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serenechaos wrote:

At first I plan to power the thing SET, with a known, existing amp (a  triode wired EL84) which I've already built and know the Sound.  It is not bad, but a little "warm" sounding (second harmonics, and is low powered for low frequencies.  Then I use a 304TL amp, (under construction, another known, a much cleaner sound, ~ 5 wpc).  After I get the horns built, and working, (play with crossover points, etc) build dedicated SETs for each channel.  I don't want to attack too many variables at once.

The reason I asked about amplification is because the type of amplification you use has a relation to the type of the magnets the amp might with comfortably.  Also, the amount of the amps would inform if you have opportunity to manage harmonics and transients for each channel independently. So, it will be a single-ended triode amp and in future possible DSET, right?

serenechaos wrote:

Since this thread is for compression drivers, I didn't go into detail on horns; but horns and amps information is necessary to talk about compression drivers...   I also discussed it with John Hasquin in depth several times.  We not only discussed horn making, but he also approved the idea, and added ideas to change if it didn't work out at first.  It may not work, but I'm going to try it.  If the fane doesn't have enough umph, I'll use something else, or make a driver that does.

Well, if you talk with John Hasquin about horns then you do not need to talk about horn with me. John has was more superior intellect about horns then I do and you are in good hands with John.

serenechaos wrote:

The whole idea is to keep all the horns and drivers in about a 2 1/2 octave spread.  To keep everything in the middle of its most "comfortable" "resonate" operating frequency.   Not to force anything too high or too low.  The mid-hi and mid-low expansion rates and cut-offs are also designed to match directivity at the crossover point.  (60 degrees @ 2kHz).  Again verified by both the above.

OK, but you need to understand that you will pay the “minimum proximity” penalty for this. According to the Macondo's Axioms you will need to position channels vertically.  And if so then you will have 3 relatively high frequency firing channels that would take ~3 foot of height. If you do not care about near-field then it is fine but if you do then be advise that the idea of mid-hi and mid-low channels might set the minimum  distance where the drivers are integrated for 1-2 feet back.

serenechaos wrote:

Integration between all channels is one of the main things I'm trying to achieve.  I keep thinking of the Oswalds Mills installation @ RMAF.  It sounded like three very nice drivers, not one coherent speaker system.  I want everything to have the same "voice."

Well, the Oswalds Mill installation is not something that that I consider worth any attrition. My attitude to the guy who run the Mill is well know – he is an idiot, anything he touches is idiotic and anything he does has a huge stamp of idiocy on it. If playbacks are reflections of our objective in sound reproduction then the Oswalds Mill’s systems, ideas and steps are the pure reflection of that Jonathan Weiss’ idiocy. The showy, empty and scared peace of fucking nothingness and his audio does reflect it. There is nothing further that can be said about it.

Anyhow, I still kind of did not hear from you what are you trying to do, not how but rather what. It is not that you need to share but my mine in audio work in different way (http://www.romythecat.com/Forums/ShowPost.aspx?PostID=432). Whatever you put together and connect to amps will sound. The question is what kind sound are you looking for?

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