zanon wrote:

My question is this -- in playback, how do you limit horn honk to just brass when there is no way to separate the instruments playing in an ensemble? Honk from strings for example sounds like crap.

You ask me as if I have claimed some success and state that I have done it. what you ask is the most complicated thing. I agree that honk (most of the time) on strings sounds like crap, honk on any percussion instruments sounds even worse. Ironically the horn on organ sounds excellent.  That why I think that the key are in very high precession injection but in a way that would not color the rest of sound.  My honky metal horn that I throw into mix sometime I use on the music like Arthur Wills’ The Vikings or most of the recording before 1953, where sound was a bit naturally honky itself in m view.

BTW, I personally am not a big fun of brass only music but if to go for it then I do prefer a very mind touch of semi-original honk. I do not call it “mind touch of honk” but rather I call it “smoky sound”. If that “smoky” sound played with enthusiasm then it might be a truly phenomenal thing. Pretend the Slavic Farewell played by 200 payers and you are just in front of them - it kicks your socks off, literally. I do not know if you know the work,  I was trying to find a good performance of the “Farewell” but there are none that I liked. Here is a crapy one:

 http://www.youtube.com/watch?v=3XywSEhJ1mI

zanon wrote:

There are many wonderful wonderful effects you can get from mass of horns. Tchaikovsky is a good example. I am also partial (sometimes) to Copeland where the mass of brass rips the very air apart. It is a wonderful sound when you are in the mood for it.

Actually the person who for me is an ultimate horn user is Richard Strauss - Strauss is an encyclopedia of horn sound! Going back to audio – I do think that it is possible. It is very hard if any possible to make a channel what would have all necessary things in one single cone. Still, with a dedicated honk channels is might be double. What we need is just need a prime that will set some kind of propoer insertion algorithm. BTW, to have special honk on brass is just a fraction of objectives. The most wonderful thing that the presence of mild honky fog does to woodwinds. That honky fog impacts woodwinds like colors accelerator. I love that Cognac smelling woodwinds…My Injection Channel does colors very well but it does nothing in honky direction. I need to look into it….

If you think that Jews on Christmas only abuse Chinese food and watch endless movies then think again. Since obnoxious stolen Christians my beloved Christmas tree a few years back some of the Jews torture compression drivers during Christmas’ everything is closed.

What I did was figuring out I might to use my Vitavox lower then it is. I removed the phase plug from the driver and opened up back chamber.  The diaphragm I used was with plastic clear surround (not white surround). The free air resonance dropped to 320Hz, I estimate that in the horn it will be around 250Hz but I did not measure it. What I did measure is response from listening position:

 

It is already something and horn do begin to demonstrate some sighs of overloading with bass, but not the type of the overloading that I would like to hear. If we set reference point at this response at 84dB then -3db will be at 300Hz. Not bad but I would like to have something different. Instead of having 2dB peak at the bottom I would like the driver to be flat in there but to go another 70-100Hz lower. I do not think this driver would do it….

 I set two multicells with LF-enabled S3 drivers. I set them on the outer side of Macondo MF.  Playing with crossover, volume and towing of the multicells I was able to a degree to get the effect that would like to get. The pointing the multicells not to the listing position but slightly toward the side wall turned out to be the most effective. I was not able to get any good honk however.

The result that I got made me to think if I truly need an additional semi-side firing Fundamental Channel. Yes, if I were able to painfully substitute my current 250Hz tractrix to 183Hz multicells then I would do it but it looks like it would be too long for Macondo current frame.  To use the multicells as a separate channel to moderate presentational width and possible moderate useful honk is a good conceptual experiment but do I really need it for listening?

 Am a bit not comfortable that I becoming hostage of the fact that I can do it and my possibility to render interesting things in audio drives my project instead of my need to have the projects done.  For all intended purposes the Macondo width is fine as is. In fact last neigh I figured out that the width problem that I noted before came from the improperly bass producing  by PP2000 regenerator, switching PP2000 back to battery give me my width back. So, this week PurePower will hopeful address the problem, do I need my side-shooting multicells?

Well, the side-shooting multicells do some interesting thing regardless what but is it necessary for listening or is it necessary for pure audio objectives? I personally feel that it will be pure audio tricks as Macondo sounds fine “as is” and I experience no deficiency or need for sideways moderation. I might change my mind as I get my PP2000 and will recover my sound in full  but for now I will put the further experiment on hold until I get a feeling that I need any hold from my 183Hz multicells.