While I agree with the gist of the above, I beg to differ slightly. Since I listen to large orchestral music, I need authority, dynamics -- the ability to excite lots of air.
So, for the ~100->8-10kHz part I would use a wide-range 8-12" (supravox, lowther, goodmans, etc). The trade-off here is beaming...
For the upper range, a super tweat to over 25kHz. The trade-off here is the difficulty to align the acoustic centres of tweet & wide-range (at 8kHz the lambda is very small => the margin of error is high).
For the lower register:
At least one 15" per channel for bass (two for open baffle).
At least one 18/24" per channel for 20-45Hz. The trade off here is cost and cost (cost of drivers, cost of amplification).
Overall, such a construction ideally needs a minimum of three amp channels per side. Passive filter for crossing to tweet; Leave the wide-range free on top, cut it with a soft LPin the bottom. Active or PLL for the rest.
Wishfull thinking, eh?
So, for the ~100->8-10kHz part I would use a wide-range 8-12" (supravox, lowther, goodmans, etc). The trade-off here is beaming...
For the upper range, a super tweat to over 25kHz. The trade-off here is the difficulty to align the acoustic centres of tweet & wide-range (at 8kHz the lambda is very small => the margin of error is high).
For the lower register:
At least one 15" per channel for bass (two for open baffle).
At least one 18/24" per channel for 20-45Hz. The trade off here is cost and cost (cost of drivers, cost of amplification).
Overall, such a construction ideally needs a minimum of three amp channels per side. Passive filter for crossing to tweet; Leave the wide-range free on top, cut it with a soft LPin the bottom. Active or PLL for the rest.
Wishfull thinking, eh?