Loudspeaker development cone coil horn

Post a Comment. In the history of loudspeaker development during the first phase cone equipped speakers were primarily developed with an electro magnetic unit so called field coil speakers. It was not until the end of the second world war that permanent magnets were introduced, due to the fact that materials such as cobalt, nickel, aluminum in greater quantity were available again. So that commonly named alloy "alnico" produced magnets of before unknown strength. So they did resemble the complex wound coil with iron core and dedicated power supply and expensive systems from before cost cutting. At this time the coaxial called loudspeaker systems have been designed by almost every well known speaker company.

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Content:

• Speakers: Parts is Parts - Tweeter History, Cones, and Domes.
• A History Of The PA System
• The origins of the horn loudspeaker
• Industry Pioneers #17: James B. Lansing: A Legacy In Sound
• CPD 22 - HDSP
• History and Types of Loudspeakers
• 3 most common speaker drivers: Horn, cone and dome
• Loudspeaker Basics
• Loudspeaker

WATCH RELATED VIDEO: Sousahorn, affordable horn loudspeakers

Speakers: Parts is Parts - Tweeter History, Cones, and Domes.

James B. Nevertheless, his many accomplishments and collective collaborations did much to shape the industry and created the legacy for JBL, the company that bears his initials.

Its sole reason for being was centered on the coal mine established there in By , the coal had played out, the mine was closed, the population dwindled, the village was abandoned and the site is now buried under rows of waving corn fields.

This most likely was as an engineer in the definition sense of an operating engineer i. If that assumption is correct, it is likely that Henry Martini was a hard-working stiff whose meager wages were stretched thin with 14 young mouths to feed. Lansing obviously took this seriously, because he had his birth records modified to reflect the name change. It has never been satisfactorily ascertained how he came to adopt Lansing as his last name.

Bill, who followed his brother James out West, was one of three brothers who survived James. He had gone to work for his brother in the early days of the Lansing Manufacturing Company, stayed on with Altec Lansing after Lansing Manufacturing was bought in , and retired from his job as a tool and dye maker in the metal shop at Altec Lansing sometime in the s.

James seems to have had a bent for things electrical and mechanical, and the tale is told that, at about age 12, he constructed a small radio transmitter with sufficient power to interfere with Naval radio operations at Great Lakes Naval Center near Chicago. Following his natural affinity for mechanics, James sought out employment as an automobile mechanic.

This, of course, was long before automotive parts stores existed on every other corner; in those days, if you needed a part, you machined your own. Hence, we can assume that young James became reasonably adept as a machinist.

Apparently, his aptitude was sufficient to where his employer, an automobile dealership in Springfield, invested in the tuition to send him to an automotive mechanics school in Detroit. No further mention is made of his father, and the young Lansing apparently left home and never looked back. His future wife, Glenna Peterson, tells of their meeting there in , where he reportedly was working as an engineer for a local radio station.

By what means Lansing had learned enough about radio to fulfill such a position is not ascertainable; one only can conclude that whatever expertise he may have acquired was self-taught. Apparently, Lansing and Decker hit it off and decided to form a business relationship. It was agreed that Lansing would take care of the mechanics and technological side of the business, and Decker would manage the finance and sales activities.

Initially, the new venture was established in Salt Lake City; however, the two young men set out for Los Angeles soon after and, on March 9, , they reportedly registered their new enterprise, The Lansing Manufacturing Company LMCo.

Literally hundreds of radio-set manufacturers and radio-kit compilers were clamoring for components to satisfy their eager customers. Initially, Lansing Manufacturing used the now-obscure method of armature-type loudspeaker construction, until about , at which time it began producing field-coil-type cone loudspeakers. The absence of suitable magnetic material and development of magnetizer mechanisms with sufficient strength to magnetize loudspeaker flux densities to make permanent loudspeaker magnets practical for large-scale commercial use would not appear for at least two more decades.

Thus, the Lansing devices were focused on field-coil-type assemblies. By , despite the specter of The Great Depression and the general falling off of business in the radio parts industry, Lansing Manufacturing Company was able to eke out a living.

