Another speaker that meets the disappearing standard are Rogers LS3/5A BBC mini-monitors. Matched drivers. Small. 125Hz bass hump. Inefficient. Another non-starter when it comes to peeling paint off walls.
I'm thinkin hifi speaker system needs to be capable of nice loud enough problem free sound until its not comfortable anymore, too loud for ear, and there is no need to go any further like peeling paint 🙂 Losing comfort can be being too loud for the neighbor and the problem was the neighbor and not the speaker. Perhaps the small Rogers speaker was enough for the small broadcast van nearfield monitoring situation, not sure if its enough for home theatre, probably falls short quite a bit. Perfect example being problem free for one application but not for the other.
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I agree with everything you said. I’m still trying to think in terms of a monitor. Volume is often used as a replacement for intelligibility. I was using classic examples of 2-ways that are highly intelligible.
I like HT at volume. It’s fun. It can also be a cacophony of sound in good rooms. I back off the sound from surrounds, heights, and subs, to keep intelligibility as good as possible while retaining fun volume levels.
As soon as you have turned deaf enogh up there you won't need one anymore.
Camplo's tweeters play low enough to be useful for a long time.
BTW one older forum member (sorry, I forgot his nickname) can hear only up to few kHz.
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Just in case anyone wants to find out for themselves -
https://www.szynalski.com/tone-generator/
https://www.tonegenerator.top/
These may get you in the ballpark, or let you know you have a bad driver.
Thanks, but most have REW generator. In addition to being deaf, you can do more interesting things. For example like MATT-test, but with free picking frequency\duration\window:
REW is a great tool. All sources for good tools are useful. Use what suits you.
Its here... In my living room. Still no horn stand. I am leaning towards using the jbl horn stands I have. I ordered the wrong length threaded and just made another for some m6x80mm set screws. By the time they get here, I will have cut the 2" hole into the stand and it should be ready to mount. I really don't get these horn stands, they allow play...which means misalignment. Can't align what you can't see.
While I don't have any hard evidence, I personally would want a much more robust mounting for a horn. Any resonances in the mounting will be transmitted to the sound radiated from the horn. That can't be a good thing.
Because they are the product of a certain philosophy, developed for specific purposes. In this approach, efficiency plays a subordinate role > after all, amp. power is available in abundance.
At DAE we often experienced the differences between (highly sensitive) passive loudspeaker systems versus the modern (active) variants.
The 'ease' is - in my view, the result of a whole series of electro-mechanical-acoustic factors that ultimately influence 'losses'.
Everything is relative and I make a clear distinction between end-uses and objectives, roughly: casual music 'experience' vs more studio monitoring-like purposes.
Indeed, I have listened to the originals as well as most of the clones made by Falcon, Harbeth, Graham, KEF, Stirling and Spendor.
They're good enough for many (maybe most) people, but bass is almost non existent, they don't play loud and for me the cone signature is unenjoyable - whether it's Bextrene or polyprop. > due to a lack of internal damping, among other things.
Imho, the Audio Note AX-2 is by far preferable to any of these.
Only using sheet metal doesn't seem like a good idea, unless the horn is also supported at the front.
Interesting combo, GL Summa + 300B.