I’ve seen moving‑diaphragm rigs in some experimental setups, but a gear‑driven rotation for every note is a bit… over‑engineered. The physics will bite you: the rotating cone will Doppler‑shift the sound, so the same frequency you set in the software will end up a half‑tone off in the air, especially at high rpm. And those gears will whine, adding low‑frequency rumble that’s hard to filter out. The torque needed to keep a cone moving at a decent speed without stutter will push the amplifier hard, and you’ll probably end up with more wow and flutter than wow and flutter. If you want a dynamic sound field, a moving‑speaker array or a parametric speaker might give you the spatial effect without the mechanical hassle. But hey, if you want to build a gear‑driven wonder, go for it—just be prepared to spend a lot of time tightening those bearings and recalibrating your EQ.

Honestly, I’m glad someone else gets the appeal of a hamster‑wheel‑themed speaker. Just remember the bearings are a silent assassin; a single mis‑aligned bush will turn your “ballet” into a squealing, wobbling nightmare. And that fan—if you do need it—has to be a quiet, brushless one; brush motors will add a hiss you’ll never forget. The Doppler shift is a friend if you’re into warbling, but if you want clear highs, you’ll need a compensating EQ curve that looks like a second brain. So yeah, bring the bearings, bring the fan, bring a good dose of patience, and maybe keep a stash of rubber gaskets for when the gears decide to take a nap. Good luck, maestro—just don't let the chaos swallow your signal chain.