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hi
which is the best low-power-amplifier/high-sensitivity horn-loaded loudspeaker setup you have ever heard ?
Angelo
Follow Ups:
Hi,
Ive got 5 horn setups lying around the house. Tads, Coral, JBl, Altec, Radian. Also got the huge Nelson pass kleinhorn here. Yes, im crazy. All are great in there way but this is my favorite. Although price difference is BIG. LOL
Dave-A, this is similar to Kevins. Ive settled for dual 416 in the meantime because my new home is still under construction. I got bass horns build in. LOL. The ale's are hard to get right but once you get them dialed they are GOOD.
Would love to try out the cogent. Maybe later this year I can hook up with steve and Rich for the Cogent. Im really 90% almost wanting to get them already. LOL.
Best,
Victor
this was a 5way full hornloaded ALE system i heard in Japan, back in 1995. It was quit impressive. However, the best one was at Holger Fromme's Home, a Trio with Basshorns.
Angelo
After living with an Avantgarde Trio for some 7-8 years, I have the Danley SH 50s and SH 100Bs and I think did not loose anything when sold the Trios. With the Towersonic pro stands they are excellent even in a room like my not too large one.
Gordan and I still missed to visit you endust. But you are not forgotten.
Gerner
You are very welcome any time.
Hi Angelo,
I guess its differnt tastes for everyone. That's what's lovely with this hobby there is no best. We try to achieve as hard as possible to get what we think is best for our taste or flavor.
Ive never liked the tonality with the AG trio for my taste. Ive listened to them in several setups and just found them to cold for my taste. Some might like them.
I liked the Tad 4001 more. It gives the AG sound plus more.
Just my 2 cents.
Victor
hi Victor
when i heard them, that time back ( 1994 ), i didn't care so much about tonality. Holger put some drum to listen, and it just blow me away.... it's just so f**** fun to listen drums on horn's. that's why it impressed me so much. BTW, since you have Radian's and TAD, could you describe the differences, and which you like more ?
Angelo
Hi Angelo,
I only got the Radian 950pb-8. In comparison to the 4001, well for me both needs a good LCR to achieve for me the best results.
The 4001 is a bit more "real" a little more forceful. But realistic. More crap in crap out with the 4001.
The Radian 950 seems smoother. Maybe a little warmer in comparison. Decent, open top end. No clear faults. But is a bit more colored. Its not as bad as it sounds. If i'd rate the tad 85 the radian would be 80.
Some of the people when we AB liked the Radian for its smoothness. It's more forgivable.
The Tads with some recordings sounded more harsh and cold.
I give the edge on the Tads in terms of accuracy.
If you have not so great electronics, front end, etc. Then go for the Radian. The Tads will not forgive. LOL.
Hope this helps.
Best,
Victor Sierra
.
Here's a better view.
Hi Angelo
When you build your own big horn rig it's like building a hot rod, and you can build exactly what you want, so you ought to feel that your creation is the best or it's back to the drawing board. Seeing as my rig has been mentioned (thanks Tom!), here are some horn rigs I've liked (keeping in mind that "low power" has not been exactly defined).
Bruce Edgar's Titan. I first heard this at Midwest Audiofest in 2002. After hearing most of the high-ticket high-end stuff at several audio shows here in Chicago, it was great to hear some speakers that lived up to expectations, and surpassed them even. Mike Bates' Magnetar rig at the same show was also very impressive.
Tom Brennan's Altec A5 rig (described below). With the Wave 8 tube amps on the mids, this rig made it into the big time. I went home and re-thought the L-pad levels on my rig after hearing it, as too much "audiophile detail" just limits the recordings you listen to. Everything sounded good on Tom's rig, hopefully it will be re-assembled sometime.
John Sheerin's Unity/Labhorn. Best mono rig I ever heard. It was astounding that a mono rig could capture everyone's attention like this one did.
