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Zimmer is composing the new DUNE score as well......Which I was very, very happy to read...!!! But I grew up with John Williams basically writing the score to my childhood...E.T., Close Encounters.... I will often go for a night drive in the mountains(BlueRidgePKWY), go to some choice lookouts(scenic view ahead). I'll park, turn the lights off and just keep the car doors open, walk around, stare at the stars and play CloseEncounters tracks...👽🛸👍..

I look forward to getting these up and running.

I currently have two La Scalas for fronts, a Cornwall for center, two Cornwalls for side surrounds and a Paradigm Reference Servo-15 subwoofer for my 5.1 home theatre setup. I am in the process of getting five La Scalas and two JTR Captivator S2 subwoofers for my 5.2 home theatre setup. Your take?

Music!

Actually, I'm running a 5.1 system (I should've mentionned that...) : RF7-III * 2 + RC35 (was saving for the RC64...) + RS52*2 Anyway, thanks for the first opinions, that seem to point towards the SR7012, which is also at this point my first option. But I'm not excluding buying second-hand, if it's economically sound : I've just spotted a Emotiva UMC200+ UPA700 for just €500, which limits the risk in case I happen not to like the emotiva sound. Tough choices ahead 😉

I think that would be a KILLER system. I should be getting some JTR speakers in for review in the next month or so. Looking forward to hearing them for the first time

Right, just the crossover itself. I use the same thing Klipsch used -- except it's not zip cord. @JohnA There's nothing wrong with using the original wire, but after 40 years, some of that insulation is getting a bit brittle. I figure if you're going to redo them, why not start from scratch and just build something nice.

As far as what to get. I say sell the klf (not that they are bad just will be harder to match everything). Put that money with the 3k and start looking on CL and garage sale. I wouldn't censor myself to one set up when looking used. Look for good deals is where to stat. When you find something post on her for opinions on what your looking at and value.

Thanks HenrikTJ. I will look into it. My KLFs are in perfect condition.

I'm sorry I apologized. . . . j/k

There are points that I believe need to be said about these typical "room curves": First, just about everything that I've read about room curves fails to mention the reverberation times (RTs) for the listening room under consideration. Remember that these curves show RT as a function of frequency, not a single value as a lot of people seem to want to collapse the conversation down to (which is the same problem as talking about "loudspeaker impedance", which is always a function of frequency and not just one single value, and can vary within the listening bands by more than an order of magnitude). Second and perhaps most importantly, these room curves all assume that you're using the same type of direct radiating loudspeakers having the same issues with directivity vs. frequency around the most sensitive listening band of the human hearing system (1-7 kHz). These type of loudspeakers splash their higher frequency energy around the room unevenly vs. frequency and generally more freely in the upper registers than what is actually desired. The better the Klipsch loudspeaker type used in-room, the better and more consistent the directivity in this critical band (1-7 kHz), which also happens to be the exact region where most "room curves" are making their most visible changes from flat on-axis response. Third, I've recently found that the phase response of the loudspeakers (i.e., phase vs. frequency) has a lot to do with how they sound and how much "room curve" they need in order to not sound harsh. Generally, the flatter the overall phase response of the loudspeaker in-room (including near-field reflections from the room), the smoother the sound and the less the need to "compensate" for the room and loudspeaker deficiencies in reproduction. Fourth, we now know that popular music (...basically every genre besides classical, orchestral, opera, chamber, and perhaps jazz...) typically boosts the higher frequencies and attenuates the lower frequencies, as shown by the deviations from the red line in the bottom figure, below. All you're really doing by introducing a "room curve" to your typical stereo system is to partially offset this mastering tendency: So when you say that you're using a "room curve", you also have to state (in the same breath) what genres of music that you're listening to, the degree of control of early reflections in your listening room, and the directivity and phase response performance of the loudspeakers that you're using. Generally, I recommend fixing the room acoustics issues (usually near field reflectors), loudspeaker directivity and phase response issues, and then de-master the recordings having the most egregious mastering EQ loaded into them. Then flat loudspeaker response on-axis is the best choice, and the stated harshness problems just disappear. Chris

No, it's Remington.

Hi Keyurb! If your KLF-10 still work and sound like they should, and you like the sound, I'd keep them and try to expand on those speakers. For example, I'd get the matching KLF-C7 center speaker. Sadly, the KLF-series did not have their own surround speakers, but from the link below (page 5), you can see different setups including the surrounds from the KSP and the KSF series. https://www.manualslib.com/manual/287702/Klipsch-Legend-Series-Klf-10.html#manual . On the other hand, should you want to get a whole new system, I'd go for either the reference(R) series or the reference premiere(RP).

