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Keith,

Very good, thanks for the images. It would be very interning to learn what the bandwidth of the horns, the bandwidth of the drivers and the specificity of crossovers you eventually chose to use with each channel. It might take for you for a while to figure the things out but please when you feel comfortable with the results then post the information.

I would like to share some of my observations about the setup – you might find my comments worth to consider.

1)      Your tweeter and your MF channel need to be time aligned. You might raise the platform use you tweeter and slide it all the way back or you might flip the HF and MF channels and position the MF above, it might be too high though…  In the later configuration your deep-seated tweeter will be shoring is a narrow window, you might re to lie it 90 degree on its side, letting the slot to shot horizontally.

2)      I do not think that you will be able to time-alight the upper bass channel but you need to wave-align them. Make sure that upper bass and MF tit the top of the wave at the same time. the will be at the different periods and you will have same comb desertion but you will have still better result than if  MF and upperbass channels cancel each other.

3)      Extend your horns closer to the middle of the room. I would move them right to the edge of the carpet.

4)      Use horn winder. It looks like you have 5-6 feet on right and left that might be used. With setups like this and in the room like this you might be able to get not 30 degree angle but rather 60-70 degree angle between you and two speakers.

5)      Use the following sequence:

• a.       Properly crossover all your drivers and integrate  them in a way you find appropriate
• b.      Move back and force from your speakers and detect what is the minimum integration distance (Dmin)
• c.       Put your at 1.1-1.5 of Dmin and begin to move speakers wider pointing speakers to own solders.
• d.      Reach the point when the system just benign to lose center image.
• e.      From this pint move the speakers .5-1 feet back, closer to each other. This will be Wmax location.
• f.        At this location start to  tow-in and tow-out the speakers and pay attention what will do with center image
• g.       Find a configuration for tow-in what the frequency response and center image will be OK.
• h.      Redo it a few times altering the Wmax lotion, true to spread spikes wider.
• i.         From the new Wmax try to tow-in-out speakers but this time at very low angle trying curve side and middle image in order to make them to be in parabola with you are in the center. Prate that you are conductor and you need to potion your instilments in a way you needs hem to be. Proper recordings at this point are the mast.
• j.        Nail down and get reference from the preliminary results and start to finalize your crossover points and integration schemas
• k.        Repeat F to K paragraphs for your new refined integration schema
• l.          Get the reference  about the obtains sound (RefPointAbsolut)
• m.    Move your speakers to the distance (Dnew) you would like to use them. Repeat F to K paragraphs for the new distance and new width.
• n.       The negative delta in sound you might experience between RefPointAbsolut and RefPoint in  Dnew position is the contribution of your room. Start to work with the room
• o.      Make sure that during all those experiments the quality of electricity is not be a factor and the “ceremony” is spread in time.

6)      Make experiment with alignment of bass channel with upperbass vs. the alignment with MF. You might also try the “step alignment” (For instance upperbass is 3mS behind and bass is another 3mS behind) . It creates a “wavy delay” – sounds nice in some cases with bass.

7)      Flip your bass channel 180degree making port to “read” the floor.

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