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I have two 797 capsules--one polished and one sand blasted. They sound little different. I think different finish has different acoustical properties and adds to acoustical resistance.

I have terrible problem with drill bits (esp. smaller ones) "walking" and bending, while drilling. Any suggestions for "stiffer "ones?
 
I tried all kinds of different bits, and I ended up using just normal high-speed steel bits. Don't bother with carbide or anything like that - they walk and break right away. I think I broke my carbide bit on the first hole I tried it on. The normal bits will take much more abuse than the harder ones. Remember that harder almost always means brittle at the same time.

I sanded the capsule in two directions (X and Y) lightly with 250 grit paper to give the bit something to bite into, the bits don't really walk after doing that. Your finger should not slide easily on the surface of the brass, it needs to 'catch' or have some friction. You have to get a good surface finish as a later step so make sure you leave a bit of material to allow for this. I also ensured that the surface was flat to within about 0.0003" before setting up the mill - a concave or convex surface encourages walking.

Also, a decent mill (which I am using) is very stiff, which helps a lot. A drill press is less stiff, which allows for more flexing everywhere you don't want it, so bits break more often. The other thing is to put the bit in so about half of the solid shaft of the bit is in the chuck, giving a bit of space for the bit to bend. That part of the bit can take more abuse than the flutes, which like to break.

Also, I am drilling very slowly, and using cutting oil. Run the bits as fast as possible. These bits like to drill at 10,000 RPM or higher. The mill only goes to 5000 RPM, so I run it as fast as possible, but I drill very slowly, about 0.005" per second. It takes about 30 seconds to drill each hole. It's probably slower than you can normally do it but it seems to work. Also, a constant feed rate is good, if you are jerky at all, the bit will break.

Check if the bit is still sharp - if it's getting at all dull, replace it (or sharpen it if you have the tooling to do that).

Hope that helps.

Yes, the finish will contribute greatly to acoustic resistance, so it would make a difference.

-Dale
 
That 220 grit sandpaper in a criss-cross pattern... that's the secret to prevent walking, at least with my bits and mill. I couldn't find any 220 so I used 600 grit and it didn't work. No broken bits but there was a lot of walking, so I just converted a piece of brass backplate into a piece of junk. Oops. I'll probably try again next weekend.

The other thing is that a 0.8mm bit seems to be pretty much worn out after 30 holes, at least it walks a lot more.
 
In the first instance it is important to obtain the highest degree of flatness possible.Buy a commercial lapping plate,an 8in one will cost about £60, use diamond lapping paste with a lubricant.With a bit of patience you can achieve an accuracy of 2 lightbands.I seem to remember in another place this tolerance being quoted as magical !! Not so. www.kemet.co.uk
Make sure you clean the plates thoroughly.I use a medium tooth brush
with detergent,then soak in isoprop MEK etc. dont allow the sludge to dry in the holes .its almost impossible to remove.
As for drills use slow spiral flutes for brass HSS.No probs with standard drill press.For precision holes use half round these will enter a flat surface without bushing.
If someone could host some pics I could show the various procesesses
I have used to make backplates and membrains.
Mark I have been away on tour .Iwill get the BBC mono's off to you yhis week.Sorry for delay.
Andy
 
Dale,

Thank you!

Andy,

Email me the pics of the process and I'll host them.
No probs with BBC--whenever you have time. Also, give me your address--I found SP article.

markfuksman(at)comcast.net
 
This looks like it might help

http://www.nucleus.com/~harlan/punch.html
 
And lower voltage rating caps has thinner foil base. Don't use a 400V capacitor if you can find a 63V type..

I'm just getting back to this after spending the last 6 weeks or so working hard with studying and all. Anyway - I'm having great difficulty finding any Metallised PET film caps that are large enough for to yield material for a diaphragm. I was thinking that for a 34mm capsules you're going to need at least 40mm wide cap (possibly more - I imagine you need sufficient extra width to mount it in a tensioning jig).

I've look through farnell, mouser, digikey all to no avail trying to find a cap that large. I did find the following:

http://www.cornell-dubilier.com/film.htm - there MMWA 50V/10uf is 44mm wide.

I also found a couple of other caps on various manufacturers websites had appropriate width, however finding somewhere that both distributes and stocks these large value caps is proving difficult.

Tim - do you remember any brands of caps that you pulled apart to experiment with?

The other thing I'm wondering is, Metallised polyprop - are they are a possibility? I'm not sure of the different properties of polyester and polypropylene. There are more metallised polyproplenes caps in appropriate widths available from the major suppliers.

One last thought, Jakob I think at one stage (some time ago) mentioned motor starter caps or something of the like as another possibility? Am I remembering correctly?

thanks
tim
 
[quote author="saxtim"] I think at one stage (some time ago) mentioned motor starter caps or something of the like as another possibility? Am I remembering correctly?
[/quote]

Yes. These were the ones that Tim C. used for his AKG CK12-reskin-experiment.

Jakob E.
 
Yes. These were the ones that Tim C. used for his AKG CK12-reskin-experiment.

Thanks Jakob. I'm not really familiar with these capcitors and after a google search I've turned up a lot of stuff that doesn't look useable.

