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Romy the Cat wrote:

Dresden wrote: hmm...I didn't realise I had left my browser logged-in to your site (I left my PC on over night, downloading some files). '..the only advantage that class-D amplification has is cost, size, heat generation and power.' In my eyes, that's more than I could ever have hoped for in the present price range. I've had the pleasure to listen to some high-end amplifiers, utilized mostly with ribbon loudspeakers.  (I still prefer Bryston over most any other amplifier, when taking into account build quality, warranty, looks, and of course sound.)  But in terms of cost, the modules I've found are very promising. I intend to power the drivers to no more than 33% of their rated power capacity ([200W], AES total power capacity being 600W continuous pink noise), particularly to keep distortion ultra-low and driver power compression at or under the 2dB level. The purpose for wanting to implement class-D amplification is for use in small theatrical performances or musical venues, not for personal use (think an auditorium, small stage or music hall).  Of course, should a person have a home that could justify actually using such capacity, that would be a sight to see--and hear--in person. For personal use, yes, 20W may prove more than effective. Dresden, My idea to “talk” about horns implies visualization or possible pursuing of specific sonic objectives. I hope that “Sound” is always the subject of any posts at this site: it might render itself as the thoughts about nuts and bolts of grid biasing, the size of back chambers or the VTA setting. I do not particularly care about non-applied talks about audio,  the talks about audio while being blind of ignorant about results or demonstration of capacity to recognize and to use results. There are many communities (like DiyAudio.com for instance and many others) that might explore all imaginary subjects from many directions, done mostly by the idiots who have no sense of sound recognition, no well-structured sonic objectives and very superficial  and shallow appreciation of the actual sonic output of their actions. I would like do not convert my site into the DiyAudio.com type of idiocy and I hope that people who have inters in my site actually think first about own interests in sound and second about the way to get there. To say honestly I do not understand what you are trying to do and some of the things you say does not compile in my mind as something that makes sense. You need to understand my limitation in the subject – I think about playback as complete result. I might abstract out of the “complete result” a specific characteristic of sound and look in this deeper, deconstructioning sound but  I tend do not glue sound from the multitude of accidentals micro-results. Why I go over all of it in the given moment? Because I feel that thinking, designing and talking about midbass horn is possible only in context of larger view of playback installation. To think just about midbass horn without thinking about everything else is like making a surgery on kidney without caring about the rest of the body. I do understand that you would like to build a high quality 40Hz horn, good for sound reinforcement application and good for home use. But this objective sounds as oxymoronic to me as the objective to making a screwdriver that would take apart a precision Swiss watch and at the same time to be a useful to disassemble the Golden Gates Bridge. I mean the objectives and the means for sound re-enforcement tasks and the home use are so different that I hardly feel that it is possible to think about both of them and to use the same vocabulary.  I might be wrong but it is how I see the things and my explosion to what “out there” prove to me that I am not very far from what it is. The caT

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