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jessie.dazzle wrote:

As for balancing the amplitude between channels by driving them from different taps: I drive the upper bass horns form the 16 Ohm taps, and everything else from the 8 Ohm taps. An 8 Ohm versoin of the upper-bass drivers would allow driving everything from one pair of taps, which would be ideal. I did try using the 4 Ohm taps to drive the S2s; they did not respond well.

If you drop everything to 4R tap then your upperbass horns from 16R tap will have extra 3dB. I did not problem driving S2 from 4R tap – in fact this was the only operation mode I like with ML2. You need plastic suspended diaphragm to do it. The 16R tap… It heavily loads the out tube and I do not like it. It might make bass inappropriately bloomy and muddy.

What you report is sagest that you have very room. Your upperbass with 16R driver in 115Hz Tratrix and S2 with plastic suspension at 400Hz Tratrix has the very same sensitivity – 109dB from 1W.  You run upperbass loaded twice harder it made you have to have 3dB more at upperbass. Apparently your room is large enough and you listening and radiating locations are not “active” enough in the room that you are losing some DBs. Yes, what you finish you midbass horn you will be able to run it along with upperbass and it would help. Still, I would make the upperbass to work properly. The upperbass horn in your configuration is VERY important for imaging of the whole system – it grounds the whole system imaging-wise. Make an experiment: play a piano concerto and set one upperbass 2dB different then another upperbass, with other channels equal. You will see that the whole presentation will sound VERY strange…

What I would do if I were you is to take any cheap amp for test and to run the upperbass from. You will see how your playback sounds when the upperbass is sufficient from your room. Then you will be able to make a conclusion if and how much you need to boost your upperbass.

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