Don Bunce's HT rig. Only Mats Gunnars and me showed up last year about this time due to short notice for Don's CHC meet, but this was a very impressive rig. Both the Labhorn and Tapped Horn were demonstrated. After hearing Bruce Edgar's Seismic Horn Subwoofer in 2002, it became apparent to me that horn subs are in a class of their own, and Don's rig just emphasized this.
Following this, Mats built a Tapped horn and his Oris based rig was sounding very good the last time I heard it.
The latest version of Tom Danley's Unity horn was very impressive at the AES meeting in 2006, in spite of the fact that it was limited to 70 Hz because Tom could'nt pack the subwoofer, and it was limited by the exhibit space too.
Following strictly to the low power horn theme, the first time I heard a 300B SET horn rig was in the early 90's with John Wolf's Classic Audio Reproductions Hartsfield clone. Once again it was nice to hear a rig that lived up to all the horn/SET expectations created by Sound Practices magazine.
The Cogent system at RMAF '07. This rig was amazing both sonicly and visually. Limitless power and dynamics, along with imaging to rival, and better, the best high-end direct radiators at the show. Steve and Rich are to be congratulated for pushing the technology where no-one has gone before! It was interesting reading the show reports in some of the high-end rags, I sometimes felt that the reviewers and me had attended different shows entirely! Some rather uninteresting rooms got rave reviews, but the Cogent room was overlooked by some reviewers.
Horns are alive and well!
Paul
(Please pardon the self-promotion. :) )
"I have intentionally saved the best for last, the Cogent horn system, about which much ink has been spilled the past few years. The “basic” speaker is a two-way design utilizing two in-house designed and built field coil compression drivers: a midrange unit which fires into a conical horn (designed by Bill Woods of Acoustic Horn Audio), and a woofer driver firing into an approximately 10 foot long bass horn. This years’ iteration included a small tweeter horn, as well as two “conventional” subwoofers (the latter used in lieu of the enormous Cogent subwoofer horn). Front end duties were via a bevy of Teres turntables, with amplification of Teres’ Chris Brady’s own design.
I have heard these speakers at previous shows, in a variety of sized rooms, and my impressions varied between “definite potential” to “needs work”. This year the speakers were - finally -in a room large enough to allow them to breathe, and show what they are truly capable of. The Cogents have effortless dynamics and vanishingly low distortion; they make most of the other speakers at the show, even many of the very expensive ones, sound lifeless. Having heard these speakers, one instantly understands why horn enthusiasm is alive and well, even decades after this technology fell out of favor in mainstream audio. I should add that I had an opportunity to get to know the two main players behind Cogent, Steve Schell and Rich Drysdale, as well as their business colleague Jonathan Weiss, and found them to be good-hearted, level-headed individuals with unbridled passion for what they are doing. Kudios to these guys for their outstanding efforts."
http://www.stereotimes.com/RM2007.shtml
Larry
Hi LarryI havn't heard the Cogent horn speakers. So this is not my intention to comment on them, being the world best or not.
What it seems strange to me is that most comercial/DIY horn designs give a damn about time alignment or call it group delay. (oh..other designs does too BTW).
It cannot from my honest understanding be *best* if those matters are not taken care of one way or another. Digital of physical.
If *best* is not time aligned how can it be *best*, as lack of that leads to echoeing of overlaps from X-overs and let the highs and lows completely take two different busses to the center town called our ears = groupdelay.To my believe meetings where persons appears at different moments for the settled starting of the meeting in the time domain, that meeting has no start/stop accuracy and we can equate that to that sound from speaker drivers has to arrive at our tympanies exactly at the same time.
Only this way we can copy what the michrophone once picked up during the recording.Those systems appearing (pictured in this thread) suffers from this built in disorder.
I'm adressing a general problem in speaker designers understanding of this important matter.For now let it be...I'm on my way to the High End Audio fair in Munich.
