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Romy the Cat wrote:

I have to admit that since the torch of sane sounding horn-loaded loudspeakers nowadays in my hands (among the outspoken people with web presences) I feel sort of an obligation to comment about new interesting species enrolling in “my” domain.

Over this weekend I was introduced (virtually) to a 5-wasy installation from Germany upon which I would like to comment.  I requested more information about drivers, crossover points, throat decameters and the way how the channels are amplified. The system owner has access to my site and might post the information, including the thoughts he used to come up with some steps that he took. Warn you that from what I concluded in his emails the owner is not a typical internet yahoo that are breeding nowadays like mushroom after rain but he actually has own thoughts about development and use of horns. I do not think he has own site (I was not able to find) and I would like to take advantage of this thread as a platform to think about what this German installation offers 

It is 5-ways, mostly GOTO driver all horn playback. Right from beginning when I saw the very first picture I begin to count the number of the midbass horn leafs. What I got 11 leafs then I said to myself – “OK, the guy (Reinhard or Klaus?) is not a regular Moron”. Learn, the fools – this is how thinking in horns manifests itself. For the guy to make 11 leafs of 12 leafs on his sectoral horns had no difference but he chose uneven number. I stressed the very same point many times before at my site but no one who produce/use the sectoral horns cares about the unparalleling the leafs/sections.

Anyhow, the installation looks like use the MF Island, upperbass and midbass horns. The upperbass looks like a true full-size 100Hz with 2” throat. The midbass looks like 1/2-1/4 size of let say 40Hz mouth with 4” throat. The owner is a big GOTO fan:

http://www.GoodSoundClub.com/TreeItem.aspx?PostID=12427

But I do not know if for midbass horn was used GOTO driver.  The GOTO bass drivers are sealed and do not require back chamber. Reinhard’s midbass horn has HUGE back chamber. So, I presume that ether it uses a conventional drivers or Reinhard does in there something intricate with driver resonance to deal with throat reactance. The idea of the midbass horn on own rollable platform is superb – I love and if I render my real-estate project then I would consider to mimic it. Also in this configuration the damping and bracing might be added if necessary – love it! I would not mention that rotating the horn on axis for 90 or 180 degree it is possible to mount it to wall or ceiling. It is VERY interesting how the upperbass and midbass horns are crossed, the Reinhard’s about the impact of that crossover to sound and preferably the sweeps of individuals upperbass and midbass channels and combined.  Also it is very “kinky” moment how the delay from upperbass interacts with the delay from midbass. I know that not a lot of people would understand it but there are ways to “spread delays” or to use what I call the “distributed delays”. This system would be a perfect playground to experiment with it.

A few things that I would do different with this playback. I would flip the positions of upperbass and midbass. The midbass closer to the wall will pickup up some LF extension as the vertical mouth would go larger. The most important is that LF souses would not be emanated from the space between the MF souses – a big “no-no” in my book. It will do a phenomenal advance in imaging. It looks like the system is built in attic and the midbass bail is inserted into two opening on the back wall. I would keep everything as is but just turn the midbass on diagonal toward to the wall. I will not be as sexy but it will be very good for sound as the LF from midbass are shooting now directly to listening position and the bass has no room to develop itself. Unless midbass is 50 feet away I would prefer to use reflected midbass, when the midbass is matured. I have written about it a few times. So, the midbass neck will be going across from the hole in the wall and will not abstract the MF Island, if I will then the MF Island would move a bit closer. Actually it would be even more fun to make two other holes in the wall on extreme left and right, put in there the midbass’ tail and to point the midbass alongside of the wall, aiming it to the back of the room. That would give a LOT of room for bass to develop until the main reflection hits listener spot.

Ansyhow, it is interesting installation and I would like to know more about it.

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