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I have its sister The United States of America. I have a lot weirder so I wonder exactly what off the beaten path means. Whos path? Sorority girls and/or Parrotheads? Journey and Styx fans?

Hi Klipsch forums, This is my first post here, so thanks in advance to the community, you guys rock. About 6 months ago I came across a pair of Klipschorns for sale locally here in Alaska (I’m terrified to think what the shipping might have been on these) for a steal at $800. I checked them out and they sounded absolutely, completely amazing. They are in great shape and all the major veneer is near perfect with a few pieces of veneer side stripping missing, shouldn’t be too hard to fix. The seller inherited them and didn’t know much about them but thought they were from 1986. I have been doing my homework on the Khorns but I am having a difficult time figuring out exactly which model/year these horns are. I more than suspect the crossovers are not original and am wondering if the mid-horns have been altered by some previous Klipsch fan in the past. I have tried to match up the x-over with the photos by Crites and these certainly don’t fit. Here are some photos of the x-over, tweeter horn, mid driver, and the overall speakers. Any help with the ID of these things is appreciated. And any advice for future upgrades/restorations for a young guy on a budget is very much appreciated. Oh, I currently have them running off a Marantz 1060, at least until I build my dream tube amp. Thanks again K-forums, as I learn more about these knockout speakers I’ll be sure to give back to the forums. Cameron W …. And for the record, I paid more for these speakers than I did for my car.

I am new to this forum and to relatively so to Klipsch speakers. I am enjoying the sound. I am looking for advice on a few things related to my new system that I have put together over the past 9 months. The system is run on Onkyo TX-NR818 and includes: 1) RS 42MKIIB Surround pair; 2) RC 52MKIIB Centre; 3) SW112 Front Fired Woofer; and 4) RF 82MKIIB Tower pair I am very impressed with this set up and yet am considering going one step further to 7.1 with one last purchase. Either a set of RB51 Bookshelf or another set of RS 42 surrounds. For a limited time I can get either pair for $337 taxes in and so thought I may want to jump at the chance. I thought I would place last set in rear to join current set of RS42s. I am interested in hearing perspectives on: 1) will the extra pair make a noticeable difference (improvement)? 2) which would be the best choice (bookshelves or second set of RS42s)? 3) placement 4) mounting options for RS42s (other than hanging by keyhole) Thanks in advance for any and all perspectives.

For anyone who was unable to attend. Like me! http://www.klipsch.com/ces-2014

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I toe my speakers in to a degree that doesn't create a sweet spot but focuses the sound at the listening area versus a single listening position. I know that any toe in will eventually create a sweet spot but i try to make that happen away from seating area or what would be behind the seating area. I also play with distances apart if I can and distance from the wall. It will vary dependent upon decor and room layout.

That is some excellent gear. I like Denon paired with klipsch (very neutral and detailed) I used a Denon 3808 before my Pio Elite and I loved it. The outlaw seems to be a favorable amp I read reviews on it a while back. What are your plans for surrounds? Will you go with the RS series?

Cameron1, Welcome to the Klipsch Forum; Congratulations on your purchase!

Here you go.

Amy... love the tweets from everyone. Looks like they got some attention and the folks who tweeted really understand. That is GREAT news! Bruce

Sounds like fun, so far....North Creek...have read of them here. Scary fun I'm hoping! Finally getting around to it myself. Was researching it. Thanks and Chorus 1 was what am thinking according to your signature and opening post was going on. #1 schematic?

Probably pretty big. I like my turbos though.

Are we talking about Chorus 1 or Chorus 2? Those crossovers do have differences. The schematic posted is for the Chorus 2.

I run the Ultra IIs with the Emotiva UMC-1 and the UPA-7 amp. In other posts I have flirted with the idea of what to do with the receiver / separates debate… but my current path is to update to the XMC-1 when it is released (on waiting list now) and keep running separates. I agree with the above posters… that 50 watts per channel isn't going to push the speakers the way you intend. If I were you and trying to keep the costs down… I'd recommend finding a user Pioneer Elite receiver (doesn't matter the age… just make sure it has hdmi).

