Why not horns?


I've owned a lot of speakers over the years but I have never experienced anything like the midrange reproduction from my horns. With a frequency response of 300 Hz. up to 14 Khz. from a single distortionless driver, it seems like a no-brainer that everyone would want this performance. Why don't you use horns?
macrojack
Bridging and paralleling are two very different things.
Bridging effects the voltage. Parallel does so with the current. If a design can allow for paralleling you double the current thus doubling the wattage. You also cut the output impedance in half thus increasing your damping factor.

The question of whether or not a set of three basshorns will reach 109dB sensitivity is not as simple as measuring 1watt at 1 meter. Measuring actual sensitivity in the real world is a little more complicated. And the whole 1w/1m standard is very misleading!
1w/1m works adequately for comparing drivers and most simple one to four way dynamic designs. But for planar speakers and line arrays it is basically useless. A typical speaker will measure a particular level at 1m and that level will drop off as a function of distance. A planar or line array will measure one thing at 1m and then INCREASE as a function of distance up to a point. This is because it takes a little space for the entire surface of the planar or all the drivers of a line array to combine.
In the same way, three bass horns are effectively a line array of 6 different 12inch woofers. This takes up nearly eight feet and will only combine at a distance of about 10feet away or more. Therefor, in order to accurately define the actual sensitivity of the entire system you have to measure both the upper frequency horns and the basshorns are the same distant spot. You measure the upper horns to get their true sensitivity at that point and then set the basshorns so that they are of equal SPL at that same spot. THEN you measure the amplifier output. And only THEN do you have a real estimation of the sensitivity of the entire system.
Prdprez, that guy who hated horns was talking about mine at Lone Star 2010. The speakers behind the curtain in the first example were GedLee Summas.

Until you've heard speakers designed or inspired by Earl Geddes, you haven't heard all there is to hear in the world of low-coloration hornspeakers. And at least one of his students got some press a couple of years ago: a Golden Ear Award from The Absolute Sound.

Duke
Weseixas wrote: "Duke are you saying those that dislike horns cannot pick them out in a blind test?"

I'm saying that a high quality, low-coloration horn system doesn't sound like a horn system.

Duke
Duke: Ah, yes! I remember now. Then again, your contribution has thrown into the light that we should be careful in defining exactly what "horns" we are talking about.

Your Dream Maker is only a "horn" from 1.7K up. It's not a wonder it would sound so smooth. the majority of all instrument fundamentals as well as all voices aren't coming form a "horn" at all! (if I understand the design correctly)
I would think this would be a major difference between it and something like an Avantgarde! If not, please do explain. I am curious!
My take on the blind test was that the listener was noticing all of the same similarities that seperate Stats and Horns from typical dynamic speakers. It doesnt surprise me one bit that he guessed the way he did.

I've seen the same thing with the (effectively) 100dB Scaena speakers being compared to Magnapans!