Well, it lowers the LF corner frequency due to having 2x the driver piston, etc. and mouth area, so more power handling down near/at/below the XO point, so for a relatively low power app one can use up to a ? octave lower XO point if desired.

Due to the long dims, it ?sounds? like you need to first draw out both a scaled floor plan and side view of your room showing how much cab toe-in, downward tilt is available [if any], ditto if laying the cabs on their sides is an option.

Next, draw lines out to show each horn?s on axis alignment [note that the mid-bass horn has a slight vertical downward tilt, but can?t find/remember the number of degrees at this point].

Finally, draw out equidistant lines from each horn mouth?s axis line that ?best? covers the desired horizontal and vertical ?sweet spot? [seated/standing at the various work stations] to give us an idea what, if any, horn and/or stacked combinations might work well enough within the other constraints.

Wiring scheme will depend on how much measuring, tweaking, EQ you?re willing to do and whether it will be active, passive or a combination of the two.

FWIW, mine were series connected to get better the damping, lower current draw and increased inductance of the nominal 16 ohms and would have used 32 ohms if the old SET amp?s power supply could have handled it.

For SS, I?d still try series first, but it may require too much CD horn EQ for the amp?s voltage rails unless rated for 16 ohm systems.

Whether or not one horn will need to be rolled off up high will depend on how ?tight?/?sharp? the combined HF is to one?s ears, but my SWAG is that the distances are long enough that the two horns will appear as a coherent enough point source, at least for the 511, 811 or similar size.

GM