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Bookshelf-Sized CBT array - Constant Directivity through 5,000hz

Ilkless

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Is it necessary to have shading for CBT? I thought only straight line array need shading because the timing difference from mid of array and end of array.

Yes, because the shading together with the intrinsic delay from the physical offset of the drivers shapes the dispersion and reduces interference. CBTs aren't line sources. They are a projection of perfect point source emanating from a ground plane - a pulsating slice of a hemisphere. Crude diagram here:

1612503496751.png


Accordingly, there is not just a difference in timing, but SPL. A sphere/point source has lower SPL towards the top than the bottom.

CBT_directivity.png


Compare (d) and (e) on this diagram from Keele's AES paper. Note the total absence of floor bounce.
 
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thewas

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I am quite surprised that such a loudspeaker is marketed as a broadband wide directivity which it clearly isn't, not even up to 5 kHz, neither horizontally as open baffle and such wide drivers were used which beam a lot already above 1khz, not vertically due to the vertical line array.

This can be also seen when the shown measurements are plotted with the same scaling like the one he used for the borrowed LS50 plots:

1612517346731.png


LS50 horizontally, approximately -15dB at 90° around 4-5 kHz.
Hooks marketing text: Take for example the curve below of the well-reviewed $1,500 LS50 from KEF. Beginning at 200hz, the off-axis response starts to suffer and by 600hz drops off rapidly as you move away from the speaker's sweet spot.

1612517482828.png


The reality, H1 horizontally has also dropped approximately -15dB at 90° around 4-5 kHz, only that its directivity is quite messy due to the wide broadband driver and it beams also highly and irregularly below, only there it is presented as a feature of open baffle. (not to talk about its general FR which has an approx 10dB mid rise which will needs heavy EQing to sound kind of balanced)

I personally like efforts from small companies and real CBTs like Keeles, but sorry, this gives me the impression of a nice idea which was too hastily implemented and poorly marketed.
 
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HookAudio

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@thewas. You're correct that dipoles have a dropoff at 90 degrees off axis. I purposely put up separate graphs 0-45 and 0-90 so that people could see it. It's a natural feature of "figure-8" radiation patterns. Linkwitz and many others were very fond of the effect in-room and describe it similarly to how I have in my own marketing materials.

https://www.linkwitzlab.com/rooms.htm

In terms of this not being a "real CBT" or "hastily implemented", I first reached out to Don about collaborating on a compact CBT using high aspect drivers 2 years ago and have worked closely with him on the many iterations that eventually resulted in the H1.

I've found open baffle to sound better than boxed speakers in general and in relation to CBT arrays in particular. Many others feel the same way. Like any other engineered product, there are tradeoffs to the approach. These are well known in the world of HIFI.

Our goal was to combine the performance of CBT and open baffle approaches, which I believe we've achieved. As 3rd party reviews start to come out, we'll what others (including Amir) think.
 
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HookAudio

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They are a projection of perfect point source emanating from a ground plane - a pulsating slice of a hemisphere.

I love this description and you're absolutely right in terms of the how and why.

The only thing that I would add is that CBTs do have line source behavior in terms of volume drop-off in a room. Sound pressure from a CBT decreases 3db with doubling of distance rather than 6db per doubling.
 
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Ilkless

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I love this description and you're absolutely right in terms of the how and why.

The only thing that I would add is that CBTs do have line source behavior in terms of volume drop-off in a room. Sound pressure from a CBT decreases 3db with doubling of distance rather than 6db per doubling.

