Is it possible to cover the whole spectrum, high SPL, low distortion with a 2-way?

Perhaps the round overs of the XT1464 were sanded down ;-)

15NLW9500s... Nice!
For a low crossover point, these should work fine.

Personally, I like the light, curvilinear cones of the (N)MB drivers, which are suitable for higher XO-points to match a ND1085/NSD1095/ND1TP.
 

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IIRC they used filler to hide the roundovers of the XT1464 on the one from the link that I posted. There were once "making of" pictures on the web but I couldn't find them anymore unfortunately.

Agreed - I would definitely not use the 15nlw9500 up to 1 kHz or more. Mine are intended for three way usage. But since it is not a lot of work I may just exchange the Beymas in my MTMs with these for a try. Some changes in the crossover will be needed.

Regards

Charles
 
In the light of this thread, a few 2 way loudspeaker systems that I came across in the last few weeks.

The first one is made in Taiwan, for which a clone of the Sony SUP-H11 horn is used. Drivers are 15 + 1.4" of unknown (probably Asian) origin.

The second system is manufactured in Tasmania and consists of a bronze waveguide + 1" driver and a FaitalPro 15PR400. XO at 900Hz.

The last one is a Finnish DIY project for which 1" + 15" 18Sound drivers were used. The horn appears to be a modified FaitalPro LTH142 and the woofer looks like a 15MB606.

The first horn can be created by a function originated by Giovanni Domenico Cassini. One of my very first attempts to play with horns. Does someone have actual measurements for this type of horn?
 
The first horn can be created by a function originated by Giovanni Domenico Cassini. One of my very first attempts to play with horns. Does someone have actual measurements for this type of horn?

Interesting!

Sony made different horn variants with a similar profile.
 

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Measurements of the Sony "Cassini" horns are very hard to find.

G.T. Sound, that continued development and production of the Sony SEM legacy, only reproduces the small SUP-WH3 horn, which was originally developed for a PA loudspeaker (SRP-S5000). The drivers were Sony-branded MCCauley units.
The same drivers were also used for Sony's extremely rare Cinema speakers.
 

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As mentioned previously in this thread, Sony Professional drivers have acquired an almost mythical status in Asia.
The compression drivers are mostly used with Arai-type or axisymmetrical horns.
A Japanse guy made custom horns and enclosures for his Sony SUP-T11 and SUP-L11/TAD 1601A.
 

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Hi Camplo

Mine are approx -6dB @ 30 Hz. The levels I tried were definitlely too high for listening/working a whole day long. Such SPL is not only unhealthy - it is also going on my nerves after some time.
Keep in mind that I am using fairly cheap drivers without the bells and whistles (shorting rings etc) that your AEs have. So I guess you could definitely go louder than me without strain.

Regards

Charles
 
I was discussing with my cousin that I could probably design the same (similar) system knowing what I know now, for much cheaper. Not that I have any regrets...but it is an interesting point.... As to your system being down -6db at 30hz...that isn't acceptable for mastering...so the question is, with the system voiced flat to 30hz...how loud could you play before distortion became an issue...I think the lower end is going to run into trouble much sooner, but I feel that the midrange of a 15" has plenty of headroom regardless. I don't know how important headroom is at the bottom, but likely not as important, though, I cant see throwing the diaphragm out of xmax being good for anything else it is playing at the time....then again....with corner loading we might be looking at 12 or more db of gain at the bottom, compared to my experience with 2pi simulating.
 
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