An alternative?ĭave breaks some rules here, which is fun. Looks like it’s 10º more narrow than the previous design. Now let’s try the narrow coverage version. I reset the placement and delay based on the outside subs instead of the center one and was able to shift the null down to 47Hz. This changed the combined phase of the front subs to 150º apart at 45Hz and 180º apart at 50Hz, compared to the rear sub. It turns out that I spread the subs out so far that the distance offset changed from 6.28ft to 3.77ft from the rear. īut why 50Hz? I expected to see it at 45Hz. In the measurement viewer we have a nice F2B ratio of 50dB at 50Hz. Here’s a prediction at 44.2Hz showing an opening angle of 176º. I’ll start with the widest spacing to get the widest coverage. I haven’t tried this in the field, yet, but we can look at some models in MAPP XT. It is for this reason that if you design this array in Merlijn van Veen’s Subwoofer Array Designer, it will recommend high and low-pass filters at 29 and 60Hz, respectively. Normally we avoid a two-element end-fire array because it is limited to a single cancellation in the rear and then comes back with a nasty peak an octave up. Spacing = speed of sound / frequency * 0.256.2778 = 1130 / 45 * 0.25ĭave’s design breaks some rules, which is fun. How did Dave come up with the 6.25ft spacing? As arc angle increases so does coverage width as the various spatial crossovers move away from on-axis.The design Where all elements were arriving at equal level and time on-axis, they are now steered outward with a virtual origin from behind the array. Physical arced arrays exhibit a coverage angle equal to the segment of the arc segment of virtual circle whose origin lies behind the array.Merlijn van VeenĪ physical arced array turns a line source into a point source. It achieves cancellation in the rear through delay as well (output processing + distance offset), except in the rear everyone is arriving late causing a chaos of phase relationships. The array achieves summation in the front by delaying the front elements to the rear, causing everyone to arrive at the same time. The end-fire takes care of the cancellation in the rear and the arc controls the coverage width.Įnd-fire array: an array of multiple subwoofers, placed in a line, one behind the other, with a specific spacing and delay strategy in a timed sequence that creates forward addition and rearward subtraction.Bob McCarthy, Sound Systems: Design and Optimization It’s making sound that will actually cancel out everywhere else and sum in the front.The theoryĭave’s design is a combination of end-fire and physical arc. As you spread them out on the arc, the wider it covers.

The closer these are together the beamier it gets. Yeah, so the concept is the sound radiates from and travels 6.25ft to sum with the subs in the front. I see, so if you soloed up any of those front subs, they should be arriving at the same time as the rear subs. Set your front ones at +6.25ft, which is about 5.8ms. Then you would place along that arc the front radiating points. Then walk out 6.25ft for a 45Hz maximum rear cancellation. I would just have someone step on a tape measure there or put a road case on it. The way to make it is, find your zero point, your rear sub location, the center of the grille.

I tried multiple arrays and out of it I came up with this fanned array. This came out of the sub testing that I did, primarily on the Blink 182 tour and then finished or got farther on the SoundGarden tour. Here’s where Dave explains it in the interview, starting at 45 minutes. No-code required.During my interview with Dave he explained a subwoofer array that he developed during a Blink182 tour.

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