Best Compression Drivers today 2022?

Is it necessary to cross the last 2-3 octave in another horn?
I saw this point of view from lenardaudio, suggested to use 2 separate horn for HF part.
One cover ~1k - 7kHz. And the rest of the part use compression tweeters.
A while ago I also saw juanitox says the B&C DCM414 compression midrange is more attractive to him because he/she didn't think
the same horn can load the HF part well.
The summation of DCX464 compression coaxial attract me but not sure how important the horn loading is at the last octaves.

Can anyone share their experience with compression tweeters?
It seems nowadays there's not much choice. B&C, Faitalpro, Ciare, Beyma have the more affordable products.
 
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How about this horn? Anyone want to try it? (Actually, it is a downspout from Trex, a manufacturer of composite decking) 😉
This won't work, due to the oval 'throat' transition and the semi-parabolic profile > acts like a reflector:

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This could work - possibly surprisingly well, if you smooth out the 'steps' at the 'throat' and mouth edges.
Parallel walls are undesirable, but the disadvantages will be partly compensated by the throat transition.
The throat is actually huge > 5.5" diameter, suitable for a full-range cone driver.

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This could work - possibly surprisingly well, if you smooth out the 'steps' at the 'throat' and mouth edges.
Parallel walls are undesirable, but the disadvantages will be partly compensated by the throat transition.
The throat is actually huge > 5.5" diameter, suitable for a full-range cone driver.

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One could use such a concrete chute funnel as a mold. you can stretch fabric (fiberglass, fleece, spandex, etc.) including a round over at the mouth, which you could then spray with an (epoxy) hardener/raisin.
I would build up the horn walls with a mixture of sawdust/woodputty between the layers of fabric for extra damping, similar to the Community glassfiber horns.

Then CNC and/or print a throat adapter and your gigantic horn is ready. The rounded corners in the funnel make for a smoother response, especially when a similar roundover is added to the mouth.


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I’ve tried a couple in a 3-way, but couldn’t integrate them well. Even with dsp and delays. I found the “oneness” of sound in the two-way well worth the trade-off.
Yes, that additional mid driver is a potential cause of headaches, with the possible exception of a 2-way (from about 150 Hz) + bass section, like this:

1686519756821.png

3 drivers + 3 crossover components > obviously not something for the 'flat everything community' 😉
 
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And a high quality midwoofer > check Mms/BL and Flux Density. No need for shorting rings etc.

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Ah someone else who appreciates these exellent sounding speakers.
Not many people even in the pa business have heard these.
The whole Studio line was exellent.
We where almost a fan club of Fane in the mid to late eighties.
I owned the 15B, 8m, 5m, ST5022.
My friend had the 15L, 10M and HT405.
My brother build some impessive PAs with exclusively Fane Chassis.
I still got the ST5022 Tweeters that I will hold on to. Best bullet tweeter I have heard to date.

Greets Klaus
 
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Finally get DCX464 in hand...it's really big and heavy.
Anyone tried to use 1.4" throat compression driver on 1.5" horn?
Are the horn parts from JBL for 1.5"? Why don't they mention about the mounting distance and throat size......
Seems that XT1464/PR614/HF950 are still the more affordable choice.
Now I'm not sure to go for 90 degree coverage or 60 degree for home use.

I saw the D2 measurement at audioheritage. Is TD-2001/TD-4001 still perform better compare to D2 driver?
Distortion data measured by @DualTriode is also quite good shown prerviously in the thread
 
Anyone tried to use 1.4" throat compression driver on 1.5" horn?
One way has been to use non-hardening modeling clay and fill in the horn's throat entrance. Using a straight-edge rule, move around the throat entrance, then work the clay into a smooth transition from the entrance (1.5") to the attached 1.4" compression driver exit, as far into the horn as you wish. Voila! A custom transition. The advantage is that this doesn't necessarily increase the entrance length to the horn, which has a definite deleterious effect on high frequency polar coverage.

This technique was recommended by a well-known acoustic horn engineer.

Chris
 
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