Gerner
For those interested: http://www.duelundaudio.com/downloads/Articles_Steen_Duelund/sound_and_brain.pdf
Sounds like you have a bee in your bonnet Gerner. I don't know of a speaker that's faultless, indeed it's not even agreed upon what a perfect loudspeaker should do much less make one. There are worse things a speaker can do than have imperfect time alingment, you know, like being distorted, compressed, having poor tonality and such. Some of the worst speakers I heard supposedly had excellent time alingment---Dahlquists, various B&Ws and Thiels for instance.If one time aligned a 2-way horn like the Cogents with a digital crossover I've no doubt that some people would then criticise it because of it's digitalness or having a "non coherant" crossover or some such bullshit. You can't fucking win.
Look at the mishmosh of alingments of the old Khorn and yet many people think it a first-rate speaker. I think it depends on what flaws you're sensitive to. I think some flaws that people are sensitive to start as theoretical beliefs that get transferred to the ears----I don't think that design can sound right therefore it doesn't sound right. I'm guilty of this thinking myself, if the best sounding speaker in the world used cones and domes I'd probably think it sounded OK at best; Hell, I KNOW that cones and domes can't sound that good, like the AudioNote cone and domer some here like, no way that speaker can sound good, right? Know what I mean?
Hilliard, the Zeus of the southern California Horn Gods thought as much as 3 feet of misalingment was inaudible with a 500hz crossover, he was a pretty sharp guy you know. Of course he didn't like misalingment and worked on it.
Gerner:
It might well be the case that the Cogent's could be improved by proper time alignment. Nonetheless, I feel that they were heads and shoulders above most of the other system at RMAF.
I should add that of the systems I have heard, my favorite is the Shindo Latours being driven by Shindo amplification and front-end.
Larry
Dear Tom and Larry...
I have bees in my f...... head. Buzzing. That could cause my ears flaws. Hehe..
Well,...alignment and group delay is just one of my, not theoretical, experiences that *must* be on spot. At least when we see it from the mic -> loudspeaker chain.
That good sound can emit from a good set-up is another thing. It can give great pleasures.
Just came home from the High End Audio Manufacturers day in Munchen. Bweeeeh... what did I find there? Horn's and amps and and and..
But my Goodness...nothing to write about that has not been dealth with 1000 times on this forum.
Pitty is to see so many goodies, just put wrongly together.
It's not enough just to buy extremely good stuff such as drivers etc..and then make it look nice. Not to my book.
But let's see at the RMAF. I will be there first time this autumn.
I hope to meet a little more serious products there.
Gerner
hello Gerner
can you tell a little bit more about your impressions of the setup's with horns - Avantgarde, Martion, Cessaro ? any other player worth to be mentioned ?
Angelo
Ciao Angelo
Not without offending somebody. And I don't wan't to.
BTW The Cessaro's were quite good.
Gerner
Cessaro was not too bad.
But I prefer our Danleys :-)
I didn't knew that Danley were at the fair? Didn't find them.
Among low efficient speakers there were good sound in the Martin Logan, Magneplanar and Gryphon rooms.
Gerner
Danley was not there, I thought of my own at home :-)
My present gear..
Ah...those. Your pic.Yeah, you use these types now. Aha...looking forward to hear them.
Well we all change gear now and then.
Right now I'm waiting for and upgrade of the Swings. Then it's time for Bert to go worldwide with his Crazy line and Swings +....something new smaller horn speaker systems.
Meet him at RMAF/Denver.
The Crazy line contains a until now unseen approach to PC-playbacking. 0 jitter!!!! Clean bit perfect wav files dealth with by two super precise clocks and an oven-clock to cancel the alraedy incredible low jitter. (+ a lot of really smart tricks and protocols) WOW that sounds GOOD!
Good buy Bill Gates unfriendly OS, PC MOBO's harassing artifacts etc etc. Jihaaa... It's a stand alone HW player, but needs a PC to hold the skin mask to control the player. Sort of like an old fashioned remote control for a CD-spinner. So no plug in's for Foobar and other chokolate SW players. Cannot be hacked.The new Swings have a bit different approach re. the outlooks and the performance in the bass. All for the better. Bigger cab. Stronger airload on the bass's 1:1,no Isobarik, changed BR tuning. Kick's the s*** out of you and neutral sounding.
