No EQ, levels matched by ear. XO @ 150 to the Fostex 208ESigmas, 4K to the Cantus ribbons.

Fairly low cone travel, even at high levels (surprised me). Not the "slam" they had before, but tonally, much "righter".

Tomorrow, I'll put the analyzer to them, EQ the roll-off in the bass.

Like GA Briggs said, it all depends on what you listen for. For me, as far as being tonally right, they're the best yet.

Thanks for making those 7ft3 cabinets available! That's really nice! It will make an excellent cabinet for lots of 15" and 18" subs. You might tell people what state you're in so they'll know whether it's an option for them to snag your cabs.

If somebody wants to pick them up they can email me, but they're nothing special at all - wood grain vinyl wrapped MDF (black).

Actually, I was kind of fooling around to make a point that only I got, I guess. It's just amazing to me that these two enormous, heavy, complex boxes were replaced with little H-frames and to my ear for the better.

I used to wonder about the street musicians playing guitar in the French Quarter and their open-backed speaker cabs - I don't wonder anymore.

The immediacy part, I’m more certain of. I think they sound very “immediate”. My oldest daughter (a Frank Sinatra fan) actually had a big grin yesterday when she put on a new CD that had just arrived – “Francis Albert Sinatra & Antonio Carlos Jobim”. It sounded very right, very “immediate” to me. I asked her what she was smiling at – she said “it sounds gooood”.

I’m not disparaging your experiences or opinions, just commenting on my own.

And part of the difference in experience might be due to some differences in what I’m working with and the stuff you used. Since I’m an old man now I have access to a bit more disposable income. I have huge bass drivers with very high Xmax and relatively low Qts. (If I sell the stuff I have on eBay, I’m going a step further and buying some Adire Tumults). The mid drivers are pretty much tailor-made for the application (OK not actually, but much more so than just a random 8” midrange driver). I’m running the bottoms with a Crown K2 – not lacking in power or control. I have active crossovers, equalizers, and a RTA to adjust them.

What I’m trying to suggest is that the past for loudspeakers might be their future. Paper cone dynamic drivers and the materials they’re made out of may have arrived at a point where it makes sense to return to open baffles. When Rice & Kellogg started out the electronics weren’t available, and neither were the filter theories well developed (Linkwitz hadn’t even been born). The materials were limited and the amplifier power certainly didn’t exist. Boxes and horn loadings were attempts to compensate for the lack of excursion, sensitivity and amplifier power – all obstacles that don’t exist any longer.

Same for horns – sticking an Edison phonograph horn on a crystal radio receiver earphone in the 1920’s let other people listen. Sticking a horn on a compression driver let 20 watts fill a movie theater. The horns let the otherwise impossible happen. Would they have been applied to domestic listening for so long if they hadn’t been necessary at the outset? I’m betting not. Not that they don’t have their applications – there’s no other effective way to get to the back seats in your local stadium. But that isn’t about fidelity of music reproduction.

Paul Klipsch built his horn to complement his 2 watt amp. I know this because I heard it from his own lips in 1983. Don’t get me wrong – I love Klipschorns, but they’re not the best I’ve ever heard in terms of clarity and coloration. And Paul worked on them for 50 years to improve their tonal balance. Would he have started with a horn if he didn’t need it to overcome other obstacles? I don’t know, but that wouldn’t be very effective engineering, and he was the consummate engineer.
It’s something worth thinking about anyway [I’m sure wasting enough time on it!)

Charlie

I have a nice horn tweeter, a JBL 2012, and an active crossover at 1600Hz.

Can I just mount the 2012 onto a hole in a board and listen to it? How big does the board have to be to count as a "baffle?"

Is the point of the baffle (or, what is the point of the baffle?) to separate the rear waves from the front? And, how does this differ from an infinite baffle sonically, i.e. if a little is good why not a lot - mount the speaker in the wall?

Maybe if the sound is "thin," it is the bass you are missing. (?)

Yeah, I'm going out this afternoon to buy a new camera.

http://wun.smellthecolors.com/elephantgraveyard.htm

http://wun.smellthecolors.com/currentopenbaffle.htm

Check out the Linkwitz web site - he pretty much covers the waterfront.

For sizing a baffle, you could use "The Edge"

http://www.tolvan.com/edge/

An essential part of the concept is that you're not attenuating the backwave (dipole operation),so while putting a horn driver in a baffle helps support the lower end, it's not really what they talk about when they talk "open baffle".

Yes, you're seperating the rear from the front waves, but you still want to take advantage of the rear wave which you can't do with an infinite baffle (wall).

I don't think it's a lack of bass (at least I don't think so right now). Drum solos on Wilson Audio's "S'wonderful Jazz" sound pretty "right".