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Jessie, I have moved your post to your 45Hz horns thread but then decided to keep it here as some of my comments would be about entire system not only about your midbass horn. Anyhow, there is nothing there to laugh and it is pleasant to see that some people not only run own mouths but do serious and highly objectionable thanks. Below are some of my raw comments, not organized, without any order; use them at your discretion.

1) You might not need rubber gaskets at back chamber of your mid-bass horn.

2) Make sure that you have as sufficient volume of back chamber; it is simpler to make it smaller after the horn is built than larger. Measure the resonance frequency of your bass driver and to see how much you need to open up the chamber.

3) I feel is that the join it in the back bulge and the body of the bass horn is slightly weak.  I would make a line from back chamber to the horn thicker; in fact I would run the entire back section of the midbass horn as a cylinder instead as an exponential profile.

4) The segments of the midbass horn, what the material will be might from?  It looks like metal, would it be? It is very hard to estimate how sufficient the sickness of this mental and amount of the ribs will be necessary, as well as the amount of colorations that might or might not take place would be hardly quantifiable. However, what I would do if I undertake this type of project, would be an production in initial design of the midbass horn a mechanism that would allow me to deal with typical mouths resonance later. It might be a system of straps, or a system of fasteners that would allow need to lay down the heavy-rubber panels in the valleys along the segments and to squeezes them to the body of the horn. I was thinking about something along those lines.

It would not be difficult to implement to begin with but it would be very-very useful if you eventually decided to mass-load the mouth or damp it.

5) I live like your frame where his ability to adjust the height of the top lower-midrange horn. That would allow you to play very liberally with different tweeters and different crossover points at lower midrange horn.

6) Make sure that the whiles on your frame are very small and upper bass horn sits as low as possible, in fact is the way you indenter it down I think is absolutely perfect.

7) Are you planning to locate amplification layer between upper bass horn and midrange horn? It is a good idea but I will suggest making this amplification to be with remote power supply where power transformers will sitting at a separate chassis on the floor. By the way, if you have problem with heat at your amplification layer that you can put amplification behind the frame where midrange driver sits.

8) Did you consider extending the height of your frame all the way up and attaching the large midbass horn on the same vertical pole? If to mound the mid-bass horn at the center of its mass is then it will not be a big burden to the frame. Sure it will create a hell of a selling yacht, and might be too dangerous to experiment with.

9) Be advised that the given design will have difficulties to sound correct in near field position if you are staying as the output of a lower midrange horn would be too prevailing.

10) I know, it's might be too crazy but from where I am staying now I would put into the design the ability to employ an “Injection Channel” (depends what kind of horn drivers your will chose to use)

11) Make sure that you are lower midrange horn has an ability to be extended forward for a few centimeters.

12)  Did you think already about the selection of the drivers and crossover points?

13) I would suggest making the arms which are attached to the frame to hold each layer removable from the frame. This way if you decided to use other horn or other drivers then the channel might be completely swappable.

14) With is as certain of liberty of thinking, which would include the selection of the drivers and to the aim of using the Injection Channel I might says that the lower midrange channel (top horn) might not necessary to be used. I have no final opinion on the subject

15) Where in your design would be the “default” targeted vertical listening position of ears (the location where a measuring microphone will be placed)?  Is it that top of upper bass horn? The center of midrange horn? The top of midrange horn?

16) Move the back wheels of the frame all the way back.

It was all that in my mind as now. Generally what you are trying to do is from my perspective is wonderful  and very noble direction to go and it is what I would do if I would do it. What you are targeting is a next level after Macondo and Cressaro Gamma and if you will be able to implement it properly then you certainly should charge money for people to listen it and to learn “how it might sound”. With a proper selection of the drivers, without proper assessment of the each driver capacity and proper none-intrusive Do-Not-Harm-Crossovering™ will be superbly important. Please keep posting your progress at as it is amazingly fascinating and educational to see what you are doing.

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