The 475PB is a small-format (1" exit) driver, so a crossover in the range of 800 Hz (4th-order LR) to 1.2 kHz (2nd-order LR) would probably work a lot better. "Pushing" compression drivers to frequencies below the manufacturer's recommended crossover often results in harsh sound in the crossover region.
The tradeoff with large-format (1.4" or 2" exit) is substantially better power-handling in the 500 Hz to 1.4 kHz region (a more relaxed and effortless sound), at the expense of the top octave. You pays your money and you takes your choice.
Personally, I don't care for the sound of small-format drivers, except as supertweeters above 7 kHz (where they compete with AMTs and professional ribbons). But plenty of people like small-format compression drivers and use them in 2-way designs ... typically, with crossovers in the 900 Hz to 1.2 kHz region.
The tradeoff with large-format (1.4" or 2" exit) is substantially better power-handling in the 500 Hz to 1.4 kHz region (a more relaxed and effortless sound), at the expense of the top octave. You pays your money and you takes your choice.
Personally, I don't care for the sound of small-format drivers, except as supertweeters above 7 kHz (where they compete with AMTs and professional ribbons). But plenty of people like small-format compression drivers and use them in 2-way designs ... typically, with crossovers in the 900 Hz to 1.2 kHz region.
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The sacrifice is where the wavelengths are smaller than the throat size, the FR gets a bit messy and the horn isn't really controlling directivity or acting as a waveguide. Diffraction inside the throat can/does happen...
IMO the top octave, 10k-20k is arguably the least important one (maybe 20-40 is the same ish depending on musical taste). Certainly you don't want nasty resonances or crazy FR lumps, but I think with DSP it can be muscled into place fairly painlessly if the there aren't major resonance issues.
OTOH trying to force larger waves through a small hole will eventually hit the point where the air can to longer be modulated in a linear manner WRT amplitude (~166dB IIRC, in the throat), which causes compression/distortion of transients. So forcing a 1" exit to play lower frequencies also has it's trade-off.
As Lynn said you pick your poison, few things exemplify the quid pro quo nature of physics like speaker building...
Here is a pic of the setup with the 951's/seos, and the cardiod boxes I've been getting together.
IMO the top octave, 10k-20k is arguably the least important one (maybe 20-40 is the same ish depending on musical taste). Certainly you don't want nasty resonances or crazy FR lumps, but I think with DSP it can be muscled into place fairly painlessly if the there aren't major resonance issues.
OTOH trying to force larger waves through a small hole will eventually hit the point where the air can to longer be modulated in a linear manner WRT amplitude (~166dB IIRC, in the throat), which causes compression/distortion of transients. So forcing a 1" exit to play lower frequencies also has it's trade-off.
As Lynn said you pick your poison, few things exemplify the quid pro quo nature of physics like speaker building...
Here is a pic of the setup with the 951's/seos, and the cardiod boxes I've been getting together.
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