Official thread for the Titan-615 designs This design was conceived while I was down at Erich's shop helping him with a some testing for a few days. Basically it was a question of what can we do for dedicated theaters with AT screens that does not require a massive baffle (which is hard to ship) and would be something more capable and sound better then the Fusion-15, which is not a slouch in either category. Erich had the horn sample there which we had looked at almost four years ago but nothing happened with it, I think he pulled it out and asked if we can do anything with it (which is how half the designs start). He had recently gotten some Celestion compression driver samples in so we decided to try some of those and we pulled a Alpha-6CBMR (closed back midrange used in the 1299) for the midrange horn just to see how well things measured. The initial tests looked really promising. Since the horn does not need a box all that was required was a simple enclosure for the woofer which Erich liked a lot. It was then onto the woofer choice, we talked about all sorts of combos, everything from 4-10's to dual 15's eventually settling on a single Eminence Kappalite variant as it had enough xmax that someone would almost never be displacement limited along with a very nice response well above the range it would be used. The driver he sent me also had decent extension and sensitivity while doing so in an enclosure that was not huge. I also knew the kappalite's like the Deltalites have an excellent low distortion/low inductance motor design. We decided to go with a shallow cabinet design for the enclosure because he had seen a number of questions about adjusting the cabinets on current designs to make them shallower to fit behind an AT screen with limited space. It took a while to get the crossover figured out, I did some initial testing while still at Erich's shop but after bringing the prototype box back home it sort of sat around for a couple months while I worked on the HTM-10 and 12. After those were finished I started messing around with this design again and once I felt the crossover was starting to get dialed in I knew we really had something here. I was really impressed with the clarity on the design; it seems so well balanced and transparent and stays that way no matter what the volume was at. The Celestion 1731 1.7" neodymium compression driver used is of the best sounding I've ever heard. It has a sound signature that's cleaner and clearer then most other's, it's hard to describe but makes everything sound better whether it be music or movies. I'd say this is one of the if not the best sounding speakers I have ever designed and easily the best example I have made for commercial cinema meets Hi-Fi, taking only the best parts of each. For voicing the only comment I can really make that is something I built into the design was just a bit of a bump on the bottom end to give it a little extra kick in the bass/midbass without ever being bloated at the bottom of the vocal range. The rest of the range I would describe as being voiced neutral, I just tried to make whatever I played through it sound good. It does that job well as I find even bad recordings sound better, while great recording sound amazing. Program power handling is 1000w+, without exceeding xmax with a 40hz minimum crossover, peak output is ~130dB. Sensitivity is 99dB @ 2.83v. Impedance is 6 ohms nominal, with an average of 8 ohms, minimum of 4.2 ohms at 110hz and stays above 6 ohms below 80hz and above 200hz. Any amp or AVR rated at 6 ohms should have no trouble driving the speakers, I'd say many rated at 8ohm minimum should also be fine due to the high sensitivity of the design requiring very little power for normal or even loud playback levels. Crossover points on this design are 350hz for LF/MF and 1900hz for MF/HF. At close distances (8-12') it's best to have the speaker placed so that ear level is somewhere between the bottom of the MF/HF horn and even with the compression driver. If using multiple rows on risers the first row ear level should be about equal with the top of the woofer cabinet, second will then likely end up somewhere in the middle of the waveguide and the third row if there is one will be a little above the horn which is fine at those longer distances. I should note that usable dispersion extends well above and below these ear level guidelines but it stays maximally flat in the range specified. Baffle wall placement can be used without issue and should result in a slightly smoother in room response but it's not required. I'll likely add more info to this thread as time goes on.