During its formative years, in , the company leased space on Santa Barbara Street, moved to McKinley Avenue and then settled into a headquarters and manufacturing space that was purchased at McKinley in South Los Angeles.

This location served as home for LMCo during its early rise to prominence in the loudspeaker manufacturing business, as well as the loudspeaker manufacturing location for Altec Lansing until By the mids, the novelty of motion pictures had started to fade. Radio broadcasting had captured the imagination of audiences, and the flickering images of silent movies lacked the drama of audio soundtracks.

In either case, the musical score seldom had much continuity with the film images. Clearly, the motion picture industry was in dire need of a boost in order to sustain and increase its audiences. Warner Brothers Pictures Incorporated was the studio that provided the needed oomph to get Hollywood headed down the path to sound.

Founded in , the company was comprised of four brothers 6 , sons of Benjamin Eichelbaum, an immigrant Polish cobbler and peddler. Initially, the Warner brothers were showmen who traveled a circuit in Ohio and Pennsylvania, showing motion pictures.

From that beginning, they eventually started leasing theaters, acquiring distribution rights and, by , were producing their own films. There were several competing movie-track sound schemes under development at the time, all of which were basically incompatible. That topic gives rise to a tale of exploits that will have to await a later telling.

The point is that, when Warner Brothers chose to go with the Western Electric Vitaphone system, it got there first and, consequently, is credited with revolutionizing the movie industry. The financial backing of the J. Obviously, all of this intense activity in cinema sound fostered an attendant spurt in the development of loudspeakers. The watchword was efficiency.

At the same time, cinema theaters were quite spacious, with the intent of seating audiences numbering in the thousands, and had been built with much more of an eye for aesthetics than acoustics. Maximum acoustic output for minimum electric power input was the prime consideration.

Quite logically, the WE cinema sound system was a direct outgrowth of its previous experiences in sound-reinforcement systems. The first large-scale, commercial application for such systems had been used for addressing the crowd at the March inaugural ceremonies of President Warren G. He finally convinced Warner Brothers that they should witness a demonstration of some potential sound motion picture equipment that was being developed by the Western Electric Company using…[equipment] as described in this paper.

The system was of the one-way design, having a frequency response in the neighborhood of Hz to Hz. Further improvements were forthcoming. The WE assembly had some notable deficiencies. The efficiency and low-end response were restricted by the open-baffle bass drivers, and their distortion was uncomfortably high.

Phase discrepancies between the WE and the other driver elements was significant; the foot horn path of the mid-range was so delayed that, in monitoring tests conducted at Metro-Goldwyn-Mayer Studios MGM , a tap dance routine resulted in two taps being heard for every one recorded.

About the best thing that could be said for the WE system was that it, far and away, was better than the RCA loudspeakers of the same era; RCA devices used a single eight-inch cone transducer mounted on a straight horn. James Lansing and his designer, Dr. John F. Blackburn, a physics graduate of the California Institute of Technology, likewise became interested in ways to improve on the Western Electric cinema loudspeaker systems.

They noted some of the obvious deficiencies in the system, and Lansing began making notes about how the system could be improved. Not too long afterwards, Blackburn had occasion to meet with his close friend, John Hilliard. At some point, the discussion turned to the poor state of motion picture sound systems.

Blackburn related what he and Lansing had observed at the recent SMPE show and their thoughts about how loudspeakers could be improved. The meeting concluded with the idea that Hilliard, MGM and Lansing Manufacturing should get together and discuss the issue further.

With those discussions fresh in mind, Hilliard approached Shearer and outlined how he thought MGM should proceed in the development of its own loudspeaker system. A design draftsman on the MGM staff named Robert Stephens 12 was assigned to work out the geometry of the proposed multi-cellular horns, and Harry Kimball would work on the crossover designs. It was understood that the Lansing Manufacturing Company would design and deliver the necessary components.

This was followed closely by the model , a field-coil high-frequency compression driver that used a 2. These concerns were later found to be groundless in that Blackburn discovered in the literature that Bell and Tainter had established prior art in the annular-slit phase plug during their earlier work in the area of acoustical phonograph design.

