Twogoodears posted at his blog to a link to a Japanese fellow.
There are some interesting aspects in there that I would like to mention. The Google translation is not very useful – it reads almost as bad as my own writing - so I did not read it and will go with just pictures.
I appreciate the block-schema that the owner drew (I presume his name Okada) – very useful to see what he is doing, I think I need to do the same.
Obviously it is not my type of setup as it uses digital equalization - a pair of Accuphase DF-35. With digital equalization all subject of time alignment are gone. The in-wall positioning of the channels is might be very nice to save space and room but my experience shows that no matter what you do Sound always will be too much shallow to be interesting for me. In-wall positioning absolutely prevents a nearfield listening and eliminate any presentational depth. Imaging is too primitive and too boring.
There is however a few moments that I find are wonderful in Okada’s implementation. It is very good that Okada did not use his bass-loaded channels with YL D-1250 as the lowest channels but he use a pair of direct radiator bass drivers for the lower active. That is very right way to go. I wish more horn people would understand that horn channels must not be lowest channels in a full-range installation. Now is what I find absolutely brilliant in this playback. Take a look how Okada shaped the mouths of his midbass horns with the baffles of his bass channels. This is super bright and what I value very high in playback design – VERY elegant.
"I wish I could score everything for horns." - Richard Wagner. "Our writing equipment takes part in the forming of our thoughts." - Friedrich Nietzsche