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MusicLover wrote:

OK let's take this one step further. Suppose I took a trumpet and put it in my room. One note was reproduced. The decay was measured. Now, the same trumpet note was recorded and played through my playbakc system. WOuld it decay the same?

Why you think it should be the same? Are you looking for the identical reproduction of the identical influence? Also, why do you feel that measured decay would inform about anything else besides juts being just  a measured decay?

MusicLover wrote:

THe point is, this decay pattern is very imoprtant.

Actually in the way in which you appear look at the decay I do not think it is important. The static decay without consideration of dynamic level, frequency range and few other parameter form my point of view completely irrelevant. Also, I do not know why we even mention decay whale we are talking about the characteristics that are responsible for the quality of the drivers.

MusicLover wrote:

I think horns have a better decay pattern in general than cones.

Sorry, I still do not know what would it mean. Is any objective parameter as “better decay pattern”?  Decay patters is “better” only in its relation to other things and does not exist as a stand-alone better or worst category.

MusicLover wrote:

Sorry about not having heard the horns you like (vitavox?), I have only heard what I have heard.

ML, it is a very big misconception.  It is not about that you heard and did not heard “horns like my” but about the fact that you familiar with horns ONLY in context of improperly implemented horns. Would you make a conclusion about the racing capacity of an automobile if it has only 4 out of 2 cylinders operational and rectangular wheels? You probably would declare that this car was juts sub-qualified and would not think about it again. It is exactly what you experience with the Klipsch. My point is that you do not need to hear good horns to recognize that bed horns are just bad, disqualifying bed! You guys create a fictional idea about some mystical “horns that you like” but it is not about better horns but about the horn that do not implement the fundamental blindness that many (most) of the horn installations do. You attributed to John Hasquin, to me or to any other people where horns perform fine me some kind of Masonic calculation and some secret knowledge about the mysteriously made horns but the realty it very simple: no secrecy, no subscription to the artificial shortcuts, honesty with what you do, honesty with what you hear, better drivers used naturally with any artificial help, massively, none-economically made spherical horns, sever time aliment, the best available amplification and the proper result evaluation techniques. It is it; there are no further secrets. You do not need to hear “better” set up but you have to have your own reference how Music should sound. As I told you before: we all bult in our listening rooms juts the sonic reflections of how music of our mind should sound.  If you give my entire installation into the hands of a some kind of Stereophile idiot reviewer (John Marks for instance or to any similar trash) then next week he will end up with his own sonic imitation of Krell electronics driving Dynaudio loudspeakers.

MusicLover wrote:

IF you think I am mocking you , then I will stop posting. I thought I'd try your website since you seem to at least be doing the right thngs, which is building your own system. But if your ego is going ot get in the way of a good discussion, then i'l lleave you and the few others on this site.

We all build out own sustains, even if we but then off the shelf. Regarding my ego, yes it was me, and I am comfortable with in the given context. I did have a feeling that you might not be frank in your comments, my apologies if I was wrong. Your dissatisfaction by a results you got form a SS far-machine driving the PS horns while blaming John Hasquin that he was apparently “not familiar with sound reproduction” was too ridicules to accept it sincerely. I hope you understand where I am coming from.

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