While I am familiar with CBT dispersion, I hadn't been able to sum it up concisely until I heard that from someone else. All credit goes to someone that goes by 'Patrick Bateman' on DIYAudio, one of the guys hugely into more advanced driver configurations like Synergy horns and CBTs.
 

thewas

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@HookAudio, first of all thank you for your reply.
I know of Linkwitz's preferences and implementations, although am not sure how much sense it makes to combine a CBT with a dipole as the first tries rather wide smooth horizontal directivity which is the second rather counteracts. Would also love to hear what Keel says about this.
Now about your 0-45° plots, I am quite sure that this geometrically wide full range driver will beam too much at high frequencies, the reason also why small tweeters and narrow planars are used. A friend of mine was recently experimenting with also a compact line array with the TEBM46C20N BMR driver which is narrower and due to its balanced radiator mode beams less then a normal cone or dome driver, still there was too few sound power in the last octave, so he had to add some tiny tweeters.
Hope to be proven wrong though and that you will send an example to Amir or Erin for a full spinorama as its a very interesting idea.
 
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HookAudio

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@thewas

Don had positive results with dipole CBT implementations before we connected and published the results in one of his papers (below). In terms of how he feels about the H1 in particular, good enough that we're working on a scaled up, floorstanding one at his request.

I'm happy to pass on him any specific questions you have and post his response.

In terms of your certainty of beaming, I've already shared vertical and horizontal measurements. If it helps, here is the off-axis response of the drivers used. Beaming isn't an issue.

1612541236910.png


This is Don's dipole paper:

https://faculty.tru.ca/rtaylor/publications/cbt_dipole.pdf

Conclusions reproduced below with brief comments on the advantages of dipole CBT highlighted in bold:

We have shown that a constant-directivity source can be formed by a circular-arc array of dipole source elements with frequency-independent amplitude shading. The theory developed here is a natural extension of that presented in [1] for circular arrays of monopole elements, which in turn is an adaptation of the corresponding theory for spherical-cap arrays [7, 11]. An appropriate choice of shading function leads to constant-directivity behavior. Several suitable shading functions appear in the literature, giving the designer access to a variety of beam shapes and widths. The shading function directly determines the radiation pattern in the plane of the array and, together with the arc radius, also determines the cutoff frequency above which a frequency-independent radiation pattern is achieved. In terms of managing directivity, a dipole CBT array has several advantages over previous CBT designs based on monopole elements [1, 2, 3, 8, 9]. A conventional CBT array becomes omnidirectional below its cutoff frequency (when the array arc is smaller than the acoustic wavelength). This necessitates very large arrays if constant directivity is to be achieved over the whole audio band. By contrast, a CBT array of dipole elements radiates with a dipole pattern (hence with 4.7 dB greater directivity) at low frequency. This makes it possible to achieve broadband constant directivity with small arrays. At high frequency, a conventional CBT array presents a strong amplitude peak (tens of dB relative to on-axis) along the axis of the circular arc. Although this peak radiates into a small solid angle, and so has little effect on overall directivity, it may nevertheless be undesirable in some applications. A dipole CBT avoids this issue, by placing the dipole null of individual source elements where these peaks would otherwise occur. Dipole sources are very inefficient radiators, with a response that falls off at 6 dB/oct at low frequency. In a practical implementation this must be compensated by equalization, together with a large radiating area (e.g. in the case of electrostatic panels) and/or large linear displacement (e.g. in the case of conventional piston drivers in an open baffle). This leads to considerable engineering challenges, since large displacement typically incurs high distortion, while to maintain a frequency-independent radiation pattern one requires that the source be acoustically small. CBT dipole arrays address both these issues: being acoustically large by design, a dipole CBT provides a scalable way to increase radiating area without compromising the radiation pattern. Indeed, making a CBT array larger actually increases the bandwidth over which constant directivity is achieved. The low-frequency roll-off of a dipole CBT array must be compensated by equalization if the goal is a flat magnitude response. A naked dipole requires 6 dB/oct equalization at low frequency, which quickly runs into practical limits on driver excursion and signal headroom. However, the raw responses shown in Fig. 3 give an indication of the milder equalization required by a dipole CBT array: above cutoff the slope is only 3 dB/oct. Only below cutoff does the slope increase to 6 dB/oct; with larger arrays the bandwidth of this more demanding regime is reduced. The equalization required for a dipole CBT is quite different from that for an array of monopole elements, which requires only a +3 dB/oct boost above cutoff. A practical device implementing our theory could be formed by a discrete array of conventional drivers, much like that in [3] but with an open baffle. Such a device would necessarily be an approximation of the continuous line source considered here. Several engineering issues arise that are beyond the scope of the Page 8 of 9 Taylor, Manke and Keele Circular-Arc Dipole Line Arrays present work. These include effects of discrete sampling of the continuous shading function, spatial aliasing due to finite source spacing, the finite size of both source and baffle, mutual coupling, and the departure of radiating elements from ideal dipole behavior. Much of the relevant theory is presented in [4], and we plan to address these practical issues in subsequent work.
 
