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Showing most liked content since 11/14/2017 in Posts

  1. 2 points
    Figures. Nolan still prefers f**king raw noise over quality.
  2. 2 points
    maxmercy is about lose his shit with the clipping in this one! http://www.avsforum.com/forum/113-subwoofers-bass-transducers/2763785-ultimate-list-bass-movies-w-frequency-charts-136.html#post55276102
  3. 2 points
    Making good progress. Might have the site up for preliminary testing by Jan/Feb
  4. 2 points
  5. 2 points
    Those lifting straps? I've tried them, they're OK for some things like couches and beds, but not something I would use on a sub. I have a little bit of experience moving big subs. We used an appliance dolly when we had to get the pair of LilWreckers down a flight of stairs and into a basement theater. Definitely took two of us, and I'm not a small guy. LilWreckers are ~32 cubic feet and about 300 lb if I recall. Google appliance dolly images You should be able to rent or borrow an appliance dolly without too much trouble. I moved the F-20, MicroWrecker, and a number of other unnamed tapped horns with my 2-wheel dolly, but I didn't have to climb too many stairs. No matter what, using some straps to secure the sub to the dolly is a fundamental. A second person can be a huge help too. Of course, if you have another stout person handy (looking at you, @Ukko Kari) , you just pick the cabinets up and carry them, like we did with the AlpineGeists.
  6. 1 point
    Right. Don't worry about it. You'll get what you get. I don't see it as a "problem" but more of an unknown, for you. Don't worry about it. I don't see how it would help out in your case at all, no. But... my riser is powered by a single Behringer Europower 4000, bridged to a 4ohm load (two 8ohm drivers in parallel). My entire front sub-bass system is power by a single Cerwin Vega CV5000 running stereo 2ohm. The two rear subs are powered by a single Behringer iNuke 4-6000, bridged to two 4ohm loads.
  7. 1 point
    I recently tightened down my latest system EQ config, including a complete overhaul of the surrounds that delivers stronger mid-bass and more bass overall. It's nice and punchy for music, without compromising deep bass, where it does show up. I did some testing with music mixed to mono and sent to the center and each surround to confirm that the mid-bass retained its punch on each channel. Over the last few days, I've been testing with movies. The opening bits of GOTG2+BEQ are even better than when I watched it before. The kick drum on the music tracks has life! Tonight I watched "Star Wars: TFA" again with BEQ. I tried with the full mid-bass boost in the BEQ, but backed the PEQ gains down to only +2 dB per channel and added about +0.75 dB @ and below 30 Hz . With the full +4, the mid-bass boost overpowered and killed the deep bass, but it obviously lacked punch at only +0. The extra +0.75 dB down low seemed to get things just right. There is a great balance of shaking effect and lots of chest thump. I can't guarantee these adjustments will do right for everyone else being that they are quite small. In any case, the movie was a fun ride. It was the first time my sister and her husband had heard my system since I got the new speakers and subs. They were smiling pretty big when it was over. Now we're all properly ruined before we go to see "The Last Jedi" at a cinema next weekend.
  8. 1 point
    No, the X curve is not applied to the mix by default or in any kind of automated fashion. Instead, the X-curve imparts a tonal shift that affects what the re-recording mixers hear and influences the EQ they apply on the dub-stage. The mixers are likely to boost the highs and lows to compensate for what they hear. What you really should be saying is: room A acoustics =/= room B acoustics. Size is only one of many room variables, and in fact, listening distance and speaker dispersion pattern are probably at least as important. In some ways, this gets us lost among many details be especially important here. A crucial issue is to distinguish between the effect the above variables have on *perception* from the effect these variables have on the *metric* used in the calibration process. Ideally, the calibration process would rely on a metric that is 100% consistent with perception. Power-averaged response, which is the metric used for X-curve calibration, is not very consistent with perception at all. It is, however, strongly influenced by room acoustics. I'm assuming your response is with regard to the fact that music production doesn't rely on standards? Therein lies a real irony about the cinema standards. It is a case of "no standards" being better than "bad standards". The lack of standards in music forces engineers to adhere to established precedent, which serves as an informal standard. They listen to recordings they consider to be good references and mix and master to achieve approximate parity with those references. Dr. Toole calls this "The Circle of Confusion" for good reason, but in fact, I'd argue that the situation with cinema is worse. That's because, while on the one hand, the cinema standards fail to achieve consistency between different playback systems, the engineers trust in the accuracy of their "calibrated" systems