Other companies, when recording engineers and eventually consumers began to pay more attention to the stereo stage image, touted regressive virtues: treble beaminess
and the concomitant increased focus and tighter imaging became their design goals.
So why should it be a good thing that the natural increasing beaminess
of a 1" tweeter in the last audio octave or two (depending on its baffle) be a goal, be desirable?
I understand why it is undesirable to use the Walsh driver at these frequencies, but the documentation is silent on the features of this supertweeter that would enable it to avoid the common high-frequency driver beaminess
and mesh with the Walsh driver's wide-dispersion sound, and on how it can work at all in the alternative, side-firing speaker orientation.
There are various philosophies about this, and each style has its own sonic identity, its own kind of beaminess
, and its own way of casting images.