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Markus wrote:

Should the surface be shiny or is some roughness possibly beneficial? B&W make use of golfball-alike dimples in their BR ports. They take advantage of little air vortices which mean that the air that is moving in and out of the port is cushioned on air and meets less resistance than in a smooth port (reducing chuffing noise) at least that's B&W's explanation, and it tallies well with what I have read about golf balls. I also remember some experiments done on aircraft hulls with a paint that gave a slight roughness (modelled on shark skin IIRC); again, a reduction in resistance was observed. What I can't fathom yet - the sound waves in a horn have more to do with pressure variation than with air actually moving. Do the same principles apply?

Markus, yes, from my point of view is that polished horns are not good. The textured surface is way more interesting, also it is not juts a surface but the density of the surface skin. The raw wood as the Odeon does is not the best way to finish horns. Since it is not the “surface” thread I would refer you to many other threads on this subject, for instance:

http://www.goodsoundclub.com/Forums/ShowPost.aspx?PostID=3710

http://www.goodsoundclub.com/Forums/ShowPost.aspx?postID=103

One more point I would like to makes: the chaoticness and randomness of horn's texture is important but the real kinky things might be accomplished buy varying the size of the texture across the horn’s bell…  But it would be a subject way out of the Odeons…

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