and mostly disregard precedent when making mixing decisions. They simply mix to "what sounds best" to them and assume it will sound like that on other properly calibrated systems. Now to be fair, not all cinema engineers are mixing like I describe above. Through their experience, they have surely noticed that different dub stages sound different and have learned to compensate their mixing technique accordingly with the aim of achieving better results in a wider range of venues. Furthermore, the X-curve standard was actually a decent even if imperfect 1970s-era solution to a very real problem: high frequency absorption of screens is variable, and the best calibration tools that were available at that time relied on power-averaged response analysis of pink noise signals. It's just that today, we have much more capable measurement methods and a much better understanding of perceptual issues. Along those lines, I disagree that Dr. Toole's recommendation (see the second of the two above papers) for calibrating in-room magnitude-smoothed response to a standardized sloped target is the optimal solution, but I believe it'd be a big improvement over the X curve. His recommendation would effectively free up an extra 4-6 dB of headroom per screen channel in cinema soundtracks and would probably lead to a big improvement in the bass for cinema presentations overall. (I'll refrain from giving a detailed justification for this final point unless someone wants me to.) You're right. I didn't have to expand into great deal. I'm just a big geek, you know. And I'm actually quite excited because I think I've finally mostly unraveled a lot of things about film audio that were previously confusing to me and still are confusing to many others. I stand by my statements about the X-curve standard inhibiting headroom on cinema soundtracks, but in time, this is becoming a lot less relevant for those of us who mostly care about home theater, because home mixes are becoming more and more common and are improving in quality. I would not be surprised in the least if "Dunkirk" is a clear exception to this trend. It's probably a straight-up cinema mix and a very loud one at that. Which is still fine by me because I'll re-EQ it as needed when I get a-hold of it. The X-curve is still a big problem in cinema, and I think it's hurting the industry, even if they don't realize it or won't admit it. Dr. Toole has pointed out that many cinemas are hosting music and sports events and corporate video conferences, and stuff like that in order to bring in more revenue, but because they are calibrated on X-curve, all that other audio sounds like poo. That can't be good for their bottom line, and it's the kind of thing that customer satisfaction surveys aren't likely to reveal, being that the influence of audio quality is so unconscious. FWIW, you're like one of the least "asshole" kind of people on these parts, which is why it's kind of funny the way you responded to me. Often that kind of thing pisses me off, but I don't care at this point because I know you and because it doesn't matter that much anyway. Part of my confidence regarding the X-curve is that I can clearly hear it. I'm routinely identifying cinema mixes and re-EQing them to sound better. Ahh yes, so now you think I'm blabbering in Audiophilese? "I can hear the difference man! This will totally transform your audio experience for the better." OK fine, but consider that I really suck at understanding dialog in films. Like, my ears aren't golden at all but are tarnished, maybe even rust colored, right? So when I apply re-EQ and dialog that was shouty and muddy and almost impossible to follow suddenly becomes clear and intelligible, I take note. That's what I'm talking about here. If you'd like, name some titles, hopefully at least one of which is in my library. I'll put it in and try to identify if it's a cinema track that will benefit from re-EQ, I'll play around with it and then publish some PEQs to try to see if it cleans up for you. Is it worth a try? Otherwise, come visit me here in Denver and hear for yourself.
  9. 1 point
    While this is true I wouldn't use this as any kind of metric to justify anything less capable. You know.... unless you have to.
  10. 1 point
    I often tell people with most speakers, the speaker will get unhappy before you but with mine, you’ll get unhappy before the speakers. My speakers are JTR 212s with compression drivers/horns. I couldn’t go back to regular (non-horn) speakers now. But the CDs have to be smooth and detailed, which so far has meant higher quality compression drivers.
  11. 1 point
    You should have seen the reaction to my room at T.H.E. Show Newport in LA with my 60” TV sitting on top of a 24” subwoofer flanked by a pair of JTR 212 HT-LPs sitting on top of a pair of JBL 15” midbasses. They were going to leave because of the TV but made the disgusted faces when seeing the 24” sub. Because physics fails when a 70 lb magnet-motor moves a 24” 1.3 lb cone. Lol! Interesting story about the doc. I’ve had plenty of similar conversations and it usually doesn’t go very far if they’re “audiophiles”. And frankly I’m not that interested in fighting those ingrained beliefs. Life is too short for those with closed minds...about any subject.