The Swings which are to be launched now in it's 2nd edition might very well be the best sounding horns for normal listening rooms. But I'm biased, so better others who heard them rave about that.Will even play with NUFORCE and ICE power as the floating speaker outputs of such amps does not anymore see earth through the line level filter and the built in amp for the bass. Tadaaa.
Gerner
New system
Actually I like the Danley SH 50 very much, but few weeks ago there was a sound engineer from a church in my house and after hearing the SH 50 for few minutes, he was amazed so much he bought the speakers immediately for his church, he told me a price I could not resist. So until I can get my next SH 50s I will use the SH 100Bs, which are as amazing speakers as the SH 50, on a different way however. In an average size room probably a pair of SH 100B is better bet overally.
Hi Larry
Your review certainly got what the other guys missed. In The Absolute Sound Feb. RMAF report there was nary a mention of Cogent. However Jonathan Valin was ready to give Best of Show to the MBL101E omnidirectional "pods" (and associated MBL electronics) because he felt they excelled at "...rock'n roll-or for any very wide dynamic, wide-ranging music-...". I was aghast when I read this! I heard the MBL's back in the late 90's. The omni effect was interesting, as you could listen pretty much anwhere in the room unlike some of the high-end darlings with very narrow sweet spots like the Wilsons. The MBL's however were quite compressed sounding, even by direct radiator standards, inspite of the foot-locker sized 900 Watt Krell Mono blocks powering them. Why anyone would think that these were great rock'n roll speakers is a great mystery to me, they are not even in the least way comparable to the Cogents in this regard. They might do alright with string quartet recordings though. I have to admit I just heard the MBL's in passing at RMAF, but I did'nt hear anything very different from what I remembered. The whole MBL rig at RMAF will set you back $149,000 not including inter-connects. This is just another story of the general dis-connect with reality you see all the time in Stereophile and increasingly in TAS. Time to fold up the soap box...
Paul
"However Jonathan Valin was ready to give Best of Show to the MBL101E omnidirectional "pods" (and associated MBL electronics) because he felt they excelled at "...rock'n roll-or for any very wide dynamic, wide-ranging music-...". "
The very reason I started disregarding that and similar magazines long ago. They are simply full of shit and written by nerds who dance like Elaine.
Tom
You gave me a chuckle with the Elaine reference, and I started thinking of a possible Seinfeld episode about audio. George Castanza would make a great salesman at a N.Y. high-end salon, it ties right in with that job he had at the metal polishing company where the owner locked himself out of his office and said "That's it, I'm going home!". I can see Kramer with a big DIY horn rig too, with Elaine and Jerry rolling their eyes at the both of them. Larry David, you reading this?
Paul
Tom
They are amusing to read for their otherworldly priorities, especially if you can get them for free from an audiophile buddy. The same issue of TAS with the RMAF report had "medium" priced speakers at $10,000, and for the $149,000 entry price of the MBL's I could start a speaker factory! Then again it might be wiser to spend $10,000 on wood working tools and blow the other $139,000 on advertising in TAS and Stereophile. I just checked Stereophile's site, and there was no mention of the Cogent room at RMAF either.
Paul
Hi Angelo
Hope you are fine over there.
This guy has an opinion: http://www.hifiwigwam.com/view_topic.php?id=24773
That are my old Swings with MKII Orpheans, but with the old bass cab design.
I'll have my redesigned MKII's very soon.
1) 30% bigger cab
2) Different BR tuning
3) Selcted inner dampening materials
4) No isobarik. Single 15".
5) Harder hornload on the 15"'ers. Same flare but deeper horn, smaller throat.
6) Design overhawl. New foot stand. Internal counter weights
7) A beauty hard to beat.
Have a look inside:
Gerner
Klipschorns (which I own) are the best sounding low pwer driven fully horn loaded speakers I have heard. I suspect the Jubilee 2 way from klipsch must sound extraordinary as well. regards, Tony
Jean-Francois Lessard 2A3 PP amp
Marantz 7T Preamp
Klipschorns w/ALK xovers
Sony CX350&CX-230 cd changers
MSB link DACIII w24/96k
MSB digital director
Luxman PD-272 TT
Technics M85 Cassette
Bruce's and mine. More details as my health returns, but so far my Monomania horn systems are the best I have heard. Which are:
Lowther EX4 in midrange horn. Or,
Panasonic 8P-W1 in midrange horn. Or,
Jensen extended range in midrange horn.