I know it's a great mystery -- with all of these different crossovers, how do I figure out what to recommend for who? I must have people piling up, begging me for returns and exchanges, right? Okay, let's talk about this. I'm batting exactly .1000. In the over 10 years I've been doing this, I've had exactly zero people ask me for something to replace that which I recommended to them. Now, I have had a handful ask for an exchange, but in each case, it was because they ordered something different than what I recommended. First, I need to state that even though I'm a licensed building for some of Al's products, don't think for a minute that we are in total agreement about everything. On the contrary, there is plenty of friction, but it's the healthy kind, and it keeps things interesting. Al believes I send mixed signals by building the Klipsch networks. He believes they are "bad designs" and obsolete - and it irritates him a little that I continue to recommend them and build them. Now, I don't build all of them, I only build the ones I personally like, which amounts to exactly five (Type A, AA, B, B2 & E). I build them because I like the way they sound and have this crazy idea that PWK generally knew what he was doing. Now, Al also knows what he's doing, and also designs some things that sound really good -- but just like there are some Klipsch networks that I'm not too thrilled with, Al has some things that don't float my boat either. The great thing about doing your own thing is that you're free to do build what you like, and free to avoid that which you don't. As long as I have a good day job, I am afforded this luxury. When a person tells me that they like the sound of their loudspeaker, and want improvement without radically changing the sonic signature, it's pretty much a no-brainer -- they're getting a Klipsch network built with the parts I believe are best for that particular build. Al's networks don't sound like Klipsch networks. If I sell a pair of ALKs or Super AAs to someone who just got done telling me they like the Klipsch house sound, I'm taking a serious risk. I know if I build the one thing, they'll be happy. If I build the other ... well ... I have no idea now do I? Believe it or not, but not everyone who hears a pair of ALKs or Super AAs believe they sound better than what they had. Then there are the calls and emails of a different sort. These are from the people who really don't like what they're hearing, and are praying, hoping -- that I have something in the arsenal that will save them from having to sell their loudspeakers. These people are miserable with the sound they have, and you can hear it in the tone of their voice. They have no interest in the "Klipsch house sound" -- and they want to get as far away from it as possible. So, if you were me -- what would you recommend? Then we have the in-between people. They are of the tortured variety, and they greatly enjoy making me suffer with them. They are on the fence with what they're hearing, and so can't make up their mind. We eventually get it figured out, but they are never completely comfortable with their decision -- until they install the networks! If I'm told that different drivers and horns will be involved, I move them towards the ALK. At this point, the ability to attenuate the midrange becomes more than just a nifty little feature, it becomes a requirement. An exception to this would be the person who is staying with the stock midrange drivers in conjunction with Dave's Fastrac LaScala horns. Dave has convinced me that there is no appreciable gain with this horn, and if one stays with the stock drivers, then they can run a Jensen or Jupiter loaded stock networks without issue. Lastly, If they tell me they have a larger room, sit off the loudspeakers some, and/or listen relatively loud, these folks get moved towards the ALKs as well, since the 2nd order filter section between the squawker and tweeter helps quite a bit here. A lot is made of the ability to attenuate, but how important is this feature really to those staying with the stock drivers? We should all be in general agreement that there are only a couple of settings that will keep the loudspeaker honest. The response doesn't have to be flat per se', but we don't want it sagging either. What tends to happen is that people find the setting they like, and then leave it. It just so happens that there are only a couple of settings that people try before settling on the one they like, and it's always within a couple of dB of the stock setting, usually a couple of dB down. I can accomplish the same thing with a stock network using several different methods, and since the network isn't swamped down to 8 ohms, requiring the larger primary capacitor value -- I can use cool and great sounding stuff like the Jensens and the Jupiters (their use being completely cost prohibitive for the ALKs). So how did Budman end up with ALKs, while Schu ended up with the B2? Russ kept saying stuff like "huh?", "what?", "talk louder", etc. It didn't take me long to figure out that he liked to jam. So, he fell into the larger room/likes to listen loud category. Michael told me he had no plans on changing horns or drivers, pretty much liked what he was hearing, and wasn't even sure if he would get any benefit from from upgrading the crossovers. He did mention that he thought he could benefit from some attenuation. He is currently using the Type B. Based on what he told me about his system and his listening habits, I decided to move him to the B2, which changes the woofer and tweeter sections to 2nd order. The circuit change alone will provide a cleaner and more coherent sound. I added a coil in series with the squawker, which will add a bit of resistance and roll it off a little faster. This, in combination with the caps, will provide all the attenuation he needs. Michael might like the ALK better, or not -- I have no way of knowing either way with absolute certainty. Doing this isn't easy -- you do the best you can.

I noticed no XBox One support by the KG-200 and 300. The I went and looked, and there isn't a headset for the XBox One by any vendor yet except the Microsoft branded one. Interesting, but not surprising. I expect MS has made the interface somewhat proprietary intentionally.

Yessiree...Klipsch!!!

Great exhibit, Klipsch did a great job.

Paul Klipsch himself told me that he considered the Heresy and the Cornwall to be of too high distortion as a center in a 2PH3 system. Even if the "mono in the middle" was operated a -6 db from the flanks, he felt that the distortion was high enough to muddle the low distortion of the Khorns. So after creating the LaScala, he created the Belles (named after his first wife, who died of lung cancer) as the matching center (aesthetically and distortion-wise). He also told me that after creating the K-500 horn for the Belle, the the K-400 was probably a little longer than it needed to be. So, your initial comment about him "getting it" is incorrect with respect to IM distortion. He also told me that he left the Heresy box empty because he wanted a pure capacitance on the woofer. What he did finally "get," is that the Heresy saved the company from financial ruins because Khorns were too big and too expensive. Heresy accounted for over 50% of the company gross sales. By 1985, even he was suprised that his company had grown so large to over $20 million in sales, later to be grown to 7.5X that figure by Fred Klipsch and Co.