I've very limited knowledge to further argue the point, but Troy Crowe seems to make a good case more than once for three-way systems; such as this one from 17:05 to end.
Also, using the ES600 horn (which won't work with my woofers), Troy compares the performance of these 18Sound and SBAudience titanium drivers + the top model Fostex Alnico tweeter (and elsewhere with that or similar Fostex tweeter + his HF lens) from 9:15 to end.
Like Marco, I enjoy lots of vintage 1960s pop and soundtrack recordings, which, to make them playable on cheap and even the SOTA turntable systems of the day, were so often brutally compressed. Thus, a major part of my dilemma in choosing driver/horn combinations is determining as best I can which configuration to go with:
1.) DCM50 driver/ES450 or ES290 horn + Fostex tweeter. Would that system's smooth warm sound and somewhat reduced dynamic range, as described in Troy's listening tests above, make it least likely to accentuate the worst aspects of my compressed and sometimes "congested" sounding recordings?
But how much, if any, would I be sacrificing reproduction of some of my best originally mastered recordings compared to alternative systems?
2.) SBAudience CDN 65T driver/ES450 or ES290 + Fostex tweeter. This alternative to the above DCM50 system for my troubled recordings now that, like Troy, I am the happy owner of the Don Sachs preamp?
http://www.dsachsconsulting.com/custom line stage.html
3.) Yamaha JA6681B/ES45 or ES290 or Athos TH4001 horn + Fostex tweeter + DS2 preamp
4.) Radian 745neoBe/ TH4001 horn + DS2 preamp
Note that all my music sources are uncompressed rips of CD tracks, reasonably good sounding youtube downloads and high res downloads like these
https://www.hdtracks.com/#/album/5df1427d0bee25c09bc163fd