I was consulted with people who know and they told me that there is absolutely no problem even if I need to have some of trusses to clear my way. Apparently there are special people who could perform a section of the attic reframing, so it would not be a problem. This news opened a door to my absolute exuberance and I am not suicidal anymore.

I think if a mortgage lenders will not be pissed that my grangrangrangrangrangrangrangrandmother was doing something that they do not what her to do 250 years back then I will close this house. Audio-wise, from what I have seen it is the most exciting and perspective listening room I have observed since the last July. In fact from many perspectives this room is near perfect. Sure, I would like the cathedral room to be 3-4 feet longer. I would like the floor of the cathedral room not to be suspended.  Still, I think those imperfection are workable and I might even learn in future how to convert those disadvantages into advantages, I have a good record to do it.

Perhaps from the ritualistic-superstition perspective I do a mistake thinking about the house’s modification before I close it but integrating my listening room into the home where I live is a big objective of mine, so I would like to have a clear vision of where I am going.

tuga wrote:

I somehow feel that you should look into the vibration induced resonances that those rooftop horns might create. I'm not really familiar with the all-wood building techniques used in that side of the Atlantic but I have a hunch that unless you either decouple the horns from the structural frames or creat a new free-standing structure the room will rattle somewhat, a like a giant resonant speaker.

I was thinking about it myself. I do not know if horn will be able to create non-air transduced resonances that house structure will be able to pick up – I will be able to say it only when the horns installed. It might be a good idea to decouple the horns from structure; it might be not even too hard to do as it sound. Still I feel that hard-couple would be more productive. I think to tight the horns to trusses, taking advantage if the trusses’ mass and thickness.  In fact I am condensing to make horn a bit lighter then I would initially consider and to use the mass, the firmness and the steadiness of the roof frame to couple horns. It sure needs to be more analyzed.

…is to see how the Red Wall will load the room.  Following the context of my Imbedded Macro-Positioning subject:

http://www.goodsoundclub.com/Forums/ShowPost.aspx?postID=4421

it would be very interesting to see how the out from the read wall will relate to the acoustic pressure at the listening location. I would love it to be in “hot spot” and to get +6-10dB but you would never know. I did not bring RTA to the inspection and I do not know how that room works. If I lucky then in addition to 6-8dB of hyperbolic gain I will be able to get 6-8dB of room gain then it would be phenomenal.  15dB gain from 99dB sensitive driver it would be fantastic and I will be able to power it with 2W (I still intend to power it with 6C33C).

Also,  and this is the subject of my great interests, I wonder if there is any way to use the cathedral opening of the ceiling as a continuation of the horn. If I would be able to introduce the hone mouth at the perimeter of the cathedral ceiling then the cathedral opening would be a continuation of the horn curve. What I am thinking to try it to put a divider of 3-5 feet long in the middle of the cathedral ceiling axis. This divider would set a transition between the horn mouth and the cathedral pitch. If I am lucky then I might even go away with ¼ horn – I need to measure and to calculate the rate of the halt- cathedral opening. The picture below depicts the idea.

Saturntube wrote:

Anyone has some sort of comparison between compression drivers against cone (dynamic) drivers in a this huge mid bass horns, or even upper bass horns.     All I heard are this guys from Germany with the out of reach expensive GOTO compression bass drivers and Johan with the JBL 2490 MF driver in his upperbass horns.   Anyone with WE 555 drivers?

Saturntube,

I kind of have an attitude toward all of those “out of reach expensive compression bass drivers”. The drivers are insanely important but the quality of the drivers does not eliminate a need to properly use them. Did you see a lot of properly made midbass horns? Did you see then properly integrated into playback? Did you see them time-aligned? Did you see them appropriately powered and crossovered? I have a feeling, and have many evidences, that in the cases people “admire horn bass sound” they are in reality “impressed” by driver’s time misalignment. I did model that sound and I do know what I am taking about. The proper “bass horn sound” is very interesting thing and in my estimate mostly not known by people. Even when people do construct more or less intelligent design then they run the midbass-horns too hard. Honestly, I do not impressed with WE, GOTO, RCA, or God know what else exotic drivers. I am impressed with exotic, well-indented and smart solutions. I do not see a lot of them out there. There are some interesting moves in different installation I saw but very few of them from my point of view do implement the midbass horns as interesting/offensive as they could be.

Sitting in my couch, smoking my cigar, playing Shostakovich quartets and studying my new P&S agreement I discover that it will be sad to lose this listening room. This room is small but such a capable and able for such such intimate sound that I truly love this room. I also know this room so well that I can do with it virtually anything. It will be sad to lose it, not truly sad but it will be some sorrow in it. Well, I guess it is a part of this life…

Anyhow, to if everything go smooth then I will be starting to disassemble this installation on February 16-18. Some local audio folks have asked me to play for them the thing before it will be gone for good. It might be better at the new place – I presume it will be, but I do like what it does here – who know it might be never like this again…

Meanwhile, I am wondering if my attorney could put some language in the contingency of my Purchase and Sale Agreement that would allow reversing the deal if in 6 months my listening room will not sound acceptably. 

montepilot wrote:

Koshka may not like living in suburbs and become more cantankerous than she already is.

Thanks guys for advice but I have my own view on the subject.  The new listing room if it goes through has many very good features that I do appreciate very much. Even the integration of the room with the rest of the house is absolutely perfect, exactly how as I would like it to have. In context of this thread it is important that the room I looks like capable to support that notion of mine: time-alight 40hz horn that is not visible in the room - and that is very important to me. However, I am not planning to do anything with the room before I move or after I move.

If I get the house then intend to move in and peaty much live in there for a while, setting up a replica of my current playback. I would anticipate that it will hate for me a couple months to get an idea what my new room will be able to show off sonically and perhaps a couple of other months  to master that room, might be more. So, I will not undertake any midbass-horn project before I would know exactly what I will be getting in that room. So, in the best case the midbass-horn project might kick in summer or perhaps when the summer heat will subside.

I do plan to have 2 small changes in the listening room but it will be day-long simple projects…