TAD 4001, PP removed, reversed, using rear of dome in midrange horn.
Doublewide Hedlund Horn woof with Lambda 15" MM custom driver.
650 Hz Edgarhorn using a PD 801 (Precursor to TAD2001) THANKS Neil!
Driven by my choice of Pass A30s (W/custom power supplies, factory) or Nelsons F1 First Watt. Or Mac 240... and a Dada Darling TBA/ETA?...
"Those who hear not the music think the dancers mad."
- Angela Monet
hello Paul
TAD 4001, PP removed, reversed, using rear of dome in midrange horn.
Could you specify more your experience ? difference and comparison to normal use of the driver, specially lower midrange ?
Hey Angel,
Normally the 4001 used as compression driver, but I use it as a 3.5 inch dome driver in a tractrix 350 Hz ± 50 Hz Edgarhorn. I can use active XO, to fine tune, but this configuration uses a passive XO using 2 1000V 8Mfd (16Mfd) sprague oilers. Voicing is superior for early prewar Jazz. Lower useful midrange is 350Hz & up to 12KHz, as I'm using a Radian aluminum dome, and not Be. According to my ear and RTA, its smoooooooth. I stuffed horn throat with felt which lowers first IMP bump. Long hair wool in place of phase plug.
"Those who hear not the music think the dancers mad."
- Angela Monet
hi Paul
someone made this experiment some time ago - not so good results :
http://www.vt52.com/
see, diy corner, projects, speakers, oris 103c :
The two adapters for the drivers/horns were finished today. I brought my Altec drivers to Bert so we could have a listen to them. Exciting stuff!!! We hooked them up, sat down, turned on the music... Hmmm, sounds nice, very crisp and open. First impression was very good. After about 15 minutes we turned up the volume a bit. Was that some noise in the background? Ah, we forgot to filter the bottom end, the Altec doesn't handle the lows quite well so we put in a 12dB filter at 200-250Hz. This improved the distortion we got, but there was still that annoying sound. On voices, the F clearly let us hear the material of the dome, piano wasn't alive or "real".
After not even an hour we turned them off an put back the Oris 150 with AER's. Much nicer!!!! In conclusion, not all experiments end up with a better result. The idea behind this was very nice: use a high efficiency speaker without the down-side of the compression and accompanying phase problems. What we got in return was another set of problems that might even be worse. Ah well, at least I know what else I don't want :))) Needless to say this speaker will not make it into my setup anymore.
however its interesting that Avantgarde's Trio midrange uses its compression driver the same way.... it would be interesting to make this experiment with my Radian 950pb ....
Angelo
My experimental success will probably not translate to other systems, as my listening goals differ from many here on AA:Being a recording engineer for many years, my ears were trained to near field monitoring. I cannot stand loud, it is painful, so my systems are based on low volume, high dynamics, emotion, and no ear fatigue. I enjoy music. Better reproduction equates to a more emotional presentation for me.
YMMV. Only your Ear knows for sure. Yadas.
"Those who hear not the music think the dancers mad."
- Angela Monet
Hi PaulHe...your post triggered me.
Basically I agree with you on your stances.
What I wanted to comment was, I have been behind cruel mixer boards at 100's of life concerts = far field. Furthermore I had the pleasure to be a drummer in several bands (I was always thrown out..hehe)= near field.
So what did I learn from that. Well as those two positions are totally oposite each other, I tried to dig into being far from the sound source and still being in nearfield with the instruments themselves.
Tried to achieve being the audience and the performers at the same time. To create that situation here where I am listening to music or instruments...whatever sounds.Scitzo...not so.
Horns does it. Being beamers and still able to reproduce far field bliss, being beamers and provide nearfield touch, they do the job. If constructed correctly.
