isolate the loudspeaker vibrations from the floor as you would isolate a suspended turntable platter from the surface the turntable sits on—employing a low-pass filter so that higher-frequency vibrations don't pass—then the loudspeaker will behave the same way no matter what kind of floor it sits on.
The following comes from the Q Acoustics engineering team: "Spikes provide a mechanical connection/coupling to the boundary that the speaker is resting on, and the boundary will impart its sound characteristic to the overall sound in the room (and surrounding structures!). With the C300, we chose to isolate the speaker from mechanically coupling to foreign structures, thus controlling/significantly reducing any colorations/delayed sounds that can alter the pure acoustic signature of the speaker."
Two other designers I talked to told me that any reactive motion of the cabinet should be prevented—ie by rigid spikes—lest the cabinet motion smear the sound, especially that coming from the tweeter. Q Acoustics says such matters are managed by using a massive cabinet: That mass imparts considerable inertia, so it doesn't move much. One oft-cited sonic problem with such an approach is smearing of the stereo image—but apparently not here, since JA found the Concept 300's images to be "superbly stable" and "well-defined."
I like the idea of isolating a loudspeaker from supporting structures that will influence its sound in unpredictable ways, but I cannot judge what other effects this will have. Ultimately, whether Q Acoustics' suspension approach is, um, sound is up to your ears to determine.—Jim Austin
Q Acoustics Concept 300 loudspeaker A Sprung Suspension on a Loudspeaker?
Sidebar 1: A Sprung Suspension on a Loudspeaker? After I attended the launch event for the Q Acoustics Concept 300 with John Atkinson, I found myself interested in this speaker's unique standswhich, as JA points out in his review, incorporate a sprung, low-pass vibration filter to isolate the...
Ξυλινο το δαπεδο.
Λαστιχενιο πελμα;Αν ειναι μασιφ πλαστικα πρεπει να τα αλλαξεις.
JOHN MARKOU
Münchhausen
- Μηνύματα
- 28.830
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- 27.886
Λάστιχο.
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- 39.082
- Reaction score
- 79.764
λατέξ κάνει?
- Μηνύματα
- 274
- Reaction score
- 107
εκτος απο τα αντικραδασμικα, ακιδες, λαστιχα, κτλ, πολυ καλη αναβαθμηση που επιβαλεται να γινει στα περισσοτερα ηχεια ειναι, αλλαγη στην εσωτερικη καλωδιωση, σε καποιο ποιοτικοτερο της αρεσκεια σας... Σιγουρα το αποτελεσμα θα ειναι πολυ καλυτερο απο τα μαμισια καλωδιακια των 0,10 λεπτων που χρησιμοποιουν στα ηχεια.... Το εχω κανει και το αποτελεσμα ηταν αισθητο...
Μια αλλη βελτιωση ειναι οπως εχουν πει πολλοι, γεμισμα της καμπινας με πισοφυλο, αν οχι σε ολες την πλευρες, στην πισω πλατη ειναι απαραιτητο.
δεν ξερω αν συμφωνειται....
Μια αλλη βελτιωση ειναι οπως εχουν πει πολλοι, γεμισμα της καμπινας με πισοφυλο, αν οχι σε ολες την πλευρες, στην πισω πλατη ειναι απαραιτητο.
δεν ξερω αν συμφωνειται....
- Μηνύματα
- 2.118
- Reaction score
- 3.628
Δεν εχουν και ολα τα ηχεια μεσα καλωδιο του κιλου.Τα δικα μου πχ,εκτος του οτι εχουν 30 ποντους ολο κι ολο,ειναι DNM Reson.
Στην ενισχυση της καμπινας επεσες μεσα ομως-αρκει οι παρεμβασεις να μην μειωσουν τον ογκο της καμπινας και να μην επηρεασουν την ακτινοβολια των μεγαφωνων ή των οπων...
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- Reaction score
- 107
Testing Loudspeaker Isolation Products
ethanwiner.com
κάντε μετάφραση
Last edited:
alexis
Reticular Activating System
- Μηνύματα
- 16.829
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- 30.759
- Μηνύματα
- 274
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- 107
τι ακριβως θελει να δειξει;
- Μηνύματα
- 2.118
- Reaction score
- 3.628
Οτι στη συγκεκριμενη περιπτωση,πιο πολυ επηρεαζεται το ηχητικο αποτελεσμα απο τη μεταφορα κραδασμων μεσω δαπεδου παρα απο την ακτινοβολια ηχου της πηγης.Επισης δειχνει οτι με ενα αποσβεστικο υλικο να παρεμβαλεται αναμεσα στα 2,εχουμε εξαλειψη του φαινομενου.
- Μηνύματα
- 1.031
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- 2.826
Υπάρχουν υλικά τα οποία να έχουν μετρηθεί και τα οποία να έχουν καλύτερη απόσβεση από άλλα, π.χ. ποιο θα μπορούσε να κάνει καλύτερες απόσβεση το ξύλο ή carbon η κάποιο ελαστικότερες ή και ο συνδυασμός τους, ρωτάω μήπως και μπορούμε με υλικά της αγοράς μπορούμε να φτιάξουμε DIY αντικραδασμικά
N
nickmitro
Guest
Μην ασχοληθεις με μαλακα υλικα οπως σορμποθανη η λαστιχο.Θα υπαρξουν βελτιωσεις σε καποιους τομεις αλλα χειροτερευσεις σε αλλους.Αυτο ισχυει ακομα κι αν ειναι επωνυμα,π.χ. Audioquest.Ακομα και στο ανθρακονημα,υπαρχουν μεγαλες ηχητικες διαφορες αναμεσα στις Κινεζικες κατασκευες και στα αντιστοιχα προιοντα της Black Diamond Racing,τα οποια και σου προτεινω,φυσικα υστερα απο ακροαση.Υπαρχουν μελη που εχουν.Αν μπορουν να σου δανεισουν,εχει καλως.Ξεκινας απο τους κωνους ΜΚ4 και, αν αντεχει η τσεπη σου,ακομα καλυτερα ειναι τα PucksMK4 η τα PitsMK4 της ιδιας εταιριας,τα οποια ομως βρισκονται πολυ πιο δυσκολα γιατι η εταιρια,υστερα απο το θανατο του ιδρυτη της,ισως να μη λειτουργει.Παντως,ακομη και με τους κωνους,η βελτιωση ειναι μεγαλη.
- Μηνύματα
- 236
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- 145
παρομοιους κωνους κατασκευαζει και ο αντιπροσωπος της Ayon στην Ελλαδα,www.racksaudiodesign.gr
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nickmitro
Guest
Αν δεν κανω λαθος,οι κωνοι της Audio Design ειναι απο κοριαν και οχι απο ανθρακονημα.