I made a tapped horn last December and broke a few rules. I suspect that Steve would be able to see the wisdom (Uhm, dare I say, "genius?") behind my design.

First, I made one like what is posted almost everywhere on the net, measured, braced, set resonance range, half decent driver, blah, blah, blah. It worked really well down to near thirty Hertz. (fairly big sohmb!tch, tbh)

Then, I got the idea to make another tapped horn thing, but with a second, series connected driver, carefully measured and mounted at ninety degrees "down the pipe"  (I used the length of the pipe to determine where to cut the hole for the second driver - also acknowledging the cut off frequency) from the first driver.

Honestly, I can only measure three more dB from this arrangement, but the power handling is now doubled as well (In a pro audio environment, this attribute is kind of nice to have, especially if it brings more headroom before power compression with it.). Unfortunately the amplifier is now working at half the power it had with only one driver. I fortunately have an amp that will do five hundred watts at sixteen ohms. What I need is to try four drivers, carefully measured for distanced placement down the pipe now and they need to be two ohm drivers or so.

Has anyone else tried to use two drivers connected in series, particularly placed in a tapped horn?


I am dreaming of a tapped horn that is solid drivers along the air path, all in series, carefully spaced ninety degrees apart and kicking major amounts of arse.


Obviously, four drivers is too many, unless we extend the cut-off frequency to a lower octave (greatly increasing the size of the enclosure) and increase the length of the pipe, likewise.


Two drivers, instead of only one, might just be the "perfect" upgrade to this well established design.

I would love to have other peoples' thoughts in this area.