Nevertheless, to avoid any patent conflicts, Blackburn devised a radial-slit phasing plug that was used in the production model E high-frequency driver. That the new MGM system would use multi-cellular horns was already an established fact.

The varying patterns thus would be employed in theaters of differing dimensions. Lansing Manufacturing would build the horns, and the LMCo E would be the driving element for these devices. Hilliard continued to work on the bass enclosure design, and his tendency was to employ a straight-horn design. Not only would the RCA folded-horn design be more efficient, but its reduced size in depth also lent itself to better placement behind projection screens.

Thus, the Shearer Horn would become a horn-loaded system for both the high- and low-frequency elements. By , a prototype had been constructed using four LMCo 15XS bass drivers in a re-entrant, low-frequency horn with a single multi-cellular driven by one LMCo driver. It proved to be an unqualified success. The low-frequency bass horn sensitivity so closely matched the high-frequency that only 2dB of shelving was required to balance the elements. Moreover, by careful mechanical alignment of the HF high-frequency and LF low-frequency drivers, the relative delay between the HF and LF sections was held to less than one millisecond.

It has been suggested 13 that MGM could not, or would not, enforce intellectual property rights to the Shearer design, thereby clearing the way for LMCo to sell its product throughout the entire movie industry. In the long run, more prestigious theaters and studio screening rooms would use the Lansing system than any of the competing designs. Not too surprisingly, Lansing turned his attention to playback monitoring systems. It quickly found favor for use in movie and phonograph recording studios and general sound-reinforcement application in venues too small to accommodate full-sized Shearer Horns.

Despite its popularity, the Monitor System was still much too large for use in physically smaller spaces. Lansing and Blackburn turned their attention to developing a loudspeaker system that would have the sonic attributes of the Shearer Horn but with a smaller footprint. Ironically, the Iconic helped seal the fate of the Lansing Manufacturing Company. Two totally unrelated but significant events allied to shape the direction of the Lansing Manufacturing Company.

By , the Great Depression had engulfed the country, and the motion picture industry was not immune. Faced with a declining market share in what was becoming a saturated market for new systems, Western Electric decided to divest itself of ERPI, its far-flung motion picture theater service operation. Pundits predicted that the new company would last two years. By , it appeared that only by selling LMCo would Lansing be able to avoid bankruptcy.

In , another factor came into play. Western Electric, under pressure from the US Justice Department, agreed to sign a consent order that, in effect, forced WE to divest itself of any leasing arrangements involving the cinema theater industry. Western Electric agreed to license Altec to manufacture all of the proprietary designs that were covered in the consent decree; royalties never were charged by Western Electric for Altec-manufactured items. Now, Altec needed a manufacturing facility.

The new entity would be named Altec Lansing Corporation. James Lansing would assume the title of vice president of engineering, and manufacturing of some LMCo products would continue under the Altec Lansing brand name. Lansing, relieved of the strain of financial worries, now could devote his energies to developing his creative engineering talents further.

Undoubtedly, Lansing had absorbed considerable knowledge in the areas of basic engineering, magnetics and network design from associates such as John Blackburn, Robert Arnold and Ercil Harrison; however, when it came to production engineering for manufacturing and tooling, Lansing was an undisputed genius. It takes an uncanny skillset for a tool-and-die man to envision the necessary mirror-image patterns that can be translated into production items. Perhaps because of his early training in machining and his bent for mechanics, Lansing possessed more than his fair share in his natural affinity for tooling.

A History Of The PA System

The Audio Voice Newsletter. Show more Show less. March 16 , For several years, Mike Klasco and Steve Tatarunis wrote a series of articles under the header Parts is Parts where they have explored loudspeaker drivers, how they work, and all the different parts and components. In this specific article, the two audio industry experts provide an excellent introduction to high frequency drivers, revisiting some key historical designs.

