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Merlin, I wonder why you need more information if according to you: “the solution that has not been heard and is not intended for your ears”. You migration from sightless denial to desire of self-education  is very… I would say fast but  still admirable. Anyhow, I would attribute that older post of yours to the syndrome of intermediate audio-hypochondria and I’m glad that you went over it.

Well, here is the text how the owner of the system describes it:

" Pair of full-range horns and their peripheral electronics. Side-view of left aluminum upper-bass horn + mid-range horn and the small very-high-frequency JBL UT-045Be quietly  'sitting' over an acrylic board.  The single Revel unit covers from below 20 to 60Hz.  Upper-bass horn from 60 to 500Hz;  mid-range horn covers from 500Hz to 15kHz; the super tweeter from 15kHz to inaudibility.  Slopes are symetrical and 24 dB/octave. Close-view of the side of the mid-range bronze horn and the incredible UT-045Be unit. Valve electronics by Eduardo Lima (AUDIOPAX). At left the Master Loudspeaker Designer Bé Yamamura whom I had the opportunity and honor to visit in London, England,  in a distant day of November, 1981.
 
The sound ?  Well ... the sound is natural, very linear but not sterile.  There is an unlimited sense of power and freedom from the deepest  bass notes to the extreme highs.  The image (vertical and horizontal directions) is as precise as like any other studio  monitor ... but the sense of power and majesty with large orchestral and choral works ... is unbelievable !!

Two particular frequencies [one near the cut-off of the upper-bass horn and other, also near the cut-off of the mid-frequency  horn] were audibles using piano and (whispering) female voices.  Both were 'terminated' using very deep notch filters with  a Q of 30 !!

Large horn systems need really large floor spaces and they also have a 'tendency' to work better at unconfortable high SPL  levels.  Good for audio demonstrations but not for the everyday use.  It was very, very difficult and much time was consumed  to 'solve' the problem of the fusion of the particular sound signatures of the Revel and of the upper-bass horn.  This not only  was finally 'solved' but now there aren't any detectable sound signatures coming from both operating ranges and this from  whispering 40 to thunderous 105 dB(A) SPL levels !!!  Really not bad !!!  This 'magic' was only possible after some specific  program routines writen for the state-of-the-art SymNet DSP.

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