Deckhand, you might try listening from fairly far off-axis, like 20-25 degrees. I suggest moving the speakers a bit further apart than normal and toeing them in severely, like 45 degrees and maybe even more, such that their axes criss-cross well in front of the listening position. This will reduce the relative loudness of the horns in the first-arrival sound, increase the sweet spot width, and may increase the sense of immersion in the acoustic space of the recording.
The unusually well-behaved off-axis response of the 4367’s big horn makes this cross-firing configuration feasible. Its pattern width is just right, and I'm pretty sure it’s a constant-directivity horn (or darn close thereto) in which case the off-axis response is very similar to the on-axis response, but not as loud.
Duke
horn speaker designer
The unusually well-behaved off-axis response of the 4367’s big horn makes this cross-firing configuration feasible. Its pattern width is just right, and I'm pretty sure it’s a constant-directivity horn (or darn close thereto) in which case the off-axis response is very similar to the on-axis response, but not as loud.
Duke
horn speaker designer