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drdna wrote:

Maybe it is important to ask what the problem is that moving in this direction is addressing …

Yes, the 30 drivers approach will ruin anything else BUT…

When you are a painter and you just did a wonderful portrait using just 5 the most simplistic colors then you selected those specific 5 colors among all bandwidth of spectra and all color available. You made your selection based upon you artistic views. That is fine. However we do not do it in audio. Continuing the painter analogy I would say that in audio (particularly in loudspeakers) we are painters who have a need to paint a portrait but we have only few fortuitous colors on shop and no ways to by more colors. So, it is no surprise that most of our paintings are very alike and very much reminds the painting of the Dorian Gray.

The driver and speaker manufactures and designers to one way or another learned how to make drivers to have more or less acceptable sound that might be quantified: Phase, amplitude etc…. Tone however is very much out of control because of multiple reasons: not demands, do not know how to make, etc.  Pay attention, I probably talk about tone more anyone else but I also have no idea how to get tone from drivers. My methods of multi-driver insertion are absurdist in a way but it is only for somebody who never experienced how it might be done properly. Is it best way to moderate tone – absolutely not!  That was why I stated this thread.

There is however a catch in it – a better tonally driver does not address the problem as the problem in my view need to be in the MODERATION OF TONE. A given acoustic system need to be dialed into the right Absolute Tone in accordance to many characteristics of playback, including the personal demands of the system owner. A better driver does not address this problem – the insertion does. The S2 driver driven by YO186 has the most insane “coloratura” imaginable but it is not enough itself. It is like you are a very good sprinter but your friend is a very good hot dogs eater – you can’t eat 40 hot-dogs and then run a good sprint. So, probably together you would do a great hot-dogs swallowing fast running team…

Still, saying all of it I do presume that it might be some other ways to produce manageable tone and manageable acoustic pressure by other means then just using different transducers. The manageable is the key in here…

I wonder if the guys who play with Tom Danley’s idea of multi-entry horns might accommodate the notion of injection in the horn the same bandwidth from multiple drivers. The idea of drivers with multiple voice coils and multiple diaphragms is very good one. How to bring it all together, how to repress lobbing and other HF-nastiness I do not know…. It has to be another more elegant way….

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