Romy points out some, to me, rather important. How low can we go with this horny approach?
Well I found around 100 Hz to be it. But others might see it diffently?
However beaming sound to the real sub frequencies has always failed in my camp. It flawed because of resonances of long wave lengths and then there was the time alignment problem.
Depending on which kind of house you live in, the materials in use for the wall, floors and everything, time alignment disorder might in some cases count for better reverbration reproduction in your room and sometimes opposite.However it is, I want to *be there* and play there* at the same time. That resulted in my choises of gear.
Gerner
Hey Gerner,I hear ya! We have similar, but divergent backgrounds. I started as a field recordist, preserving Music gleaned from hundreds of all day all night Folk Festivals. As it was acoustic, no amplification, my ear heard "The Right Stuff" and I have tried to faithfully reproduce it in my listening room, which is also a mixing and post studio, designed with Helmholtz resonators, six to twelve inches of soundproofing in walls, ceiling, and a hornwoof (AKA hornsub) built with just the exit in the room.
Beaming not an issue anymore, as have learned tweaks from fellow audio reproduction enthusiasts — Bruce Edgar, Pierre Sprey[Mapleshade], Nelson Pass, John Sheerin, & others too numerous to mention both here on AA and JoeNet.
Never satisfied with 'studio' monitors [Genlec, et all] nine years ago I decided to build my own. Have gone through TADs, Lowthers, AER's, Lambdas, Jensens, &yadas, to suit my ear. I also cheat, using time alignment post gear for tweaking the bass. Works for me; I *am* there.
"Those who hear not the music think the dancers mad."
- Angela Monet
Hey Angelo,
Yeah, I remember that post. To get an inverse dome sounding good, takes considerable time, effort, and per$piration. I started DI [Dome Inversion] in the mid 90's with a bunch of TAD 2001s, and was not really happy with any configuration. But brought forward my semi-successes w/2001s & applied to a 4001 that had the phase plug destroyed in shipping. I built new mounting assembly plate for the Radian, tweaked alignment and internal damping using LAud & my ear. Wala — an overnight success, and it took only 9 years...
"Those who hear not the music think the dancers mad."
- Angela Monet
My Zingali HM 115 MK II's driven by my Silbatone JI-300B Mk II have made every other setup that I've heard thus far, regardless of price , horn or otherwise, sound pale...now if I could just afford a deserted island...:-)
Homemade 170hz tractrix round fibreglass horns with Lowther PM2A, argumented by 15" inch pro drivers in 85litre bassreflex.
Horn powered by Audio Note Kit1, bass powered by 120w NAD amp.
Tiny sweetspot, huge dynamics :-)
The best I ever heard was EV Patrician II. It was powered with Atmasphere OTL amps.
These were also the biggest and ugliest speakers I've ever seen in my life.Just as a reference...I have Exemplar horns with Bruce Edgar subwoofers and run them with 45SET.
Kaaos stated:
The best I ever heard was EV Patrician II. It was powered with Atmasphere OTL amps.
These were also the biggest and ugliest speakers I've ever seen in my life.
Just as a reference...I have Exemplar horns with Bruce Edgar subwoofers and run them with 45SET.
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
Kaaos,
I was talking to John Tucker nearly year ago about the Exemplars and he told me that he really liked Karlson enclosures for subs as they integrate so well with his horns. I'm sure that the Edgar Subs also work well.
Are yours the later editions? The Exemplars are among my 3 or 4 favorite horns.
Best Regards,
TerryO
My old A5 setup with twin JBL 4648s augmenting the bass. But it wasn't low power, I was using 125 wpc on the Altec bassbins, 15 or so to each 288 and oh, I dunno, maybe 200 to the 4648s.Also in the running were Edgar Titans, Paul Eizik's DIY dipole EVs, a couple of Mats Gunnars systems and Kurt Changs "little" JBL 3-ways, what 3115s or something----2226 15"er, an 8" cone feeding a big horn and a 2426 as tweeter.