  12. 1 point
  13. 1 point
    Well.... it was intense. As A/V nerds we may scoff at the thought of this Satan-bred, pure-evil stuff called "clipping" but like it or not, it did have the desired effect. It's fucking loud. It's harsh. I'd imagine it was on that beach...and in all the various marine vessels...and in the Spitfires being shot at. All his films are mixed like this. Would expect nothing different from Nolan.
  14. 1 point
    Just to continue.. But horns are actually back in fashion - among some people. Not only for home theater, but for dedicated 2-channel. Those systems are typically diy, with large horns, often front-loaded bass horns with directivity control from around 100hz and up. Some of them are now trying SEOS horns. We also have commercial horn speakers, like Avantgarde. Still, it seems like there are two sorts of people - those who like horns, and those who do not.
  15. 1 point
    I have never been a dealer or manufacturer of audio equipment, the professional side of this is new with the company Kvålsvoll Design. But I was one of the last people to convert from vinyl, I have had speakers of very different types, though all of them have been designed and built by me. In the mid-80ies I was part working in a local audio shop, so I have quite good experience with commercially available speakers too. But back then, it was not common to find 400 liter ported cabinets loaded with 15-inch woofers with high Bl, in any shop. This was also the time when the Apogees came, and that was something that actually did sound different and on some parameters quite an improvement. If you look in the designs section on my we page, there is a short note about the planar speakers I made late 80ies, with some pictures from a newspaper article. Those could never play loud, but they had some qualities that I suspect my current design never will be able to match. Trying to explain this (about the electronics) to the typical hard-core audiophile is pointless, you will never break through. For those who are not that much emotionally connected to the tech side there is hope, if you get them in to the room to listen. Most of this is actually quite simple. If you hear a difference in a dac, but this difference disappear if you do not know what you listen to, the only logical explanation is that this experienced difference is created in your brain, and has nothing to do with sound. For rational people capable of some very simple logical reasoning, this is possible to understand. But all electronics must be good enough. This does not necessarily cost much money, and as an electronics designer this is obvious to me, the parts to make an amplifier circuit does not cost a lot of money, and there are no mysterious phenomena unknown to science, that strangely only affect audio signals. The cheap amplifier in Room2 has more power, less noise, inaudible distortion - as long as you don't push the output stage beyond limits. Sound quality improve because the noise that was audible on the audiophile preamp is now gone, and there is more power available before clipping. This goes well only because the F2 speakers have decent efficiency, they are true 8 ohm - not "8 ohm dipping down to 3 ohm - and they are placed in a small room. But adding a couple of decent output stages does not need to cost so much either, like I had to in the Moderate Cinema, because the F1s kept on killing the Marantz unsufficiently dimensioned output stages. When we get into functionality, the new cheap amp kills the old on all aspects. I have already mentioned the dsp functionality for delay and crossover to the bass system. Then we have the built-in dac - no need for a separate box, and it has hdmi input for best possible connection to the computer. and then there is the calibrated master volume. No need for this on music, some will say. I say I love it, I always know how loud I have my volume turned up, on any system, because they are all calibrated to the same level. Not to mention when you want to measure something - you always know the volume is correct and repeatable. Then we have the speakers and the room. Not so easy. But solving and leaving those other issues that proved insignificant, at least leave all our time and resources and effort available to improve and solve what matters. And they say "high-end is dying".. Yes, I certainly hope so, to be replaced by good sound instead.
