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The Klipsch Audio Community

Technical/Modifications

Talk about updating & modifying older speakers and other technical/electronic information here.

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  1. Jubilee Schematic for passive crossover

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  2. center channel advice

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  3. Amp sounds dull on Fortes

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  4. Heresy II Cabinet Separating

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  5. Eviction Notice

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  • Recent Posts

    • The problem is that we don't know when a speaker is reproducing sound as it was live, because we don't know what it sounded like live; it's high fidelity to the imagined original that counts.  Obviously, the recording equipment itself changes the sound.  There is microphone diaphragm crashing, resonance, poor mic placement, etc.  If the recording is bad, a good speaker will let you know it's bad.  Or not.  Some gild the lily, veil the sound, and, IMO, don't sound as detailed when the recording is great.   I carry no brief for the 7's.  I've never heard them.  I'm a Heritage kind of guy.   I have been around live music a lot, playing in orchestras and bands (mostly in school) and I've very occasionally heard live, unamplified, unreinforced music that sounds like it has "horn resonance" (often in a poor acoustical environment, but once a friend demonstrated his "fat sounding" flute to me in the great outdoors, and I felt like reaching for damping material, but there was no horn to damp!)   Since we often have only the imagined original to compare reproduced sound to, perhaps technical measurements become more important.  But, how do we prioritize them?  I think Paul Kiipsch put low distortion (especially modulation distortion) first in importance and smoothness of frequency response last -- but I may remember incorrectly.    I assume you have run a sweep to see if there are any big peaks in the horn range.  I would compare low SPL to high SPL by ear, to see if there is a big difference. I know some people like room correction, and some don't, but Audyssey smooths out my response nicely (used after moderate room treatment).   If you can try Audyssey, read this: "Audyssey FAQ Linked Here" It takes patience, and a few tries.
    • Do you mean acutance, contrast, saturation, size, brightness, etc.?
    • Maybe I missed it, but your location sir?  Perhaps fortes would be more sorted in your space and cost a few hundred less 👍? 
    • The Altec Lansing M500 Maestro was in the Pro Line in the early 90's. It had been intended as the next generation of the Model 19. Alas Altec closed its doors. Sound is incredible. Condition is quite good, perhaps 8/10 on cosmetics. Functionally however  the crossovers and internal wiring was updated by an extremely well qualified engineer, Bill Warriner. Bill also owns Altec Model 19's so he was well familiar with the genre. Additional mods include: Horn attenuator, extreme interior damping, Second faceplate applied.   Pls ignore the small tweeter on top as it is not part of the speaker.   Black fabric speaker covers are included.   More pictures to follow   The Altec-Lansing M500 Maestro is a largely lost and forgotten loudspeaker, but it is, perhaps, the best the company ever built. It arrived in the final days of Altec-Lansing, Inc., and production was cut short due to the sale of the company. Why is the M500 Maestro important to us today? It provides the framework for what would have been the replacement for the highly acclaimed Model 19. It has been suggested that the new model would have been called the Model 19MR or Model 19-MR3. So the M500 is of great importance to Altec-Lansing fans around the globe. The M500 brought Altec-Lansing into the world of high power amplification, boasting the ability to handle 250 watts of continuous power, and 500 watts peak. At 250 watts it reaches an ear bleeding 120.5 db. It’s also a rather sensitive speaker, producing 96.5 db with 1 watt at 1 meter. The nominal impedance of the system is 6.8 ohms. The M500 consists of the MR994A Mantaray horn backed by the 909-8A compression driver. For low frequency it utilizes the very impressive model 3154 woofer.   The Altec-Lansing M500 Maestro is a largely lost and forgotten loudspeaker, but it is, perhaps, the best the company ever built. It arrived in the final days of Altec-https://www.manualslib.com/manual/4717/Altec-Lansing-M500.htmlLahttps://www.manualslib.com/manual/4717/Altec-Lansing-M500.htmlhttps://www.manualslib.com/manual/4717/Altec-Lansing-M500.html https://www.manualslib.com/manual/4717/Altec-Lansing-M500.htmlnsing, Inc., and production was cut short due to the sale of the company. Why is the M500 Maestro important to us today? It provides the framework for what would have been the replacement for the highly acclaimed Model 19. It has been suggested that the new model would have been called the Model 19MR or Model 19-MR3. So the M500 is of great importance to Altec-Lansing fans around the globe. The M500 brought Altec-Lansing into the world of high power amplification, boasting the ability to handle 250 watts of continuous power, and 500 watts peak. At 250 watts it reaches an ear bleeding 120.5 db. It’s also a rather sensitive speaker, producing 96.5 db with 1 watt at 1 meter. The nominal impedance of the system is 6.8 ohms. The M500 consists of the MR994A Mantaray horn backed by the 909-8A compression driver. For low frequency it utilizes the very impressive model 3154 wooferhttps://www.audiophilenirvana.com/audiophile-equipment-reviews/altec-lansing-model-19-mr3-loudspeaker-never/    
    • I just opened the speakers since my pics didn't show the values.  Looks like I replaced all the caps with film/foil Audiocap Thetas, and wire wound non-inductive resistors and I did the parallel 10/2 ohm mod on the HF.  I remember testing them before the mods and it did smooth them out but they are still hard to listen to.     I threw in some KennyG tonight just for fun.  It just hurts to listen to that!
    • I have never looked into how they sounded and assumed the difference was negligible. Not once did I think it A-B my RC62II with the 83s. In the scope of things, it would be easier to sell the 82IIs should I not keep them.   Now if you're close to this guy: https://tulsa.craigslist.org/ele/d/klipsch-surround-sound/6719407616.html for a fair price on the 83s. I'd hop on it if I was local.
    • Search TV Risers   https://www.google.com/search?q=tv+risers&client=safari&hl=en-us&prmd=sinv&source=lnms&tbm=isch&sa=X&ved=0ahUKEwiF4c6xjoreAhUCQawKHaveDvUQ_AUIEigC&biw=1024&bih=648
    • Ok yeah I missed the whole Marantz NR1609 thing. So you're limited to 5.2 as far as Atmos is concerned. So I assume you're using the Atmos channels in your 280FA and then just using the ceiling channels as rear surrounds? Hey if it sounds good and is immersive then go on with ya bad self haha. Personally I would forgo the ceiling channels and just place some ear level speakers behind you and continue to use the Atmos channels in the 280FA for your height. But at the same time, as far as Atmos is concerned, nothing beats having a direct speaker over head as opposed to bouncing it off the ceiling. It kinda sucks because the dedicated ceiling channels would most certainly provide a better Atmos experience but then you're wasting the Atmos channels in your expensive 280FA towers, essentially turning them into an overpriced 280. 
    • Here is the K-63-KN HF compression driver of the 2-way CF-4's beside the 24 pound EV DH1A.  
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