I'm an engineer, so while I'm relatively new to the bass guitar, I've already managed to spend an embarrassingly large amount of time in between work, practice, and rehearsals researching all the nuts, bolts, and juicy physics behind low frequency sound reproduction. Really interesting stuff for the mechanically-minded. I'm a little confused by the diversity of approaches to the design of high end speaker cabs, though. On one hand you've got traditionalists like Epifani and Bergantino that make the best of the relatively flawed approach that characterizes mainstream cabinet design. On the other you've got cabinets like the Big One and fEarful, designed from the ground up with solid acoustic engineering principles. And then way out in left field you've got the small speaker array approach characterized by Phil Jones Bass and MarkBass' smaller products. The first two groups I can understand - there's generally a compromise between what the market expects and what the acoustic engineer wants to deliver, and those two approaches represent different priorities along that axis. But the 5" speaker array approach? I have no clue, whatsoever. I mean, traditional 10" speaker arrays are already a hugely compromised approach from an acoustical standpoint with regard to the volume in the enclosure and off-axis performance in the higher frequencies. Maybe my understanding of the physics is incomplete, but wouldn't replacing 10" drivers with an equal area of 5" drivers only make your high frequency beaming problems worse? Also - barring drastically different design principles, the throw of the drivers has gotta be relatively less than a comparable 10" - that has to affect the overall SPL. People seem to love them, though. The catchphrase when talking about the smaller speakers seems to be "quicker response," but when you're talking about a speaker, isn't that basically just saying that it can reproduce higher frequencies without distortion, which isn't all that amazing a claim, nor does it seem like an advantage worth building a low-frequency speaker cabinet around. Is this a case of boutique audiophile snake oil salesmanship, or is PJB actually on to something?