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horny wrote:

… me too would like to achieve as good as possible violin reproduction without spending a fortune on exotic or vintage drivers.

I have voiced my frustrations about many contemporary compression drivers. People who manufacture horns today turn prays to BMS, TAD, 180-Sound, TOA, B&C, Radian, Eminence, Beyma, JBL, RCF and a few others, laying to themselves and others that they “modify” them, believing that their delusional tweaking of those divers make any serious difference in delivered sound. They pray to those drivers however not because they are OK but because they are the only drivers that are available commercially.

I do not like contemporary compression drivers as I feel they do not have necessary total quality. I have no idea where “tone” comes in compression drivers, well I have an idea but I can’t manage Tone intentionally. I have never also seen others able to produce Tone in compression drivers by request.

Sure, the vintage drivers are very much NOT free from problems; in fact they are much more complex in use then the contemporary drivers. Still, I feel that some (very few of them) vintage drivers are more fertile.  The exotic price that some vintage drivers have developed recently is certainly an ugly factor but first of not all of exotic and expensive drivers are worth to buy. Second the higher price for the vintage drivers is not a really a higher price if do not subscribe the BS fetish that many brainless Morons spread about the vintage drivers – with “right” driver do not look for anything else and it save a lot of money.

So, in the end I do suggest to try some “exotic vintage drivers” some of them do have merit. The biggest problem in vintage compression drivers is not the price but inability of people to provide true information about vintage drivers as many people who share information about vintage drivers mostly juts swell anxiety and fetish…

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