  16. 1 point
    Nice. It makes me recall the conversation I had last time I visited my doctor, who had heard from my wife that I was doing a lot of work in audio. Our conversation went kind of like this: Dr: "So what kind of turntable do you recommend?" Me: "I don't really listen to vinyl and haven't researched the options, so I don't really have an opinion." Dr: "Really? You only listen to digital? I have a friend who built a vinyl only system. I like it's sound. It's so sweet." Me: "There are things to like about the sound of vinyl, but it's possible to capture most of that 'sound' as part of a digital recording, too, if you prefer. The other good thing about vinyl is that music masters are often better for vinyl than for CD, not because of it's technical superiority but because the medium is harder to abuse for loudness." Dr: "Hmm. So then what kind of DAC do you prefer to use?" Me: "I have no strong opinion either way on DACs. Most DACs are made very competently and are unlikely to significantly contribute to sound quality." Dr: "Really? Hmm. Well, what kind of amps do you recommend? I use Parasound amps." Me: "Again, most electronics are perfectly fine for audio, provided that they are competently made. Most receivers of common name-brands like Sony, Yamaha, Denon, etc. are perfectly acceptable, as long as you have enough power for your speakers and listening level preferences. Your Parasound amps should work fine too." Dr: "Oh." Me: "I take a systems engineering approach to audio reproduction. That means that I am primarily motivated to improve on the weakest aspects of the overall system. The weakest aspect of any playback system, by far, is the speakers. The second weakest aspect is the listening room design. Electronic signal processing can be used to improve on both of these aspects, to some degree, so is worth considering too. Everything else is of minuscule importance." Unfortunately, the conversation didn't go much further from that point. That's a shame, because we'd finally gotten to the stuff I think is interesting and worth talking about. He never told me what kind of speakers he owned but did concede that his room was probably far from optimal. Next time I visit him, I will ask him if he was surprised by my responses and if he's given the conversation any further thought. I also hope to eventually persuade him to visit for a demo. I don't have any idea what he'll think. Maybe I should insist on blind-folding him before he sees the system. @Kvalsvoll, seeing as you have transitioned from a vendor of "hifi" wares to stuff that actually sounds good, do you have any older customers that come in and are shocked by what you've done? You've chucked a whole lot of fancy electronic equipment, and you've replaced your "hifi" speakers with ... horns! I imagine that comes as a shock to a lot of people. When I've gone to the local Rocky Mountain Audio Festival, I've been in rooms with CD horn speakers and seen people walk in, notice the speakers, and then make a disgusted face and walk out without even bothering to listen to them. Yet, I'll go into a large room with mediocre sounding but exquisitely finished speakers connected to huge racks full of electronics via cables the size of fire hoses and see numerous people standing agape. It's totally absurd. Like, there's a certain wealth level beyond which the majority of people lose any semblance of judgment.
  17. 1 point
    This is how it looks up front in Room2 now. Had the photographer visiting some days ago, to take photos of the new subwoofers, and we snapped this picture. It is interesting to notice what is in the media console - rather, what is not. There are only two things left - an amplifier, and the retired cd-player. The cd-player is connected, but never used. This is what has been removed: - Preamplifier - Exotic class-A output stage (25W, lots of heat, no global feedback yet still distortion below noise floor, exotic output devices, single stage input and voltage gain). - A NAS with separate dedicated wireless router. - SOTA CD-player can also be considered removed, as it is never used. This is a picture of todays dilemma in state-of-the-art audio. The very nice, expensive items of yesterday is rendered obsolete. The new configuration destroys the traditional old-style hifi-setup on all parameters except for two - price and looks. It is not very expensive, and it does not look very expensive and sophisticated. The sound is much better, convenience of operation is much better, it takes up a lot less space, it has functionality such as dsp in the amplifier that makes it possible to integrate the bass-system properly. The current system consist of a laptop computer connected to the local network streaming from the server or the net, a cheap amplifier with dsp, dsp amplifiers for the bass system. This system is guaranteed sonically transparent up to the terminals on the main speakers.
  18. 1 point
    He still follows that methodology, but one measurement he does is in room and the other is anechoic. I think I might have found the room from a blog back in 2011: http://data-bass.com/data?page=content&id=80
  19. 1 point
    The noise cancelling is fair at best. It tends to do an admirable job of blocking out low end frequencies such as jet engine rumble but I could still make out every word of a Skype chat that my wife was having across the room. On top of that, requiring the headphones to have batteries to even function is disingenuous. If your batteries die mid-flight you’re screwed. Hope you packed a set of ear buds. Now for the proverbial nail in the coffin. The first set that was sent to me had a strange problem. There’s a bit of a suction created between the ear cup and your ear. This is natural for well-fitting headphones. But every time that I’d break that suction on the left ear cup I’d hear a very loud “pop”, quite like the membrane on the driver getting pulled out of position. When this pop happened, volume level went down dramatically. If I’d push the ear cup back, the pop would happen again and the sound would return to normal. I thought that I might have just had a lemon, so I contacted the agency to provide me another set. Unfortunately this appears to be an ongoing issue because the exact same problem can be replicated by the second pair. For a $300 set of headphones it’s positively inexcusable. For my money, I’d take a set of great-sounding over-the-ear headphones any day. TheV-Moda Crossfades are one of my current favorites, but traditional options from Sennheiser, AKG and even AiAiAi will leave you very happy. If you’re going to pay $300, get a set of headphones that are worth the money. This time around, the Doctor needs to go back to class.