The origins of the horn loudspeaker

Once they're gone these products won't be restocked! Driven by our passion for sound and a philosophy to create next generation loudspeaker drivers capable of achieving superior levels of acoustic performance in professional audio systems and bespoke enclosure designs. Delivering a definitive audio experience that captivates listeners. Our products draw on a rich heritage of craftsmanship and manufacturing prowess to provide faithful signal reproduction, combined with exceptional levels of strength and reliability. Precision Devices manufacture high-end loudspeaker drivers ranging from 6. You can be sure if it carries the PD badge, it carries our reputation and is the result of relentless design and optimisation by our research and development team. Designed to integrate perfectly with our bass and mid-range transducers providing loudspeaker designers with the ultimate PD sound experience. Hand-crafted and quality assured at every stage of the production journey by our highly skilled and experienced team.

Industry Pioneers #17: James B. Lansing: A Legacy In Sound

A loudspeaker or speaker driver , or most frequently just speaker is an electroacoustic transducer , [1] that is, a device that converts an electrical audio signal into a corresponding sound. The speaker driver can be viewed as a linear motor attached to a diaphragm which couples that motor's movement to motion of air, that is, sound. An audio signal, typically from a microphone, recording, or radio broadcast, is amplified electronically to a power level capable of driving that motor in order to reproduce the sound corresponding to the original unamplified electronic signal. This is thus the opposite function to the microphone , and indeed the dynamic speaker driver, by far the most common type, is a linear motor in the same basic configuration as the dynamic microphone which uses such a motor in reverse, as a generator.

CPD 22 - HDSP

James B. Nevertheless, his many accomplishments and collective collaborations did much to shape the industry and created the legacy for JBL, the company that bears his initials. Its sole reason for being was centered on the coal mine established there in By , the coal had played out, the mine was closed, the population dwindled, the village was abandoned and the site is now buried under rows of waving corn fields. This most likely was as an engineer in the definition sense of an operating engineer i.

History and Types of Loudspeakers

Check your messeages on Messeage Center , the supplier willcontacts you soon. Dongguan Quan Yun Electronics Co. Gold Supplier Gold Supplier is a premium membership for suppliers on Alibaba. Members are provided with comprehensive ways to promote their products, maximizing product exposure and increasing return-on-investment. See all categories Tweeter Driver Horn Diaphragm.

3 most common speaker drivers: Horn, cone and dome

The standard dynamic loudspeaker that we know of today was first built in the 's and uses a magnetic field to move a coil or magnet which is connected to a diaphragm. Note: You should have www. Other sites have plagiarized our site on speakers and provide incomplete and fractured information.

Loudspeaker Basics

RELATED VIDEO: G.I.P field coil horn speaker Western Electric reproduction

Home » Connaissances audio » 3 most common speaker drivers: Horn, cone and dome. All loudspeakers are essentially transducers, meaning they convert one form of energy — in this case electrical — into another — in this case, mechanical vibrations which we experience as sound. Drivers are also sometimes simply referred to as loudspeakers, a term which also refers to the sum of all components involved in sound production from the enclosure to the sound damping material inside and other components like crossovers. This blog has already discussed the different types of loudspeaker drivers as defined by the frequency ranges they cover: Tweeters, midrange drivers and woofers. This post will discuss the 3 basic designs used to create and disperse sound: Horn, cone and dome drivers. As their name suggests, horn loudspeakers have an open, funnel-shaped form like a trumpet.

Loudspeaker

Toggle navigation. Overview Specifications Images Accessories. The Bass Section Two 12" 3 inch voice coil , high Bl Force factor , neodymium low frequency drivers are loaded by two proprietary Hybrid-Horns. The horn mouths are horizontally separated by a "tuned" distance that uses the Tuned Dipolar Array effect to achieve exceptional low frequency horizontal dispersion control with the nominal angle being maintained down to Hz. This device causes the 10 inch driver to behave as twin adjacent 5 inch drivers mounted at half the physical distance. The distance between these adjacent virtual drivers is close enough to couple coherently in the vertical plane extending the upper frequency limit for line source behavior, projecting sound waves farther than traditional systems with a more evenly distributed sound output pattern.

Home » Connaissances audio » The origins of the horn loudspeaker. The namesake of what we now call horn instruments or speakers most likely derives from the horns of cows, sheep or wild animals. If a horn loudspeaker is used nowadays, you can almost certainly assume that it is a first-class transducer. What is the acoustic secret of the funnel shape and how is it used in Hi-Fi applications?