It depends on: Room size (volume in cubic feet) How far away you sit How loud you like it Where the room lies on the liveness spectrum Whether you want natural and full dynamic range -- with a Klipschorn you probably do. Don't go by the sensitivity rating of the Klipschorn -- that is at 1 meter (39.37 inches) away. With my Klipschorns, in my room (about 4,250 cu. ft.), at my distance (about 13 ft.), at Film Industry Reference Level (very brief peaks at 105 dB, with a medium level for music -- not really an average, but a level that subjectively sounds "medium" -- of 85 dB with 20 dB headroom for peaks), in a treated room (wall to wall carpet, couch, bookshelves, some absorbers, some difussors), with realistic dynamic range, I need about 8 watts per channel, for just a moment at a time, to get those 105 B peaks at my 13 foot distance. But, you want to make sure your amplifier does not clipp, so some people get amplifiers that are 2 times the power needed, just in case, or to allow for bass boost, or drunken party guests, kids, etc. So that would bring us to 16 watts per channel. I have 150 watt per channel amplifiers (NAD), so I feel relatively secure. I once got up to 25 watts per channel (Fanfare for the Common Man -- timpani, bass drum, tam-tam), which would be a little less than 110 dB for the loudest peaks in my room. I generally set movie volume at the level at which the dialog sounds natural. That ends up at about 5 to 7 dB below Film Industry Reference. For movies with good or interesting music (Amadeus, The Music Lovers, Ben-Hur (1959), The Hours, Taxi Driver, Vertigo, Kundun, Fantasia, Mishima etc.) that usually is about the same SPL, but for the sequences featuring things like the Tchaikovsky piano concerto, or Don Giovanni, or Night on Bald Mountain, the setting may sneak up to Reference level, or beyond. Some people claim that an excellent tube amplifier will provide up to 6 times the peak power of a solid state amp of the same power rating. Others say that's bull puckey. I've gotten great sound from solid state and tubes. Among tube amps, old 40 watt McIntoshes were fine, as were 40 watt Dynacos. In solid state, my old 80 watt per channel Luxman was great and very "tube like," and my 150 watt per channel NADs are fine. The Yamaha I have on one surround channel sounds a bit "harder." I borrowed an 80 w.p.c. Marantz for a short while, long ago, and it was as hard as nails (i.e. "harsh"). Their current models are a lot better, as were their legendary tube amps of the 1950s when Saul Marantz was running the place. Solid State sounded pretty bad for its first 10 years, or so (a guess). Part of this was because of undetected TIM distortion. Beware false or misleading specs. You want amps rated at 20 to 20K Hz, all channels operating, at 8 Ohms, at low THD, at full rated power. IM distortion can sound worse than THD, and you might want to take a look at TIM distortion. Parasound tends to list all of these -- another great brand to consider.

I am not an expert. Please don't call me that. I have some experience building things -- that doesn't make me an expert. At any rate, I use 16 gauge tin annealed stranded copper wire, and tinned buss wire for the negative connections on the barrier strip. https://www.jameco.com/z/3815-100-16-AWG-Solid-Tinned-Copper-Bus-Bar-Wire-100-Feet_2098515.html

I have used the Eminence Kappa 15C as well with great results.

focal scala utopia evo Sent from my iPhone using Tapatalk

if you have a small sub that you might want to add, i have a few of these Lepai 2.1 channel amps. Work great for computers speakers. I have a pair a ksb2.1 hooked up along with a small dayton sub. Sounds great actually. Cant beat the price, I'd send it to ya. (i have several spares for some reason)

I had five Heresies in my master bedroom home theatre system. In my opinion they are excellent considering only 2/3 of the space is being used.

There WAS a turntable and an open reel deck in that closet during the "Klipsch Fans Tour Of Hope" (the first pilgrimage). He powered his center channel Belle Klipsch with a Crown D45 and connected it all with brown lamp cord. I can't remember the preamp or the power amps for the Khorns. None of it seemed exotic.

@Emile when I first tried atmos, I tried to position kg1.5 speakers on top of my klf30s pointed up at the ceiling. I wasn't super impressed. Then I read that the atmos module speakers actually have something on their crossovers from Dolby. So I got a pair of rp140sa atmos speakers. Still wasn't impressed. I then moved them to my sides, put the kg1.5 speakers back on my fronts on an angle and was amazed. I ordered a second pair of rp140sa speakers as soon as I could.

60 and rainy again in MI. Governor is trying to get a National Emergency declared because the farmers can't get the corn and soybeans planted in the fields. I have not had my A/C on yet this year, but my furnace came on this morning!

