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CO wrote:

Why such a wide angle? To keep the highs evenly spread and match to the angles of other chanels ofcourse but this will call for much more attention to room setup/treatment. Wouldnt this also lose some of the horn magic by letting the playback room "mix" with the recording. Alot of the benifits i have attributed to horns is because of the narrow directivity they posess. At lower frequencies the directivity is always less ofcourse so i can understand why.Perhaps you see this wide angle setup only restricted to a large space?

I do not attribute to hors any specific “magic”, Horns have some advantages but it has nothing to do with “magic”. Also I do not attribute anything positively to narrow directivity of horns, quite opposite: the wider dissipation diagraph we have the more interesting result would be. Partially I do not like the narrow dissipation at HF. Those compression tweeters with ultra high directivity and phase plugs that terminated with a heddle point are particularly horrible. It is also difficult to build arrays with those drivers as with angle then we have all kind of phases problems (it is how some Japanese manufactures time-align them) That all boils down to what you want to make a source of your sound: your speakers of your room. In order to “turn a room on” you might need a defused and non-directional HF. There are many other aspects: wider dissipation = lower depth of hors, that it very beneficial (unnecessary) for HF; better MF-HF integration, wider listening space, more natural reverberation radiuses when listening is off the “sweet spots” and many other thighs…

Rgs,
Romy the Cat

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