  20. 1 point
  21. 1 point
    I for one am firmly now under the philosophy of cutting up subwoofers into smaller ones and just using multiples. 2 single 18's vs 1 double, etc etc. or 3 12's vs one single 18 sorry, that does not help you here
  22. 1 point
    Better late than never. Now you get to move them.
  23. 1 point
    I thought the film had good midbass impact (when it was used). Here's a prelim BEQ Pre-Post: I'll see if it is any good this week... JSS
  24. 1 point
    Finally! I bet you will be glad to have this project off of your plate and be able to fire up all 8.
  25. 1 point
    It should be fine. Response shape may be a hair different but not a deal killer by any means
  26. 1 point
    That is good to hear Nick. I decided not to see that in the theater so I could fist watch it at home. Looks like it has some good 12 to 25Hz energy. My buddy also said the visuals are stunning.
  27. 1 point
    Soooo.....you guys (everyone on this forum) needs to purchase Valerian right now. Here are a few screen caps from the first night I tried to watch the movie. I know what you're thinking "now Nick, you said that you 'tried to watch the movie...why did you only try'"? I spent too much time taking screen caps to finish the movie in under 2.5 hours so I had to watch the rest of it the next day. The movie is awesome IMO. I only have a 4.1 system but the use of the rear/surround channels is immense in this movie. It's really really cool the way they heavily used the surround channels. I can only imagine what this movie must sound like in an Atmos setup. Visually the colors and scenes are through the roof. Sound is nuts - PLENTY of low-end throughout the entire movie. But I digress so here are some screen caps from the other night:
  28. 1 point
  29. 1 point
    I concur that the time portion of the system response is what we must strive for correctness. Time of flight, processing delay needs to be accounted for. What I have done: in a multi-sub system, measure time of flight ( with no DSP engaged ) from each device in it's intended location to the main listening position, and compare that to the main L/C/R channels. I helped set up a system with subs that were radically different in distance, with a nearfield sub behind the MLP area. In that particular case, the closest subwoofer was set for level, and run at a bandwidth of <40 hz. Delay was set so it's time of flight was identical to the average of the main L/R speakers. The other 3 subwoofers in this large room were set so their time of flight was identical. The pair closest to the L/R were run <120hz ( main speakers were not on the level of some enthusiasts here ) The third subwoofer was run <60 hz. Subwoofers were not gain matched, the one behind the MLP was reduced considerably in level, it's 4kw amp was just idling barely with respect for the required levels. Processing added 1-1.5 msec of delay, so the main and subs required a bit of fine tuning. Once all 4 were playing 'nice' with respect to each other and the main L/R, Anthem room correction was run. Every situation is unique, and requires a customized solution. You may get better smoothing in the upper bass running all subs as full bandwidth, but may result in a softening of the attack across some of the listening positions, if there are many, due to the various complex phase relationships in different physical locations. Longer wavelengths ensure that you will have better success at integration. It's not hard to get sources within 1/4 wavelength at 20 hz, or even at 40.
  30. 1 point
    Last time I moved my box downstairs I rented a self climbing dolly from the rental place. It was like 40 bucks for the day and it did all the work you just balance. Ive used the same rig for moving gun safes around 1000lbs. Last safe I helped move we sat around laughing about how nobody was sore or hurt.