And Klipsch Jubilees, yeah, big black Klipsch theater speakers, 2-ways with folded horn bassbins and large format treble drivers and horns. Heard them at a fella's down in Knoxville. Last speaker ole PWK had a hand in.
And Altec 19s of course, I mean Hell, if I didn't think so I wouldn't use them.
Kevin Brook's 5-way horns using Ale compression drivers.
Nobody here but us chickens.
For our guy in EU.
I have heard this one. I didn't know a hi-fi could sound this real.
Details on request.
Jizzing in remembrance,
Poinz
in his new house, new room. He now has a fully horn loaded sub woofer system and it sounds better than ever. He ended up [last time I heard it] with Focal drivers on them...replacing the ALE LF compression drivers he had previously used.
He also replaced some of the other ALE drivers with the permendul versions, like those you heard.
Still the standard AFAIC.
Later
D
kevins set up has two 25hz bass horn build in to the room one bass horn runs double Ale 160 bass drivers and the other horn has the focal woofer to add some impact.
hi Dave,
Which focal drivers?
best
cv
Thanks chaps,
It was mostly just curiosity on my part; I dont think I will ever attempt to go below 100Hz with horns, at least, not til I own a field and someone comes up with a truly transparent delay line.
That said, the fact that the focal can compete with the ALE at very low displacements indicates to me that is may have an "interesting" suspension and be worthy of investigation for usage higher up the frequency range...
Best,
Chris
It is an Audiom driver, but not sure which one. I think it is the 12AX...but could be the 14AX. He has them on some nice long exponential horns.
Later
D
might you wanna share more details of the setup, and your listening experience ?
TWO Ale 150P compression drivers per side, each weighing in at 100kg.
Horns are Good!
Nobody here but us chickens.
with Lowther DX-4 drivers. The top to bottom integration of the Lowther and built-in subs is truly seamless.
Enjoy,
While I was in Austin, Texas (howdie, Pete!)
...... An Oris 150 loaded with a Lowther DX-3, modified and home built LaScalla bass bin underneath. His own crossover. I think he also built a 2 and-a-half watt SE tube amp to drive the horn.
It just plain kicked ass, best I have ever heard in my life. Of course, that may not mean much as I am not a member of any lollipop club.
The three best sounding I've heard are, in no particular order:
The Exemplar
EdgarHorns w/sub horn
Vivaldi Audio horn
I've never heard them side by side, but all of these left me impressed. My requirements would have to include WAF and the small size of my cabin, so in order of physical size:
Vivaldi (smallest)
Exemplar (Medium)
EdgarHorn w/sub (largest)
All are good, but YMMV.
Best Regards,
TerryO
More horns
http://www.hifichile.cl/index.php?/topic/921-horns/page900
More horns
http://www.hifichile.cl/index.php?/topic/921-horns/page900
Wow all these systems are beyond my dreams. I did get a single new radian 950pb for my center Chanel. I am most likely going to hunt down a used classe processor or lexicon. Strangely the radian driver has a large step out in the throat which doesn't seem to be correct. I do wonder now if I should be making a horn to slide into that step to remove that transition.
To borrow a trick from Dr. Geddes, smooth out the transition from the inner part of the throat into the horn but using modeling clay. You can fill in all the seams too this way.
----------------
"When Khruschev said "we will bury you" I don't think he meant with surplus parts." zacster
Tar Josh I was just wondering if the sharp step out was meant to be there or not. I am wondering if perhaps some sleeve is missing from the driver. It is a brand new driver well it was sold to me on ebay as "brand new" That term can be a little flexible in meaning on ebay if you know what I mean.It has non original packaging. There is a guy tonite selling silver foil and oil caps that leak on ebay mentioning that some circuit changes may be needed to use them :| What like another cap in front lol? I have to stop buying on ebay it is making me jaded. Another guy in new Zealand this week doesn't want to take paypal he wants me to wrap up new Zealand currency and post it to him lol. Apparently he has too much trouble with paypal. And all his Australian customers prefer sending him NZ cash in the mail.:|
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