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drdna wrote:

I appreciate the suggestions on the ceiling of the room; in my room the ceiling is about twelve feet tall and it opens on the side to another room with a taller skylight, so I do not know if this is a problem or not.  It may be worth investigating? Also, I have tried many many kinds of wire in my system and I agree that the sound of silver is very distinctive -- I also can easily tell if I change a small piece of silver or copper wire in my system.  I have found that silver gives a very wonderful realism to the upper midrange and highs, but this is at the expense of the lower midrange which is kind of dulled and sucked out and I expect this is why Romy hates it so.  This seems much better when you are using a very fine silver foil, at least to my ears, but it is never the full, richer sound of the copper, but the copper is not as immediate-sounding as the silver to me either in the very upper midrange, so I think this is really a trade-off. Maybe this is part of my problem with the EdgarHorn Titans however because the wire Bruce Edgar has inside the speakers looks like steel or copper coated with steel or silver (anyway it is a silvery-colored metal) and it is multi-stranded.  Everywhere else in my system I have only solid-core ultra-fine gauge wire, including the insides of all my equipment and my old speakers which I re-wired.  So perhaps this is part of the reason the "magic" is missing.  After I figure out how to make these speakers disappear, perhaps next I should examine re-wiring the speakers?

I’m not kidding: all those things that we talking this there is irrelevant in your case and I would like you do not distract yourself on the irrelevant directions: cables, room treatment and etc. They all are important things but the problem that you describe is more basic then all little things. I usually suggest to people to install this system using the Radio Shock interconnect and the regular zip cords. Make it sound goon and THEN take advantage of better cabling and complicated room acoustic alternations. Your EdgarHorn, or any other speaker at this respect, should do fine bust being dropped at the floor and properly positioned. I have seen phenomenally perfuming sound coming from absolutely random systems in absolutely random condition where the speakers were installed properly. In smaller rooms those correct speakers positioning always exist. Phase-align your drivers and you should be fine. The "disappearing” trip is VERY simple trick for loudspeakers and it should not be a problem.

BTW, there is one more tip. Bruce Edgar bushtits his customers making them belie that his horns should be used next to the back wall and at far field. Whatever reasons motivate I am sure his customers deserved to be bul***ed. In reality horns are way more sensitive to any boundaries and partially to the back walls then common people usually believe. The horns must sit quite far form the walls, the further the better and partially the horn that use a dedicated direct radiator upper-bass horn. I would estimate then if you have 80Hz Edgar horn then the minimum distance from the horn to the walls should be 5”-6”. It is certainly not an absolute rule but what I have seen that is the upperbass horn (if it was not a boundary loaded, as if is was then they have other problems) is acoustically connected to the walls then ....you WILL NOT have a good upper mid range transient and your sound will be at the upper mid range with no contrast.

The caT

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