Recording - April 2012 - 61

drivers available. In addition, testing several Quam drivers from different batches, I found the T-S parameters to be very consistent. That’s important, because what we want is good mono matching, very good consistency, exaggerated midrange and the ability to break up very audibly at low frequencies. These drivers give us precisely that. Building it There isn’t much to building the thing... it’s basically just a matter of purchasing the speaker, the cabinet, and the connectors together and assembling them. The cabinet has an internal volume of about 1 /5 cubic foot, so if you decide you’d rather construct your own cabinet, that’s fine too. You are on your own with the box construction plans. Your first step is to drill four holes for the connectors. Start by making two pairs of holes separated by 3/4", using an 11/64" drill bit. An Lsquare will make it easier to line the holes up nicely. Then take a 3/8" drill bit and carefully drill into the back of each of these holes 1/8" or so. If you have a Forstner bit or a countersink bit it makes it easier, but if you’re very careful you can do it with a conventional drill bit. If you don’t even have a conventional drill bit, a knife should let you carve a little depression in there. You need that depression because otherwise the mounting posts aren’t deep enough. Now, open up the bags of connectors. Put the mounting posts through the black frame, then into the hole in the cabinet. Discard the four colored plastic washers that are normally used behind the posts. Put the locking washer and the nut behind the post and use needle-nose pliers to screw them in and snug them up. Note that the post will lock into the black frame in only two positions (so the hole through it that wires go into is always pointed downward), so if it doesn’t seem to be locking just turn the whole post from the front. Screw them down nice and tight so they are well locked into place. Now insert the speaker into the four posts provided for it, and screw the speaker down using the supplied nuts. Solder four wires from the connectors to the speaker, being VERY careful to make sure they match the positions in the photo. Both voice coils need to be in phase with one another; if you switch the two leads on one of them you will find you are listening to the difference between the two channels rather than the mono sum. The back of the speaker must be sealed off. You can do this by hanging the speaker on the wall. Since you probably want to be listening to it from a distance (just like a listener would be hearing his TV set), any convenient wall nearby will do. If your walls are all covered with acoustical foam, screwing a 1/4" plywood back onto the cabinet will do.

Any amplifier will drive this to reasonable levels. If you are using unpowered monitors, using the main control room amp to drive them through a speaker switch will work very well. If you’re using powered monitors, you may want to use a cheap stereo amplifier to drive this speaker. Another alternative in a lot of small studios is to run the output from one channel of a headphone distribution amp to a cable with the other end cut off and the leads stripped to go into the binding posts, as long as your headphone amp can handle an 8-ohm load. Is this speaker accurate? No. There are cabinet resonances in the midrange, break-up at low frequencies, and whizzer cone artifacts at high frequencies. But it does an excellent job of doing what it’s intended to do. I have used this design and a few similar ones for many years and been very pleased with it. Incidentally, one other application for the dual-voice-coil design is that if you have a studio talkback amplifier that is independant of the rest of your system, you can feed program audio to the speaker and use it for talkback, without having to connect the two systems in any way. Try the design and have many fine experiences with bad sound, but controlled, predictable, and what’s most important, predictive bad sound!

Parts List 2 Pomona 4240-0 Binding Post, Black $12.70 1 Quam 8C10-DVPAX 8 in. dual voice coil speaker $22.50 1 Win WB-8 Wall Baffle for 8" speaker $19.95 TOTAL: $55.19 All parts are available from Cain Electronics, 1530 Ingleside Drive, Norfolk, VA. 23502. Call 757/855-3394 to order.
RECORDING APRIL 2012

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Recording - April 2012

Table of Contents for the Digital Edition of Recording - April 2012

Recording - April 2012
Fade In
Table of Contents
Talkback
2012 Winter NAMM Show Report
Sonodyne SM100Ak and SM50Ak Active Monitors
Shure SRH1440 Headphones
Noises In—Noises Out
Recording Fundamentals. Chapter 4: Introduction To Microphones—Part One (History and Design)
Reviewed and Revisited: iZotope Ozone 5 Advanced
Pelonis Model 42 Stereo Monitors
The Science And Art Of Ambisonics
Little Labs i-VOG Analog Bass Resonance Tool
Readers’ Tapes
Plug-In Outlet
Cerwin-Vega! XD3 Powered Desktop Speakers
Once Over—Reviews In Brief
Do It Yourself: Make Your Own Check Mix Monitor
Rob Papen eXplorer
Advertiser Index
Fade Out
Recording - April 2012 - Recording - April 2012
Recording - April 2012 - Cover2
Recording - April 2012 - 1
Recording - April 2012 - 2
Recording - April 2012 - 3
Recording - April 2012 - Fade In
Recording - April 2012 - 5
Recording - April 2012 - Table of Contents
Recording - April 2012 - 7
Recording - April 2012 - Talkback
Recording - April 2012 - 9
Recording - April 2012 - 2012 Winter NAMM Show Report
Recording - April 2012 - 11
Recording - April 2012 - 12
Recording - April 2012 - 13
Recording - April 2012 - 14
Recording - April 2012 - 15
Recording - April 2012 - 16
Recording - April 2012 - 17
Recording - April 2012 - 18
Recording - April 2012 - 19
Recording - April 2012 - 20
Recording - April 2012 - 21
Recording - April 2012 - Sonodyne SM100Ak and SM50Ak Active Monitors
Recording - April 2012 - 23
Recording - April 2012 - Shure SRH1440 Headphones
Recording - April 2012 - 25
Recording - April 2012 - Noises In—Noises Out
Recording - April 2012 - 27
Recording - April 2012 - Recording Fundamentals. Chapter 4: Introduction To Microphones—Part One (History and Design)
Recording - April 2012 - 29
Recording - April 2012 - 30
Recording - April 2012 - 31
Recording - April 2012 - 32
Recording - April 2012 - 33
Recording - April 2012 - Reviewed and Revisited: iZotope Ozone 5 Advanced
Recording - April 2012 - 35
Recording - April 2012 - 36
Recording - April 2012 - 37
Recording - April 2012 - Pelonis Model 42 Stereo Monitors
Recording - April 2012 - 39
Recording - April 2012 - The Science And Art Of Ambisonics
Recording - April 2012 - 41
Recording - April 2012 - Little Labs i-VOG Analog Bass Resonance Tool
Recording - April 2012 - 43
Recording - April 2012 - Readers’ Tapes
Recording - April 2012 - 45
Recording - April 2012 - Plug-In Outlet
Recording - April 2012 - 47
Recording - April 2012 - 48
Recording - April 2012 - 49
Recording - April 2012 - 50
Recording - April 2012 - 51
Recording - April 2012 - 52
Recording - April 2012 - 53
Recording - April 2012 - Cerwin-Vega! XD3 Powered Desktop Speakers
Recording - April 2012 - 55
Recording - April 2012 - Once Over—Reviews In Brief
Recording - April 2012 - 57
Recording - April 2012 - 58
Recording - April 2012 - 59
Recording - April 2012 - Do It Yourself: Make Your Own Check Mix Monitor
Recording - April 2012 - 61
Recording - April 2012 - Rob Papen eXplorer
Recording - April 2012 - 63
Recording - April 2012 - 64
Recording - April 2012 - Advertiser Index
Recording - April 2012 - 66
Recording - April 2012 - 67
Recording - April 2012 - 68
Recording - April 2012 - 69
Recording - April 2012 - 70
Recording - April 2012 - 71
Recording - April 2012 - Fade Out
Recording - April 2012 - Cover3
Recording - April 2012 - Cover4
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