EV Evolve 50 Wave Guide

opacheco

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Hi,

I am very intrigued work the horizontal coverage of the EV Evolve 50 Wave Guide; s Do some body knows how exactly high frequency the diffuser do that??, i think this  is related to the geometry of the high frequency path but Do somebody have a pic or drawing of this wave guide?

Thanks a lot,
Opacheco
 

abbey road d enfer

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opacheco said:
Hi,

I am very intrigued work the horizontal coverage of the EV Evolve 50 Wave Guide; s Do some body knows how exactly high frequency the diffuser do that??, i think this  is related to the geometry of the high frequency path but Do somebody have a pic or drawing of this wave guide?

Thanks a lot,
Opacheco
there is nothing magic here; the vertical directivity is the result of the arched array.
 

efinque

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I think you should ask EV directly. They have nice tech papers too imo, I've once done an install with their speakers; they didn't have dispersion graphs iirc though but they did include angles in their specs (JBL for example has extensive graphs for their products)

You could also try someone from speakerplans, there's lots of knowledgeable people there who might've done measurements (reverse-engineering, acoustical measurement to fit their needs or for specialized applications etc)

If you have a measurement mic and an RTA/frequency analyzer software etc you can plot the dispersion by taking measurements from various angles/distances with white noise but it won't be 100% accurate because of reflections/diffractions and acoustics of the given space (professionals call it half-space when measuring speakers outdoors, usually on a crane to minimize floor/ground diffractions)

The way they achieve it (the technology behind the wave guides and enclosure design) is another thing.. trial and error, years of experience.

EDIT : you could try BFM for (most likely) a very similar design
 

PRR

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Any "narrow" source will have wide-to-the-sides dispersion.

A 15" gets beamy by 1KHz. A 4" gets beamy by 4KHz.

1" diaphragms would spread wide up to the top of the audio band. But you need a LOT of tiny cones/domes to also carry midbass well. Also at this scale the magnet wants to be bigger than the diaphragm so you can't set them edge-to-edge, comb-filter.

Go back to the Multicellular horn speaker. It adapts a round diaphragm to a square mouth, and keeps the waves aligned coherently. The old theater multicells went for a big mouth for god loading and tight pattern.

But 4" (3.5") car-speakers can pack tightly and have high output at good price. But will be beamy by 5KHz. Also some comb-filtering.

A little plastic "box" adapts the round cone to a rectangular mouth, full high and quite narrow. There's not really a "horn action", just wave-guide. Take the sound waves off the cone and bend them to come out together in a tall narrow mouth. It's probably funny-looking on the back side; I would love to see that. (I have designed and build many similar arrays, but never one with custom molded waveguides.)
 

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efinque

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PRR said:
But 4" (3.5") car-speakers can pack tightly and have high output at good price. But will be beamy by 5KHz. Also some comb-filtering.

Speakers meant for car installation have unusual impedance ratings though.
 

abbey road d enfer

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PRR said:
A 15" gets beamy by 1KHz. A 4" gets beamy by 4KHz.
The column being about 30" high, beaming occurs from 500Hz, so most of the vocal range is "projected".

There's not really a "horn action", just wave-guide. Neither in this EV column. However, a wave-guide probably smoothes out diffraction effects.

  It's probably funny-looking on the back side;
Indeed. Traditionally, column speakers are wall-mounted, which also helps with the LF response, but today the trend is using these as an immersive source. The back radiation is what the performers get in guise of stage monitoring. My only experience with that was not very satisfying, but not as bad as litening to the back of a traditional point-source speaker.

The Bose Panaray litt is an interesting read, because the polar responses are very well documented (and typical of a column behaviour); it shows that standing behind a column at about 120° from the main-axis (which would be the typical position for a performer), the response is pretty decent up to 4-5 kHz, which is about all that's needed for stage monitoring.

The vertical directivity is expressed as a single figure (40°), which is meaningless. The directivity pattern narrows with frequency, but that's not all. The Bose litt shows openly the existence of very narrow lobes, which result in important timbre variations with the listener's ears position. Again, that is not big news since it's been predicted and known a long time ago; the fact that listeners enjoy column speakers is a testimony to the adaptability of the audition process.
 
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