| Kcct82 wrote:|
| I know you're not a big fan of digital delay, but I'm using behringer DCX 2496 to make things easier... this way I get to keep all horn mouths on the same plane which avoids some reflections (from other horn mouths). |
So, you use DCX 2496 for deals but not for crossovering and your crossovers are still on analog domain, right?
| Kcct82 wrote:|
I don't know what the advantage would be, can you explain a little? Thanks
I do not have time now go into details but generally using horns like your wider and with more decoupling from back wall create many great advantages. One of the most prominent is a depth of imaging (not even depth geometrical but rather the “quality of death”), proper curvature of back image, more proper imaging allocation, proper spread of dynamics within imaging, minimization of loudspeaker-crosstalk and introduction more binaural effects into stereo reproduction, minimization of horn’s reentry colorations and many others…
| twogoodears wrote:|
... I forgot to mention the following: after some months I only used a passive 4-ways crossover with a single WE 300B, transformers-coupled, I returned to multiamping and active crossover.
Months ago I left the old Pioneer D-23 active crossover on a shelf, after a direct comparison passive/single-amping vs. active/multi-amping, because I found the passive x-over sound more relaxed and natural.
Some days ago, I re-installed the Goto CF-1 active crossover (fixed x-frequencies: 220/1000/5000 hz) with the full plethora of my amps: 2 x WE300B/Partridge tranformers on mid-high horn, 2 x WE300B7274B7311B transformers-coupled on mid-low, WE421A on high and Hiraga 20W Class A on bass.
More than fiddling, sweating, puffing on speakers positioning, I, sort of, rediscovered the plus and joys of active multiamping... yes, it's a mess of double ON/OFF procedure, quite boring, BUT I hear more fluidity and effortlessly in sound, less blurring on large scale music (orchestral, Miles', ECM, etc.) and more clarity on solo music (lute, viola da gamba, etc.).
If you have multi ways playback with 4 amps then there is more sophisticated way to drive the channels then active crossover or passive from one amp. I am taking about line-level passive – the way how it shell be done ultimately. With GOTO it might be complex as the most like would like to use high order crossovers for their drivers (another sores of GOTO foolishness). The high order might be also accomplish at line level (with greater difficulties though) but I do not buy the notion of high-order crossovering anyhow…
| Kcct82 wrote:|
|My goal is to put a 50hz-60hz straight ROUND horn on top shooting down from the "second floor" (you can see the 2nd floor from the previous pictures). And of course trash the 15" i'm using and replace with sealed subs. |
Yep, the 50hz-60hz straight horn is the goal, isn’t it? Might I ask you what you feel that it needs to be invariably round horn? You do have the proper 150Hz horn at the bottom of your system and it will “ground” the upper-bass imaging to the vertical center. So, your 50hz horn most likely will be sharp-crossover at top knee. If so then roundness of this horn might be no justifiable from cost-per-transaction perspective. I defiantly do not advocate rectangular horn over round horn but the rectangular bass horn do have own advantages: they sampler and might be positioned closer to MF, they might be better coupleable to boundaries, they require much less blood to make and to maintain them…The Cat
"I wish I could score everything for horns." - Richard Wagner. "Our writing equipment takes part in the forming of our thoughts." - Friedrich Nietzsche