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hex168

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@thewas

Don had positive results with dipole CBT implementations before we connected and published the results in one of his papers (below). In terms of how he feels about the H1 in particular, good enough that we're working on a scaled up, floorstanding one at his request.

I'm happy to pass on him any specific questions you have and post his response.

In terms of your certainty of beaming, I've already shared vertical and horizontal measurements. If it helps, here is the off-axis response of the drivers used. Beaming isn't an issue.

View attachment 110741

This is Don's dipole paper:

https://faculty.tru.ca/rtaylor/publications/cbt_dipole.pdf

Conclusions reproduced below with brief comments on the advantages of dipole CBT highlighted in bold:

We have shown that a constant-directivity source can be formed by a circular-arc array of dipole source elements with frequency-independent amplitude shading. The theory developed here is a natural extension of that presented in [1] for circular arrays of monopole elements, which in turn is an adaptation of the corresponding theory for spherical-cap arrays [7, 11]. An appropriate choice of shading function leads to constant-directivity behavior. Several suitable shading functions appear in the literature, giving the designer access to a variety of beam shapes and widths. The shading function directly determines the radiation pattern in the plane of the array and, together with the arc radius, also determines the cutoff frequency above which a frequency-independent radiation pattern is achieved. In terms of managing directivity, a dipole CBT array has several advantages over previous CBT designs based on monopole elements [1, 2, 3, 8, 9]. A conventional CBT array becomes omnidirectional below its cutoff frequency (when the array arc is smaller than the acoustic wavelength). This necessitates very large arrays if constant directivity is to be achieved over the whole audio band. By contrast, a CBT array of dipole elements radiates with a dipole pattern (hence with 4.7 dB greater directivity) at low frequency. This makes it possible to achieve broadband constant directivity with small arrays. At high frequency, a conventional CBT array presents a strong amplitude peak (tens of dB relative to on-axis) along the axis of the circular arc. Although this peak radiates into a small solid angle, and so has little effect on overall directivity, it may nevertheless be undesirable in some applications. A dipole CBT avoids this issue, by placing the dipole null of individual source elements where these peaks would otherwise occur. Dipole sources are very inefficient radiators, with a response that falls off at 6 dB/oct at low frequency. In a practical implementation this must be compensated by equalization, together with a large radiating area (e.g. in the case of electrostatic panels) and/or large linear displacement (e.g. in the case of conventional piston drivers in an open baffle). This leads to considerable engineering challenges, since large displacement typically incurs high distortion, while to maintain a frequency-independent radiation pattern one requires that the source be acoustically small. CBT dipole arrays address both these issues: being acoustically large by design, a dipole CBT provides a scalable way to increase radiating area without compromising the radiation pattern. Indeed, making a CBT array larger actually increases the bandwidth over which constant directivity is achieved. The low-frequency roll-off of a dipole CBT array must be compensated by equalization if the goal is a flat magnitude response. A naked dipole requires 6 dB/oct equalization at low frequency, which quickly runs into practical limits on driver excursion and signal headroom. However, the raw responses shown in Fig. 3 give an indication of the milder equalization required by a dipole CBT array: above cutoff the slope is only 3 dB/oct. Only below cutoff does the slope increase to 6 dB/oct; with larger arrays the bandwidth of this more demanding regime is reduced. The equalization required for a dipole CBT is quite different from that for an array of monopole elements, which requires only a +3 dB/oct boost above cutoff. A practical device implementing our theory could be formed by a discrete array of conventional drivers, much like that in [3] but with an open baffle. Such a device would necessarily be an approximation of the continuous line source considered here. Several engineering issues arise that are beyond the scope of the Page 8 of 9 Taylor, Manke and Keele Circular-Arc Dipole Line Arrays present work. These include effects of discrete sampling of the continuous shading function, spatial aliasing due to finite source spacing, the finite size of both source and baffle, mutual coupling, and the departure of radiating elements from ideal dipole behavior. Much of the relevant theory is presented in [4], and we plan to address these practical issues in subsequent work.
First, I wish you all the success in the world. It is an elegant idea. However, I have a question regarding the graph in the above post. Isn't Dayton measuring the driver in vertical orientation, 5" tall and 1" wide, and the excellent horizontal dispersion shown in the graph is the result of a driver width of 1"?
https://www.parts-express.com/pedocs/specs/295-246--dayton-audio-harb252-8-spec-sheet.pdf
Oriented horizontally, I assume the results would be quite different.
 
