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Dresden wrote:

I've concluded that building at least two--and perhaps three--different versions of a Mid/Upper bass horn design will be required to determine which of the three configurations perform best.

Unfortunately it is not so simple. Even if you built three different versions of an upperbass horn (with is a crazy things to do but a commendable experiment anyhow) then it would hardly indicate which configuration “performs best”. There are 3 things that I would like to point your attention

1)    The sound of your upperbass horn will be 60% depending from the way in which it imbibed into your room.

2)    The sound of your upperbass horn will be 30% depending from the way in which the GIVEN upperbass integrated with rest of the channels

3)    If you go went the pain to read many post of this site then you will see that I very seldom, if ever, give a direct recommendation what to do. I know that it pisses a lot of simplistic audio-idiots out there but there a lot of reasons for me to do what I do. My “homework” to you, as to a person who would like make commercial upperbass horns: what do you think the relation of this third paragraph with the context of this thread? Mind you that it very loaded question.

I like the title of you post” The Purpose and Approach”. This in many ways is the answer to the idea of perfect loading, or the perfect loudspeaker, or whatever else is “perfect”. This view kind of subside my excitement about the “generic” commercial projects and one of the major ingredients – “the purpose” is not plugged in the recipe of the cooking….

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