horn array sanity check

I have a collection of parts in my shed and I'm spitballing a wide coverage array to use what I have.
The idea is to use QSC clone horns (something like 50x90 pattern) in a triple trap array with the horns turned vertically.
Each horn unitized with a pair of Celestion 4" sealed mids, 450Hz XO for each horn unit to an MTM pair of 10" midbass, perhaps horn loaded.
They would be mounted as high as possible at the side walls and angled down at the center of the floor in a 60x100 room with high vault ceiling.

90deg vertical is unorthodox but maybe can use this to advantage to get around needing front fills?

How do you think the horns will behave in this configuration - the horizontal pattern overlap, and combined gain/directivity where they lose their individual control 1-2kHz?
 
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90 degree vertical is simlar to the dispersion of my coaxial stage wedges that work well as FOH for small gigs. Get them well above head height and pointed 2/3rd of the way towards the back of the room. Its obviously very loud close to the speaker but apart from that the sound is 'fine'. By QSC clone horns do you mean the model with a 1" throat? if so your compresion ratio with a 4" driver may be a bit high (16:1), also a lot of EQ will be needed as the horn will not be helping so much by 450Hz. also what where you thinking of doing for HF?
 
Yes, the QSC 1"
I have HF10AKs and 2x4" will be used to make each horn cell into MEH. Hoping to get decent gain from 6X of the 4" mids for a 450Hz XO to the woofers.
I assume the horns will begin to couple around the mid-high XO (and I'm hoping I can get that up to 1.3K - 1.5K with the mids)
Trying to get a feel for how these horns will blend with each other in that 1-2K range, gracefully or a phasey mess?
They are 10" wide on the 50deg axis (which will be the horizontal) and have a smooth mouth termination.
With the proper splay angle only one HF source should be directly "seen" at a given listening position.

This is for a DJ set-up - want to place these up high at the side walls, somewhat forward of the booth to illuminate the whole floor without fills at front or back.
I've become addicted to the sound of wide-dispersion mains widely spaced and toed-in, this is to me the logical conclusion of that concept.
 
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Aha I missed that the 4" where MEH mid drivers I thought they where on the throat. A total of 6x4" mids will have ample output for small gigs (100-300 people), people have poor height localization so positioning speakers high is not an issue and allows you to reduce the front to back ratio increasing the uniformity of SPL and frequency balance in the crowd. Your crossover point seems plausible if you incorporate the natural bandpass roll-off of the 4" drivers into the crossover design with the compression driver. With splay angles there is a range of acceptable splays as even constant directivity horns are not perfect and so over the range of operation the coverage angle will vary quite a bit, so to an extent you trade off angular holes in the coverage of the top octave against ripple W.R.T angle lower in the frequency range by selecting splay angle. To get the best cluster performance you should try and make the apparent origin of the sound as close as possible, this suggests to me as small a compression driver as possible while the HF10AK is quite large; perhaps the BMS 5530ND would be a better choice?