Room aside, they were dreadful.
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Since when is this place for serious suggestions, good thing that was pointed out or Jim would have wasted 800,000 euros 
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have some Linn horns
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https://www.aliexpress.com/i/1005004513698112.html
But only a 3 way.
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18 inch bass Jim!
Always liked the look of the Oris SWING M3. No idea if they sound good or not.
Utterly bonkers.
I’ve no idea what they might sound like, how would you ever know in that space?
If anyone would like a different opinion on the Pnoe Horns and the BD5 drivers Kedar ranked the system in this write up - There’s a lot of record talk in this piece, he also talks about how they sounded at Munich - But if you scroll down to the last paragraph (Heading BD5) His take on them is interesting.
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I’ve found a horn subwoofer for you, obviously you’ll need two.
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Almost appropriate for Jim, certainly after a Turan.
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Yeah… 
It’s the speed they have that makes the difference I think. My speakers are really fast, but not in comparison with those. That system is a reset as to what vinyl playback is capable of.
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tl:dr
“some of the records had grooves engineered by hand to make each groove a different size to fit the dynamics of the passage.”
Utterly, utterly bonkers !
Could not some of the variation between pressings be due to differences in EQ curves?
It appears that a large number of these early records predate the harmonisation of EQ by RIAA, so jumping from an original press to a post RIAA remaster will significantly change the EQ curve in a way which may be more or less pleasurable, depending on how the system is in initially balanced. This doesn’t negate the comments about speed and dynamics, but would affect tone and balance of presentation.
I am not referring to different pressings from the same run, that is a different issue entirely, but there is some mention of originals compared to remasters.
We then get into discussions on how the phono stage should have a collection of variable EQ settings to match the mastering with the playback.
I’m not sure is the answer - Different engineers worked on different pressings so yes there will be variation in the lacquers there. In terms of many of the records described in the piece many are Stereo and RIAA cut. Certainly there are variations with early stereo too which is a whole different bag - Not everyone standardized when they should have. The ‘hand cut’ aspect must refer to depth cut with the lathe - I can’t see anyone standing there with a needle and trying to cut a music groove! Apologies for the thread turn Jim
back on track…
AER with BD3 drivers
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I realise what I’m about to ask is the equivalent of going to The Waterside Inn and asking for a mac and cheese, or even just crapping all over the table, but as sublime as those speakers sound with plucked string music, how would they sound with electronica like dnb or techno?
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Listen from 30 secs
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These were Bills, they are much smaller but do a lot of the same. The BD5 drivers are better IMO. The opportunity to go and listen would be instructive / handy.
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