I didn’t realize there is a separate forum for ‘talking tube amps’. I guess sometimes we just automatically stuff everything in the 2-Channel section.

I have a room full of extra audio gear I will prob sell before I move , just don’t have enough time right now Sent from my iPhone using Tapatalk

My Amazon Purchase experiences are by far mostly Positive.... Big or Small, I've had a few random issues over the past decade, most recently bad experience was a gate to prevent weener dogs from running up and down the stairs (had one that ruptured a couple back disc earlier this year). Anyway, the gate was defective. I provided a photo, and they sent me another and told me to keep or discard the damaged one. I fixed it instead, and now we have a gate to keep them weeners out of the lower level guest room and pantry. Not once has Amazon burned me,...... knock on wood desk.

The goats tremble when they see him coming, and the chickens run to the city.

Well, there's really no way that could happen in any event (before - apart from the fact it will always occur sans active crossovers with proper delays established). As to the topic of this thread I've got no opinion other than that the only unsafe amplifier would be one too powerful which is used too powerfully. Who'd care if a 5 watt amp was overdriven? Other than perhaps the degraded sound quality there'd surely be no harm to any of the drivers or other components in the cabinet. Even 30 watts overdriven would be fine if you could stand the volume it would produce inside a residential structure, I'd think.

Actually, I don't think I should. I just figured the topic would move towards "if you stream xyz all your problems are magically solved". Was trying to avoid that discussion and see what people thought of DL cards provided with physical media. I like it. I too like knowing the physical media in hand. However, thinking back to single CD player, then 5-disc changer with random, then Nachimichi programmable via remote (disc number, track number, repeat) having it all on a server with well though out application is pretty nice. Thanks for the link. If I ever carve out some time I'd love to tackle it.

No undue stress caused by the 6k crossover. The collapsing vertical dispersion of the K-400 helps the K-55-V respond to 6k, but barely. The early K-55-V and the late K-55-X really don't quite get to 6k. After seeing one or 6 in Hope, I doubt the latest K-77-F/D? Can handle 4500 Hz better than the -M, but the steep crossover slope protects it better. Remember, the K-77s were rated to 3500 Hz by E-V.

you can install some home made "mumps" in those CF3 horn with some Plasticine.

i have a 2 watt 45amp and a 300b 8 watt amp. i never use the 300b because e 2 watts seems to be enough. the only reason I question it is because I read forums and they tell me I need more power.

No, it is a glassware acf-2 octal buffer. Dead silent at idle. So far I’m really happy with it. I will I’ll be in touch about about a 2a3/300b project.

I wasn't upset, you dont have to apologize.

Please forgive the mis-characterization. It was an error due to my immense respect for your work. I redacted my post to read "very knowledgeable." -Dave

Please tell me this isn't true??

The word 'Safe' is kind of confusing... are you asking what is the minimal wattage you should consider getting in order to be satisfied? No one here can answer that for you... but as low as 2 or 3 watts can be plenty for some. I don't think ANYONE ever said Klispchorns were made to be paired with tube amps... they just happen to excell with tube amps because of their effiency and ability to accurately portray some amplifiers unique characteristics. Heritage sounds great with solid state amplification.

I have not done business with them. I was considering it, their refurbished AVRs are quite temping. But if you research and read reviews, they have some unhappy customers out there. You guys seem to have positive experiences with A4L, this is good. Maybe the negative reviews are off base. Experience speaks volumes, and I have none with them.

I have a small listening room about 12' x 10' in size. I use a pair of flea amps (about 3.5 watts/channel) with the Klipschorns and they are loud. I generally listen to vocal jazz, rock and classical.

Very nice, too bad i have no more room in the inn for these

In space, no one can hear you tarnish

You bad.

Here is the el cheapo amp at parts express. Never owned one but seems to have good ratings. 10 wpc 4 ohm load @ .1% THD . $30 https://www.parts-express.com/dayton-audio-dta-1-class-d-ac-dc-battery-powered-mini-amplifier-15-wpc--300-380

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That is the official Klipsch Museum of Audio History eBay store. @dtel's wifeChristy runs it and has been ramping it up. Travis

Congrats and welcome! Wives are interesting creatures. Mine likes my big black LaScalas. She not a music fan.. she likes the looks.

The horn doesn't care what materials you use, it will perform the same. Big Horns with Small Amplifiers pave the road to Sonic Heaven.

So what OS is running the unit?

Pull our your sound meter (or at least install one of the free apps) and tell us that reading from your listening position, when listening at the levels you're describing. My gut reaction, however, is still to turn it down.