The classic radial horn was a dual-profile horn flare. One of these forms is the radial horn ( Fig.
![sound exits a diffraction horn loudspeaker sound exits a diffraction horn loudspeaker](https://i.ebayimg.com/images/g/Ch4AAOSwyi9aMB1y/s-l300.jpg)
Horn designers wanted to improve on this disparity, so the included coverage angles of midrange and high frequencies were similar.Įarly improvements in directional uniformity came in several basic forms. Specifically, the angle of the audience that received similar volume midrange sound was much wider than the area of the audience that received similar volumes of high frequencies. In the dawn of sound reinforcement, the central goal was improving the evenness of sound distribution over a desired coverage angle, as these early horns did not provide even coverage. There have been numerous approaches towards this goal, with varying degrees of success. Generally, the desired result is that angles in front of the horn will receive broadband sound of high loudness, while those off to the sides and back of the horn will experience greatly reduced sound levels.
![sound exits a diffraction horn loudspeaker sound exits a diffraction horn loudspeaker](https://i.pinimg.com/originals/50/90/df/5090dff19a80906b82eac24c6400355b.jpg)
The core idea of directional control, or directivity, is that we can change the loudness of sound based on the direction it propagates relative to the horn flare’s physical location. From small ceiling loudspeakers to line array waveguides in large concert systems, loudspeaker designers are looking to influence where sound travels in space. This month, let’s look at directional control of sound with horns, including a history of its pursuit, the general form of today’s “constant directivity” horns, and the principles of operation behind the CD approach.įor modern professional loudspeaker horns, directional control is arguably the most important behavior and feature. If you missed that August 2012 article, we suggest you revisit it in print or online at. We discussed reflections in a horn, including the strongest one at the mouth. We defined the horn throat, flare and mouth. We then discussed how sound moved through a horn from the compression driver into open air.
![sound exits a diffraction horn loudspeaker sound exits a diffraction horn loudspeaker](https://i.ebayimg.com/images/g/HWMAAOSwfaJlSr7m/s-l1600.jpg)
Specifically, horns are designed in such a way that a high pressure near the loudspeaker driver is converted to a high volume velocity near the horn’s exit. We showed horns to be tubes that transition from one cross-sectional area to a different cross-sectional area. Previously, we explained that horns perform acoustic and directional functions and introduced the quantities of pressure, volume velocity and sound intensity. In this follow-up, we’ll discuss the directional nature of horns, building on the prior discussion about how horns operate and how sound waves travel through them. Last month, we introduced some of the principles behind the horn waveguides that are ubiquitous in professional audio.