I'm trying to learn more about horn 'function' and can't find some things. Hoping for any learning y'all might be able to provide!

1) With a horn, what would happen to the function/performance of a horn if a 'wedge' were removed; think like taking a piece out of a pie. Is there data to show what would happen or an algorhythm for how performance would change? Would it create comb filter effects?

The reason I ask is...

2) Has anyone ever seen 'overlapping horns' used in speakers. I.e. placing a smaller (tweeter) horn within the larger flared area of a lower frequency horn?

3) Has anyone seen overlapping horns where the flares of one horn are superceded by the flare of another horn? Visually, think taking two horns and 'pushing them closer together.'

4) Any data on a complex shape that might be 'invented' for areas of horn overlap in order to more closely intergate drivers?

Thanks for any input. Apologies for my lack of precision describing this - some images that might help explain:

 RE: Some horn questions I can't find answers to. - weltersys 14:30:02 08/12/09 (1)
 Thank you! I will look up those items. - Enophile 15:33:10 08/12/09 (0)

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 RE: Some horn questions I can't find answers to. - weltersys 14:30:02 08/12/09 (1)
 Thank you! I will look up those items. - Enophile 15:33:10 08/12/09 (0)

The effect of blocking a portion of the larger horn is frequency dependent, and shape dependent, and causes reflections back into the horn. Lower frequencies will diffract around a small obstruction, high frequencies are blocked and reflected. Putting absorbtive foam on the obstruction would help somewhat.

2) Has anyone ever seen 'overlapping horns' used in speakers. I.e. placing a smaller (tweeter) horn within the larger flared area of a lower frequency horn?

It is done on quite a few PA applications, more typically a small tweeter horn in a fairly large low mid horn, but EV had a wide radial mid horn with a T-350 in the center. It is usually done for saving space, not for sonic advantage. EAW has several examples in their line.

3) Has anyone seen overlapping horns where the flares of one horn are superceded by the flare of another horn? Visually, think taking two horns and 'pushing them closer together.'

Visually, I see that as a multicell horn, I listed the disadvantages of multicellular horns just recently here in the Altec 1005 thread.

4) Any data on a complex shape that might be 'invented' for areas of horn overlap in order to more closely integrate drivers?

Tom Danley has a good method, the Synergy horns. He uses a simple shape, a pyramid shape conical expansion,
Danley Sound Labs website has explanations of the Synergy Horns and the newer Genesis horn, and lots of charts and graphs.
This concept is also used by Yorkville, in the Unity horns, they make their horns round, might be slightly exponential.
Renkus Heinz has Co-Entrant horns.

Done right, there are definite advantages to a single point source.

Using multiple drivers to drive a single horn is a better approach than the horn within a horn approach.