I made today some interesting experiment and for the first time during my “fundamentals channel saga” I get some stimulating and very result. I find a way to mount the “low frequencied S2 driver” on the speaker’s axe way above the Macondo’s tweeter. It kind of look menacing but sonically it sounds not only not-bad but even advantageous.
The advantage comes form the way in which I trued to drive it. I drive the upperbass horn and the new prototype of the “fundamentals channel” with output of the Super Melq’s upper bass channel (line level filter at 50 and 1000Hz), means I do not restring the upperbass channel and let it to run full range of the Melq’s upper bass channel’s output. The “fundamentals channel” is high passed at 400Hz armed with plug-less S2 with metal suspension cone. The S2 sites in the temporary horns and the horn is very crappy, not to mention that the new horn will care extra 100 Hz at the bottom.
So, effectively both upperbass channels work together between 100Hz and 1000Hz range. The S2 has ~ 110dB sensitivity and the upperbass horn is ~106dB. However I close my eyes to it as let it to work as is. It sounds kind of interesting. At the bottom of the 100Hz and 1000Hz range the “fundamentals channel” is not auditable as the upperbass channel sounds louder and more in control. At the mid of the 100Hz and 1000Hz range both driver produce near similar output and running only two of them the floor located upperbass channel and the 7 feet up located “fundamentals channel” act as a line array, centering an image in the middle between them. At the top of the 100Hz and 1000Hz range the S2 took over and the image going up. Still with the MF channel on (with Vitavox S2 all the way up) the vertical movement of image dose not take place and the sound radiates from a large “sounding space”.
The Macondo before image wonderfully and not adding the “fundamentals channel” I got a similar effect as when I put one more LF section using the entire height of the room:
However, the biggest advantage is with that absolute craziness that the plugless S2 with metal suspension cone and running its lower knee does with sound. It does not really “sound” itself it juts ads a very light touch of transient, speed and tension into upper bass. However, while handling it’s duty the bottom knee of S2 demonstrates an absolutely stunning sonic pyrotechnics.
Still, there are some problems that I would like to take care, primary integration related. I can wait when I get a new spherical 250Hz horn and will be able to tune and finalize everything. Still, at this point I feel that if the “fundamentals channel” with S2 will be properly and erectly dilled-in then it will be a solution to stay.
Romy The Cat
"I wish I could score everything for horns." - Richard Wagner. "Our writing equipment takes part in the forming of our thoughts." - Friedrich Nietzsche