In my opinion the basic concept and format of the model 4430 is sheer genius. It elegantly addresses several significant issues, some of which are still virtually ignored by most of the high-end audio world.
Briefly, the 4430 uses a large-diameter high-quality prosound woofer crossed over to a 90-degree constant-directivity horn at the frequency where the woofer's pattern has likewise narrowed to 90 degrees. The 4435 adds a second woofer that assists in the bass region.
Even today, the 4430 is an outstanding loudspeaker (as are its conceptual ancestors, the Altec Model 14 and Model 19). However, in my opinion there has been advancement in the state of the art since the 4430 and 4435 were designed - specifically the introduction of low-coloration, constant directivity waveguides based on the work of Earl Geddes. The big butt-cheeks horn in the model 4430/4435 was about as low in coloration as you could get in its day, but it has been surpassed (this opinion backed up by a controlled blind listening test).
To comment briefly on the original topic, in general I would probably choose a three-way over a two-way (assuming we're comparing roughly equal-cost, equal-size speakers). The exception would be a two-way designed in accordance with the principles embodied in the 4430.
My speakers, Earl Geddes' speakers, and Wayne Parham's speakers all conceptually trace back to the landmark model 4430. In somewhat different guise, so do Emerald Physics and Gradient. And I'm sure there are others. In fact, I find that speakers I like tend to be ones that incorporate at least some of the philosophy of the 4430, whether deliberately or not.
Duke
dealer/manufacturer
