Ich habe sämtliche Verträge mit der Lautsprechermanufaktur Heyder (LMH) gekündigt und die Nutzung meiner Erfindungen und DRBA Horn Designs verboten.
Die LMH hat trotz Aufforderung weder die Prototypen der Hörner herausgegeben, noch hat sie in sonstiger Weise mit mir Kontakt aufgenommen.
Ich bitte um Verständnis, dass zu diesem Zeitpunkt keine weiteren Angaben gemacht werden.
Recently, I was involved in a private discussion with a guy who introduced himself as expert for home cinema setups. The topic was about a horn that could be used for a really large home cinema setup. Not what many would imagine immediately like a small room for 2-3 people. No, truly large for 10 or more people and the listening rows / seats have a third dimension in the vertical direction the more far away they are from the source. For such a setup, the horn should have very good directivity control. The person tirelessly promoted the TAD TH4003 as the ultimate solution for such setups. At that time I only knew the TH4003 horn from some pictures. But over the last years I have developed an eye for whether a horn profile meets certain requirements or not. That’s why I expressed my biggest concerns about the vertical pattern control of the TH4003. However, since I had no mesh file or STEP file of the TH4003 available at the time, no final assessment could be made. The discussion then more or less fizzled out. Some months later, a STEP file for TH4003. A few months later, a STEP file literally “fell off the back of a pssing truck” ;-), which gave me the opportunity to examine the horn more closely. I also remembered one of my first William Neile waveguides and the experiments with gentle diffraction slots and realized that I actually already had something much better in the drawer.
Already during the manufacturing phase of my first WN300ALO horn prototypes I started to think about what varnish the wooden surface could be treated with. Coincidentally, I had watched a TV documentary a while ago about the importance of violin varnishes for the sound of string instruments. Based on this documentation and after doing some research on the web, the decision was made to use a procedure with a set of violin varnishes using a traditional recipe containing a mixture of natural and synthetic resins dissolved in turpentine and linseed oil. The Joha® company claims good vibration properties for their oil varnishes, a hard-wearing surface, and a quite short drying time. My decision was to go for the oil varnish 1a product series for my WN300ALO horns. The company also offers many painting accessories to optimize the final appearance of their varnishes – company homepage: