Karls- you got it right.
If you wanted to know the actual % modulation distortion, you'd have to know the stroke and frequency of the mid's vibrations that are affecting the tweeter's sound. Which are random, as far as the tweeter is concerned. Which means the modulations are unpredictable on music- so all we can say is that they should probably make the sound hazier or dirtier.
Jeff's crossover is probably the only one that could make a co-ax design work well. Even then, the tweeter dome would require a modest horn around it- a waveguide to keep the tweeter's sound from bouncing off the mid's cone. Of course, the mid's sound will bounce off that waveguide's exterior...
The "horn-loading" coloration is a common term- what we're hearing are the quasi-transverse reflections from the sidewalls of the horns, and the reflection from the mouth of the horn back to the throat.
At the mouth of the horn, the sound pressure goes from travelling in a high acoustic impedance to a low acoustic impedance. Thus, from the un-equal impedances, a reflection/standing wave takes place inside the horn. Then there is the matter of a horn's possible throat-compression ratio that boosts efficiency and distortion (love them PA horns, don't you!). You can't compress/rarify the air more than 1% or you get harmonic distortion from the air itself.
Roy
If you wanted to know the actual % modulation distortion, you'd have to know the stroke and frequency of the mid's vibrations that are affecting the tweeter's sound. Which are random, as far as the tweeter is concerned. Which means the modulations are unpredictable on music- so all we can say is that they should probably make the sound hazier or dirtier.
Jeff's crossover is probably the only one that could make a co-ax design work well. Even then, the tweeter dome would require a modest horn around it- a waveguide to keep the tweeter's sound from bouncing off the mid's cone. Of course, the mid's sound will bounce off that waveguide's exterior...
The "horn-loading" coloration is a common term- what we're hearing are the quasi-transverse reflections from the sidewalls of the horns, and the reflection from the mouth of the horn back to the throat.
At the mouth of the horn, the sound pressure goes from travelling in a high acoustic impedance to a low acoustic impedance. Thus, from the un-equal impedances, a reflection/standing wave takes place inside the horn. Then there is the matter of a horn's possible throat-compression ratio that boosts efficiency and distortion (love them PA horns, don't you!). You can't compress/rarify the air more than 1% or you get harmonic distortion from the air itself.
Roy