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Have Tannoy HPD 385 15 inch speakers in Lockwood cabinets (20X14X30 inches with a port but no obvious port tube, and not terribly rigid).. This is the pro model with foam surrounds in a pro cabinet which is less efficient, and 60 watts SS generally recommended.
. Would upgrading cabinets to larger (300 L) and more rigid design using t/s parameters be worthwhile and cost effective? (I am not diy type, would have to pay)
Follow Ups:
Seeing as you have received No advice.. yet.
First point: Drivers Need! to have their centrelines at a sitting listeners ear height ~38" Use cinder blocks a stool or even a chair to get them up there. Then listen to them in that configuration for a few days.
Then decide (listen for?) what you feel may be missing AND that a New Box may correct. Darned little as a wild guess.
But hey! some things need firsthand experiencing
A simple decently built Bass Reflex box of 150/200 litres will do quite nicely IMO.
Sometimes even adding bracing/rigidity to the embarrassingly flimsy constructions Tannoy used (they were a driver builder.. enclosures were only to faciltate sales)gives surprisingly pleasing result
The GRF Pretend horn is a bit of a tease..Avoid it's Siren call.
It has lured far too many.. for lacklustre result. Don't Bother is my view after gone to serious trouble building such.
Try modeling them in WinISD to see what differences you may expect, then go from there.
The lack of port tube isn't necessarily a big deal, the thickness of the baffle and the length x width determine the port tuning.
In some cases this cut-out shallow type port is desirable as it can potentially can be quieter.
Audio Illuminati
Diogenes, see my reply to your OP on Vintage Asylum. Since the early 'sixties, I've owned Silvers, Reds, Golds, HPDs, and currently, c. 1981 Memory GRFs with 3839M drivers. Around 1960, when I was initiated into the Dark Rite in the shadow of a GRF Autograph, Tannoy lovers argued bitterly over which cabinet type best suited the Tannoy (and between the twelve and fifteen, which did the better job of reproducing the operatic voice).
But one of the many achievements of Guy R Fountain's and Ronnie H. Rackham's elegant design is its remarkable adaptability to cabinets of different sizes and types – ported, horn loaded, and sealed. The Tannoy's tightly controlled directivity make it relatively tolerant of placement and room acoustics. And with all frequencies originating from a a single point, listening in the near field (the way I do most of the time) is a revelatory experience.
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