  31. 1 point
    Integration basics: We start with the simple basics that everyone on this forum already knows. And then we will see that what should be quite simple and straight forward, just is not so, at least not always. Assuming the subwoofers are in place, and any eq and other settings on the bass system is completed. If it isn't perfect - well, it never is - then that's what we have. The end goal is to end up with a system with a smooth frequency response matching our chosen target and very good transient behavior. Transients means timing - we need to get the time domain right, it is not enough to just eq or whatever to get a perfect frequency response. To achieve this, we can adjust the level on the bass system to match the mains, we set delay on the mains so that the bass system and main speakers sum up correctly in the time domain, and we set a low pass filter on the bass and high pass filter on the mains - this is the crossover. The typical processor allows tuning of these parameters. Level: This is where the typical buyer fails first - level is set too high, often 20dB higher on the bass system, because the subwoofer was expensive and must be heard. The frequency response measurement effectively reveals this problem, simply adjust the level so that the frequency response matches your target as close as possible. Now if both mains and bass system are smooth/flat, this is quite easy, but can be more tricky to find the best compromise if the responses are very nonlinear. Level can usually also be adjusted on the bass system amplifier, so you don't need a typical processor for this. Delay on mains: This is the subwoofer distance setting. This should not be set to the distance to the subwoofers, it must be set to match the total delay in the bass system, which includes dsp, additional filtering, acoustic delay in subwoofers, acoustic delay due to room interaction. It will usually be a lot more than the physical distance. One method to get it right is to look at the frequency response around the crossover - the correct setting is when the bass system and mains sum up to a reasonably flat level with no dips. The problem is that there are an endless number of distances that will look right in the crossover region, because if the delay is exactly one period wrong, it will still sum up. Fortunately the frequencies involved are quite low, so the delay for one period at crossover is long, and we can see this on the time step response or in the spectrogram. Tune it approximately first, using spectrogram and time step, then fine tune using frequency response. Have an expensive audiophile preamp with no delay for mains? Well, why do you have that, sell it and get gear that is possible to set up properly to get good sound. Crossover: Choice of crossover frequency depends on main speaker response and capacity, bass system response and capabilites in the upper bass range, location of subwoofer units. Generally, a higher cf gives better results, 120hz is often a good starting point to try. If your bass system has asymmetrically located units, a lower cf is needed to avoid localization, try 80hz, in bad situations as low as 60hz can be necessary. It is also possible to run the mains with no high pass, running full range. If the main speakers have extension and capacity at low frequencies, they will now act as part of the bass system, hopefully resulting in a smoother total response. All this is quite easy to do right if the bass system and mains have flat and perfect responses. In real world scenarios, this is not the case, and decisions has to be made to choose the best compromises. It is quite clear that the set up an calibration of the bass system before integration is also a part of the integration process, and then this is no longer easy to do just by following a few rules.
  32. 1 point
    MemX - that cart is not designed for stairs and I expect would quickly break. Like LilMike mentioned, you want an appliance dolly like you’d use to move a refrigerator or washer. And then strap horizontally around the dolly just below the handles. And then strap vertically around the sub and appliance dolly support plate so the person below the dolly can help lift the sub going up and down.
  33. 1 point
    Right on! Hope it works well for you. Snakes like that are the only way to go. I'm looking at buying a long snake, then cutting it up and making custom ones for my rack, things will be so much cleaner. I am doing speaker "snakes" like that too, running L and R in a 4-wire cable from the amps to a Neutrik 4-pole in the wall. Once I used a consistent wiring pattern, that has worked well.
  34. 1 point
    We gotta new record: http://www.avsforum.com/forum/113-subwoofers-bass-transducers/2763785-ultimate-list-bass-movies-w-frequency-charts-85.html#post55059146 Would you look at that beaut! 5 star extension right there.
  35. 1 point
    Is no one going to talk about the audio in Transformers "The Last Knight" whenever Megatron is on camera? The audio has been lightly brushed on here at Data-Bass but I don't recall anyone going into detail. I SpecLab'd a few scenes last night and when Megatron lands in the salt flats the hottest spot is centered at 20 Hz. Sure it's no 7 Hz WOTW, but the sound in the movie makes it worth watching and also using for demo's. I haven't seen much talk about it so I'll go out on a limb and say that I love the proper audio in this movie.
  36. 1 point
    Ya'll crazy. This was wonderful A/V all around (saw in Dolby Cinema) and I can not wait to get it on UHD/BD to watch at home. This will probably rate well in bass too. It's time will come.
  37. 1 point
    I have done a fair bit of design work for directional control of tweeters. I also have done horn design since 1994. So I nit pick when I hear waveguide and horn. There is so little difference that I have come up with this as a qualifying factor for one versus the other. If there is an efficiency gain in the output of the driver in the new mounting then it is a horn. If there is no gain in efficiency then it is a waveguide. The trick in that definition is that there is always some change in the efficiency of the driver when mounted in a constraining coupling area from smaller to larger. So waveguide is basically a marketing name that tried to distance the concept from terrible sounding horns. And for sure you will get me to agree that there are a lot of terrible sounding horns. There are also some really great sounding horns. If I remember correctly Genelec has one of the few smaller format monitors that claims to have a very controlled dispersion pattern. I have seen the enclosure but not worked through it's design in any detail. But it uses a combination of time delay that is naturally occurring through the cabinet design and the driver mounting coupled with some DSP correction. DSP is not magic. If your speakers sounds crappy to begin with you will only make it marginal with the most brute force correctional you can buy. That I have witnessed from one of the top DSP designers in the world. It is impressive to hear many of the warts fade. But they are still there. DSP cannot correct for poor driver design. And if there are serious resonance distortions in the drivers cone surround or spider. Those types of flawes in design will dominate the sound no matter what you do.