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pe1mmk wrote:

Well Cat you can call me whatever you like, but you still did not answer my question. Both have a horn for highs, for mids and for lows, only the sub lows are handled differently.

I do not think I called you with names. Names are just symbols - expressing certain thinking some people insistingly suggest associating them with the emblematic names.  If the “horn for highs, for mids and for lows…” was only the things that you have seen then good luck for you - the level of Audio Asylum or the Tannoy Group is the perfect place where you will find collaborators of your magnitude. BTW, are you the guy who runs that Tannoy Group?

Wojtek wrote:

Mid -range horn seems very small for 500Hz cross I bet it is its cutoff frequency -not good

Well, the guy said that he uses symmetrical 24 dB/octave everywhere – so it enough to run away doe the tape rate of the MF horn but to use 24dB? And partially in the horns?  I think it is better drive the system from the output of a cellular phone…

Merlin wrote:

There are many ways to skin a cat - none of which get close to being right. The only moronic thing I can see is to criticise a solution that has not been heard and is not intended for your ears.

It is incorrect Merlin. It is summit of stupidity to look at the pictures and without understanding what is going on to criticize. However, the people who are familiar with the subject see no only the colorful pixels but intentions, means and topological accomplishments with witch they dealt with and have reference points.

RonyWeissman wrote:

He must be getting a lot of sound out of the back of those woofers right into his listening field.

No kidding! How dare you make such a Moronic statements if you never heard and is not intended for your ears!!! :-)

jessie.dazzle wrote:

Ok... Assuming the lack of time alignment is compensated for via a DSP: There are likely large chunks of the frequency spectrum that go un addressed, and equally large chunks that are mall-addressed. I would say that there are two main ranges where this system does nothing; one on either side of Mid-Range output... Meaning one in the Lower-Mid/Upper-Bass region (in other words, the range where the human ear really digs in)... And another between the Mid-Range and the HF driver. Also, that Mid-Range driver (which looks like it might be better down lower) mated to a 500Hz horn seems questionable. Running it that wide seems like wishful thinking. Also, the horn plus the adapter look too long for 500Hz (but ok, this depends on curve type). The most obvious problem is with the Bass drivers, which are left to radiate both to the front (via the horns) as well as to the rear... which in this case really means to the front!... The rear of the drivers are aimed upward at a 45° angle where the sound would bounce off the ceiling, then continue at 45° right down to the listening point, arriving I would guess somewhat late to the party. This is not something that can be fixed with a DSP (the output from the rear of the cone being physically linked to what comes off the front of the cone). The Bass horns look to be constructed of rubber, or perhaps ABS (plastic)... in any case, not the first choice for rigidity (other possibilty : this user is more advanced than Romy, and has discovered a means of extracting the desirable "Oops Resonances" from a horn!). So to summarize : Output is likely to be limited to very specific ranges. Forget about Lower Bass. There is likely a semblance of Upper-Mid bass (albeit out-of-focus). The real question is what comes out the mouth of that MF horn when loaded with that driver. As for HF, I would guess it is all alone, highlighting the void below it. All in all, perfect for playing that copy of "Café Blue" sitting on the floor. What I see right with this picture : I like the idea of using thick cast metal for the smaller horns... in this case the Mid horns... If only they would have been left with a rough sand-cast surface. Also, though he may be ignorant, you have to admit the guy is at least trying.

Sure, Jessie.  You are right and you even spotted the “Patriarchia” Barber that made me to smile too. Too keep for this horn (it is aluminum-made) without back chamber is so funny that … it become even not funny. The only way to make 60Hz horn so short is open up the throat to full throttle, most likely the full 15” as the size of that 515G driver. If this guy has such a large throat then this horn has very little gain. Let presume that it does +3dB at its lover at its lover knee. Then, (with the back chamber wide opened and positioned where it is) the guy has upperbass MF arrays of two sources, with 3dB between them, reserved polarity and with time discrepancy that could not be addressed at digital domain. Do you want know how it sound? You can easy imitate it with two simple monitors. I would not even go into his MF hors – to spend so many efforts on THAT MF horns!!!!

Anyhow, the guy who own the system it looks like did not design it but recruited a Japanese guy to do it for him (whoever the Yamamura San is). I wish he sue his own brain and ears. Well, but who knows… looking at that "Café Blue" record it is very much might be the case that the drapes match the carper…  :-)

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