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Jeffrey Jackson wrote:

It seems that I do agree with you about the sound of compression driver midbass.. at least from what I have heard in my own room.. I have heard the big ALE drivers you mention on a bent steel horn similar to what ALE builds, but of the owner's design.. it sounded great with acoustic bass that was from a recording I was unfamiliar with, but when I listened to a recording I was familiar with, the entire bass range was shelved down and it gave the impression of speed that we have all heard from lightweight bass... I left with more questions than answers…

Frankly sparking, a contrary to my expectations, I feel that it was positive reaction to the ALE bass. We generally are not familiar with proper bass reproduction and when we do hear it done “more or less properly” then we have that “mixed” feeling and do not understand what we heard. I think this situation when “we have more questions than answers: is a health state. Certainly it might be thousand reasons why it might not be the case but still what you told me about the ALE made me queries…

Jeffrey Jackson wrote:

anyway, here's what I built:

Wonderful, it was exactly what I have in mine only slightly more horizontal then vertical, with complimentary vertical braces and with back chamber. If you were somewhere in East Cost then I would love to hear them sometimes….

Jeffrey Jackson wrote:

These were a quick and easy build.. but they have been in the system for a few years now.. I guess that is a testament... but I also know that I can do better in the lower midrange... I think that there are two approaches to basshorns: one, that you use a cone driver that has an Fs lower than resonance and use a horn that is just to the quarter wavelength minimum length (this is more in line with what you seem to prefer, Romy,) and two, use a light, stiff coned/diapragmed driver with a very powerful motor and don't worry about what Fs is as you will load it into a horn that is closer to half wavength.. the horn loading will swamp the driver Fs... I think that if the latter is done in a horn that is airtight and very stiff, it will result in incredible bass.. I like big dynamics, I will admit my bias.. I love the whisper passages whipping into full fury storms... and I don't like compression.. I hear it everytime now on petite speakers.. back to the horns: with the former, you have a chance at time coherence, but with the latter, no chance at all..

Wonderful observation! I would like to add, that all large midbass hors couple diversely with rooms and it is virtually imposable to predict how it will behave until you bring the sucker in the specific room… Also, I feel the that the latter example of your would be more aplicable for a horn that peruse the lover octave and has a relatively low lowpath…

Jeffrey Jackson wrote:

another shot (not up to date, but...)

I wonder why you lift then on legs. The way how I thought is to make the seiling as a continuation of the flat side and by menace of this to gain a few hertz….

BTW, have you seen the Vincent’s 30Hz horn form my links? He told me that he is using Altec 416 drivers. It looks like it is more films created project but still I think his efforts very much deserve respect.

http://vincent.brient.free.fr/bass_horn.htm

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