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HookAudio

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First, I wish you all the success in the world. It is an elegant idea. However, I have a question regarding the graph in the above post. Isn't Dayton measuring the driver in vertical orientation, 5" tall and 1" wide, and the excellent horizontal dispersion shown in the graph is the result of a driver width of 1"?
https://www.parts-express.com/pedocs/specs/295-246--dayton-audio-harb252-8-spec-sheet.pdf
Oriented horizontally, I assume the results would be quite different.

These are drivers intended for soundbars and TVs. The long axis of the driver is the horizontal. Their performance in on-par with other planar devices like the BMR range from Tectonic that was mentioned earlier in this thread.

(edit note: I was wrong here as to the "why" of Dayton's BMT and Tectonic's BMR drivers. They're just both driver families that work well off-axis.)
 
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thewas

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thewas

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Would the beaming be reduced by the 12-driver tall stack?
Don't see why the vertical stack should reduce the problematic horizontal higher beaming of the "landscape" oriented drivers.
 

amadeuswus

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Don't see why the vertical stack should reduce the problematic horizontal higher beaming of the "landscape" oriented drivers.

Maybe I am wrong to imagine the 12 stacked drivers as behaving like one that's now roughly 15" tall and still 5" wide?
 

thewas

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Maybe I am wrong to imagine the 12 stacked drivers as behaving like one that's now roughly 15" tall and still 5" wide?
Not at all from beaming point of view theoretically (thats why such vertical line arrays are used to have high vertical beaming), in reality a larger driver breaks often up in higher frequencies which reduces the beaming and also this implementation here is a shaded and curved array which also reduces the vertical beaming.
 

thewas

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Does the 'BMT' in Dayton's driver title mean 'Bending Mode Transducer'?
Dayton seems to call it Balanced Mode Transducer which would be similar to BMR, but in the end even the very successful (Q Acoustics uses it on its current active speaker), smaller and more expensive round Tectonic TEBM46C20N BMR beams relatively high on the upper octave (some real 3rd party measurements of the Tectonic look by far not so nice at the ones of the spec sheet).
 

617

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Interesting design, look forward to measurements. I always felt the best use of the CBT was in home theater or PA where you want wide even coverage, but it's cool to see mature designs doing other things.
 

thewas

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Dayton did say "Great for use in line arrays and low profile bar speakers".
That is marketing text, there is a reason they show the directivity only for one axis and that they image the driver in standing orientation on their spec sheet.
But even there the 45° response is already approximately 7 dB lower than on-axis already from 6 kHz and up which is more beaming than on the waveguided LS50 tweeter which was used for comparison.
 
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