Hard pass.

You’re probably making a mistake with this vendetta thing, but if you move forward, you’ll only need a snare drum.

Plusses:

It will be as loud as hell.

As an incompetent drummer, you’ll be absolutely terrible, but still very much as loud as hell which makes your terrible playing even more insufferable.

Snare drums are cheap at pawn shops and the like, but get a name brand in order to reliably sound as loud as hell as possible.

There’s no power required to sound as absolutely loud as hell. Zero increase in your electric bill.

Your forearm and hand muscles will become more developed over time.

Negatives:

To avoid ear damage, you’ll want good earplugs or well-sealed headphones.

It’s a thirsty business, and you’ll need to stay hydrated if you want to play as loud as hell for as long as possible.

Assorted blisters are a near-certainty.

Will need a fund for replacement drumsticks - they can go at any time.

Strong possibility that you might be the one to be evicted. (Irony)

The tweeter in the AR-11 is the 4 ohm version.

It’s important to know that while the Midwest tweeter fits the hole, it is not an exact replacement - if you’re interested in bringing the speaker back to original spec, you’d need a vintage AR tweeter p/n 200011-1.

The number of drivers used in a loudspeaker is a function of its design, just like the size, shape & material of the enclosure, the individual parameters of the transducers used, elements of the crossover network, and the foundational design - ported, acoustic-suspension, infinite baffle, open baffle, transmission line, planar, dipole, etc.

Simply knowing if a system is a 2-way or 3-way design tells you bupkiss.

I’ve done it many times - the list of equipment is lengthy & includes some gear that many people seem to love.

Ecce ante saltas, et caveat emptor!

Great vintage gear - it’s always nice to see a Maximum Performance Indicator in use!

My vote is for the 1984 Acoustat 2+2 full-range electrostatic system; it stood just under 8-feet in height, and ran four stacked electrostatic panels per enclosure, just double the size of the model 1+1, which was also no slouch.

The soundstage - and the ability to isolate instruments was unmatched, with uniform output throughout the height and width of each screen. Naturally, they only worked well with stable, high-current amplifiers of reasonably high output; they were an astonishing audiophile bargain, but the savings were immediately lost in the need to spend for high quality amplification.

Our audio system is in a large room with a very high ceiling and lots of wall space, and we’ve hung some very large canvases in the area. Even tightly stretched, they have a noticeable damping effect on the highly-reflective plain plaster or drywall.