- 2010-03-27 4:25 pm
It is very possible to cover 50-15k with a fully horn loaded two-way system. I have done many variations on this over the past 25 years. My initial development focus was on the bass horns. These are hyperbolic exponential expansion and the mouths are about 4'X2' and are designed to sit flatly on the floor flare up to take advantage of fraction space loading which improves response. These bass horns fc a little below 50hz and develop ~110dB/w/m. They feature extremely flat frequency response to 500Hz in my untreated listening room. The flat frequency response was achieved by minimizing folds and employing Hyugens wave reflectors. I used a pair of EV15L lead guitar woofers to construct compression drivers for the folded bass horns. The bass horn work is similar to work that has been independently done by Nelson Pass, Bert Doppenberg, Martin Seddon and others. In general, the form of the bass horn looks a lot like a giant vacuum cleaner. My family and friends refer to my bass horns as "The Hoovers". My initial approach for >500Hz were four petal tractix mid and high frequency horns using the JBL 2445 with Radian diaphrams for mids and JBL 2416 drivers for highs. Some years ago, Martin Seddon built a set of AH-160 Le Cleac'h horns in which I have been running Lowther PM2A's. Martin also supplied me with a pair of AH-340's which I'm planning to use with Radian 500-20kHz compression drivers. I could also go to the WE-555 with the larger AH-160. I have adapters for these. I have augmented the bass from time to time with actively crossed subwoofers which seem to work just fine. Generally the bass from the Hoovers is completely satisfying. I use a passive 2nd order Butterworth crossover at 500Hz of my own design. I plan to move to 2nd order Linkwitz-Riley which I am moving to for all passive crossovers. I use tube amps and preamps, most of which I have constructed myself. The horn system I have described is 110dB/W/m. It develops very loud volume with a Decware Zen 2W amp. A 10W 300B really kicks. Bass energy, transient response, midrange clarity, female and male vocals, strings, horns and percussion are thrilling for all genres of music. My thanks to Bruce Edgar for a bundle of papers he sent me, his mentor Paul Voigt, and Bert Doppenberg, and Martin Seddon for months of discussion and friendship.
Some pics, perhaps?