Thanks jsg,
The only thing with reflex is the efficiency...but you knew I was going to say that.
Plus this is a thought exercise for now.
Looks like the ported horn is the way to go.
A straight horn could be an option, it's how altec did it once (though I should add that that port was actually a mass loaded RLH on some of their models...). The cabinet i am envisaging that way would be a double driver, with a port or two in between the drivers.
So all the solutions we have involve loading the back of the driver to enable cuttoff frequency of the cab to exceed that of the horn. Now we just have to settle upon a loading, and porting seems to be the one.
Back to the side topic,
About subs in vocals, I agree, and the cab would be ideally crossed around or just above 100hz. When I meant slightly higher frequencies, I should have been more clear, not >200hz, but I mean just above 100, like 120.
I found these on john sheerin's website. They're quite interesting.
ldsg.snippets.org/HORNS/images/roundbend/5khz_straight.jpg ldsg.snippets.org/HORNS/images/roundbend/5khz_round_8_v2.jpg ldsg.snippets.org/HORNS/images/roundbend...z_reflector_8_v2.jpg
I am also of the opinion that mouth termination plays a big part in a HF horn, with regard to colouration due to reflection. But this is not sub talk, so I'll shut it.
BTW,
The finest PA mid highs I have heard... one came from (sealed cab) paper cones, and 1" driver loaded on a massive compression driver waveguide, in a install. The other came from an array of SH-50s.
TMS series cross over their BPH mids quite high, and the Blackline H3+ and FK1 tops do too. I'm not exactly a fan of them (well, the H3 was quite nice...)...there are better sounding cabs.
EDIT:
How could I not note that! The xover and amp....
Edited by: Deadbeat