They're polyester film yes? Have you got a link to a brand/type that would work so I could narrow it down a bit?

thanks

tim
 
I found these on ebay:

http://cgi.ebay.com/ws/eBayISAPI.dll?ViewItem&category=53296&item=3847691013

http://cgi.ebay.com/ws/eBayISAPI.dll?ViewItem&category=53296&item=3848109685

Are these the sort of thing I want? At the moment I've been looking for 'dry film' motor start capacitors - are they the right things?

240V AC is probably too high a voltage to get thin film out of though?

Also - do I have to be using metallised polyester, of is metallised polypropylene ok for diaphragm material?

Jakob, if these caps aren't ok, could you, or anyone else give me some more details for what to look for (I have no idea if I'm on the right track with this other than they are labelled motor start caps. Is there a specific type of motor start cap for a certain application that would be the best to track down?)

thanks for all your help

tim
 
I got the caps today and they yeild a a big roll of film! My initial measurements suggests that the film is around 6 microns thick, so it should be perfect.

I've taken pics of the caps deconstruction, when I get them developed I'll scan them and post tem.

I have a couple of further questions.

First, specific to the Debenham capsule - in the PDF theres a Vent hole mentioned. I'm having trouble visualising from the diagrams exactly where it is drilled? It looks to be directly into the backplate? I've only got this and the centre electrode connection left to drill before I mount the diaphragms.

Second, am I right in assuming that the metallised side of the film will face the backplate (non conductive side on the outside)?


thanks

tim
 
One thing about a totally airtight capsule - if a 94 dB sound is 1Pa, then an altitude shift of 20 kPa (about 2000m) is going to deflect the diaphragms a lot. Somewhere around 160 or 200 dB SPL, just by a quick mental calculation.

There pretty much needs to be some kind of pressure equalization. It is possible that there is a small leak path already present in a capsule so that this is not a problem. Even the roughness of the backplate around where the diaphragm clamps would provide a sufficient vent. This may be a problem, however, with a glued diaphragm such as the old M7 so if you're planning on making a glued diaphragm mic you may need to pay attention to this.

The drawing indicates the vent hole is located 45 degrees. On page 243, view A, the the vent hole intersects the outer small through-hole located 45 degrees in the upper right quadrant. But as Tim mentioned, you may not even need one.
 
I'm steadily making progress. I've decided to treat this capsule mainly as a learning experience - I'm going to attempt a couple more after this where I'll pay more careful attention to every stage, at the moment though I'm just trying to see if I can get this one up and running.

I made myself a very crude tensioning jig, however it seems reasonably effective. I tuned the diaphragms to around 1300Hz - is that about right? I was trying to remember what was said in the DIY capsule thread. (The zip file of the backed up version that was posted appears to no longer be downloadable and I didn't save it!)

I'm not really sure about my tuning technique - I basically tightned the diaphragm and then placed some grains of salt on it and played some notes on a keyboard around the 1300hz, tightening till I saw maximum movement of the salt across the diaphragm. This seems to be a crude method though as really my diaphragms could be anywhere between up to 300 hz or so off (there'd be a range of about a third to a fouth between notes that would make maximum vibrations). This will be a problem no doubt with omni and figure 8 polar patterns where the sides need to be matched tension wise. Tim, could you describe your tuning method?

The diaphragm spacer has been really fiddly. I've been using material from a standard a4 plastic protective pocket, around 35-45 microns thick. It's no much good though, it's very flimsy and it was difficult to cut holes for the screws to pass through. I used a drill for this (placing the diaphragm retaining ring over the spacer and redrilling through the screw holes then through the spacer). This tended to give frayed edges to the holes though, which don't look very neat, and I'm concerned that they will also cause problems when the capsule is assembled. I'm going to have to try and find a better material I think. Any suggestions? I was thinking I might pick up some of those plastic dividers inserts you put in folders - though I have a feeling they'll be too thick.

Last problem I have is I don't know how to make an electrical conection between the diaphragm and the screws that are holding the retaining ring to the capsule. (this is an edge terminated capsule design) It's not really described in the article. I glued the diaphragm on the rings so that it cover over the screw holes. I figured that when the screw where then re inserted they would punch through the diaphragm where it is glued and provide some sort of electrical connection. This didn't work though, I've got no continuity between any of the screws holding the ring to the backplate and the diaphragm. Further more, actually getting the screws back through the retaining ring was messy - is there an easy way to cut away the diaphragm material that covers the screw holes? I tried using a drill bit, but that tended to tear the surround area, and with a knife I found it diffiult to cut the holes out due to the build up of epoxy. In fact I'm now wondering if it would be easier to actually glue the diaphragm and then drill and tap the holes on the retaining ring? The main problem I see with that is that I think I want to put the diaphragm on as close to the end as possible - I've noticed it's very easy to scratch the metallised coating.

Any suggestions?
thanks for all the help so far

tim
 
IIRC there is plastic spacer materal advaiable, different colors for different thickness. I will try to find a link or info on this
 
Fantastic thread! Tim, I think it's great that you're even having a shot at this.

[quote author="Tim Campbell"]
1300hz is fine. I use 1200hz but this isn't critical. If you're going do do more of this get yourself a tone generator. A musical tone has too many overtones in it to be as precise a source.
[/quote]

Surely a sine wave from a (good) synth would be just as good as a tone generator for this purpose?
 

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