glens

But it'd be clipping pretty regularly trying for 105 average, right?

Steel tape for scale, cloth tape for making fixed values out of variable?

I guess it depends on the Class D implementation. Sure, the distortion curve somewhat resembles a "loudness" compensation curve in shape, but as in all amplifiers the distortion is greatest by a huge margin as the upper power limit is reached. Even if the low-power distortion level is ten times the mid-power level, it's less than a tenth of what was typically available when those speakers were designed. A total non-issue which I wouldn't worry about. I don't have bass horns but am happily driving my Forte 3s with NAD's version of Hypex Class D at any and all available levels.

My comprehension of what was said is that in providing the bass his SET amp clips and detracts from the highs, so he's using that amp only for the highs. Not so much that he needs or uses all the power of the other amp for the bass, just relieving the SET of that duty.

I don't know whether this is the best example, but it was handy. The same sort of interference distortions Chris speaks of are handily comprehended when looking at images which can be degraded in exactly the same way as with audio information. A picture can be worth a thousand words (or sounds). Your eyes can easily pick out such anomalies, and you ears can just as easily do so, especially when you're aware of their existence. Increase and decrease the size of and watch what happens.

Because the rate of decay in output is a shallower slope now as the frequency decreases compared to fully-open ports. It's acting more like a sealed box.

Not me. It's not an echo in any way, shape, or form. It's part and parcel of the "original signal". Without it there'd be no generation of the signal. There are two detriments to using a ported enclosure. One is the alteration of the timing. It's a delayed reaction coming from the port. Not the end of the world by any means, especially at the frequencies that are in play. The other is that the response of the system loses output at a faster rate as the frequencies decrease. Neither has to be a show-stopper, and as in most things in real life, the trade-offs are often worth it. Have you tried blocking the ports on your Cornwalls?

Each element (instrument, voice) being reproduced was a point source. Of course there's no way to recreate that with a recording apart from each element having both its own recording track and faithful sound reproducing mechanism positioned appropriately. If an ensemble were recorded with two faithful mikes/channels and two faithful speakers were positioned approximately in the microphone positions a pretty good illusion is obtainable (even more so with the mikes at a listener's ears and played back on faithful headphones). But none of all that pertains to this discussion, where "point source" merely means that all frequencies produced are emanating from a single point in space, or at least very nearly so. Multiple drivers each handling a portion of the range makes it difficult for a few reasons, only one of which is that they can't occupy the exact same place. Personally, I think it matters little if the sound of a cymbal is coming from a couple feet higher than the sound of a kick drum, but the transition area between any two "adjacent" drivers' coverage is the difficult part. I really like the present idea of a multiple-entry horn and some day I intend to own a pair.

Aren't specs and synergy mutually exclusive?

Do 200' for $18.

While that would be better for a permanent solution, I was thinking primarily along the lines of just laying it on the ground as an interim solution. Don't see how any ground loops could form since the router is going to be using a wall wart for power, and likely so is the laptop in the shop.

https://www.amazon.com/UbiGear-Ethernet-Network-Internet-Computer/dp/B00BNKN24W/ref=mp_s_a_1_3?keywords=150+ft+ethernet+cable&qid=1557184092&s=pc&sprefix=150&sr=1-3 Or change the 150 to 200 in the search box.

If you've got any other responsibilities, maybe better to not go down that route. Time can really disappear when a can of worms like that gets opened! Hahaha!

Yeah, it's a coil of wire (a specific coil of specific wire). Likely just a termination issue, but it's possible that there was always an iffy spot in the wire it was wound with. Stranger things have happened.

Nobody I know or could keep a straight face talking to...

And window...

If that ain't the cure (likely is, though) then there's a break in the wire somewhere end-to-end in that coil and it needs replacement if the break can't be found and remedied. Or a break in the board trace, which is 100% fixable by scraping off coating and soldering on a jumper.

The results obtained are 180 degrees put of phase with the "spikes" argument, so it seems that spikes might be merely so much snake oil...

How far from your router to "out there" and what's in between?

Fair trade.

JB Weld may work well.

It was tongue in cheek. Did you watch that video? The "podium" (which they were talking up) allows the cabinet to float freely (enough for the mass of a tweeter dome to move it, seemingly). I'd sooner buy fancy speaker wire, and that ain't gonna happen. Watch the video for a good chuckle.

Yeah. There's more than one way to scale that fish mountain.

Had to go through the power distribution yard on a regular basis with a thermal imaging camera checking connection points for excessive heat. Very common to need a break/clean/remake.

I wondered whether the stated need for two had to do with height or balancing output. Output made no sense to me even if going passive (with shaping elements) unless one want to avoid resistors. Thanks for clearing that up for me a bit.