Deang

John, I know Craig uses Kester 44 -- which has a rosin core. I'm sure he just meant he doesn't use any additional flux other than what's in the solder. Since I'm relatively new at this, I prefer to use a little of the paste. I use the "pointed" tool, put a little flux on it, and dab it on the joint before I put the iron to it. I found that the joint heats up much faster. I can almost put the solder to it immediately. I prefer to get in, and then get out. No one answered my original question -- which had to do with my concern regarding the flux creeping, and sucking up underneath the jacket of the wire. I was wondering if I should worry about it. I had thoughts of slicing the sleeves and going after the flux with IPA. Isn't Rosin Flux also corrosive to some degree?

And all this time I thought he had a nice set of Wright Audio Monoblocks -- and come to find out he's got those POS amps from Wright Sound.

I should sign a waiver before telling you what I think, and definitely wait for some others to respond before going off and "lighting up the world". What you got there is a 28 LB "pro" amp, utilizing switching type power supplies which they refer to as class "H" -- which I've never even heard of. Most of the switching power amps used in most of the newer subs are referred to as class "D". However, this amp retails for around $1300 normally -- and so it appears to be a quality amp (as far as pro amps go). The power rating is given as 900 watts at 4 ohms AT 1KHZ or 1000HZ. This is a crappy way to rate power. It should have said "900 watts from 20HZ to 20KHZ. So, this is the first clue they are jerking you around with the power spec. The RF7's are rated at 8 ohms -- so, with this load on the amp, it's down to 600 watts a channel (their spec). I don't know what the power of that amp would be if it was spec'd out properly (through all frequencies). The RF7's are rated to take 250 watts (each). I wouldn't take it past 10 o'clock position with the volume control knobs, and keep everyone the hell away from them -- or your RF7's are toast.

I would only add that though your placement close to the sidewalls is an issue, it's worse if you DON'T go with a horn loaded tweeter. The horn will give you a degree of controlled directivity completely absent from orthodox designs. A simple solution would be to add an acoustic foam panel between the wall and speaker. If they are toed in considerably, then move the panel down -- further away from the speaker. All in all -- who cares? The RF3's embarrass anything else in the same price range. BTW, and this is just my opinion -- but the RB5's actually sound better, come in real wood, and since you have sub... You'll also save on shipping charges.

I don't think you'll have much luck finding somone to trade a pair of Klipsch AND cash for the Vegas -- but I'm just guessing.

Same answer

Welcome to the Forum. Tough decision from the stand-point that a superior multichannel experience demands that all of your speakers be timbre matched. Maybe you should base your decision on what you enjoy more often - multichannel/movies, or 2-channel music. The RB3's will certainly deliver superior performance in almost every area as compared to the SB2's (which I owned for a few months). I say go for the RB3's, and if there is ANY way possible, go for the RB5's - which I consider to be the absolute best value in audio -- absolutely.

Craig, Weller makes a 35 watt iron (pencil style) for $50. As far as I'm concerned, the tip on that thing is worth $50 alone. It's an absolute joy to work with.

BQ -- I've heard Heritage speakers several different times over the course of 25 years, and each time I'm exposed to them -- I feel a headache coming on. They are just too damn bright for my taste. If truth be known -- if Klipsch had never made the RB5 -- I wouldn't be here. Understand -- this is a purely subjective opinion. I can't understand why you don't fall over in love with the RF7's, anymore than you can't understand why I don't fall over in love with K-horns. As far as two-ways being a step back, well -- I would certainly say we have a difference of opinion here as well. I can honestly say I have never heard a "bad" sounding two-way, but I could fill a book with the awful multi-ways I've heard. Actually, there are only two multi-way speakers I have ever heard that I liked. Incidently, by today's standards -- the RF7 is hardly a "small" speaker. Just because a speaker is the size of a washing machine does not mean everyone is going to like it. I know you know this already, sorry, I'm babbling. Hardhead, that was a great post -- I couldn't have said it better myself.

"The first note made me literally jump out of my seat." That's how I reacted when I recently heard them. After I jumped out of my seat I dove for the door. I have yet to hear any Heritage on a tube amp. I can certainly see how it could make a difference -- but I can't believe it would make THAT much difference. Don't any of guys like a little warmth with all that detail? Hmmm.

Kelly, I don't know how to say this without you thinking I'm a complete moron, but on the RF7's with stock AE-3 -- the 4004 MKII sounds much better then when I had the 3B-ST running with the Anthem Pre1L. I thought the 3B-ST sounded really good until I got the AE-25, and well -- that was the end of the Bryston. I suppose the AE-3 could account for the difference, and it would be a mistake to not factor that in -- but the Aragon sounds very good on the RF7's. It's a big, bold wonderful sound. Definitely closer to 3D in the imaging than the Bryston -- which was actually quite 2 dimensional. The Aragon does not push the image all the way to my listening position like the AE-25 -- but it's out there somewhat. The "slam" factor of the Aragon completely embarasses the Bryston. It's substantial. The Aragon does not articulate near as well as the Superamp, and the Superamp trumps it in smoothness as well. However, whatever solid state grain there is -- is barely discernable. I'm hoping that while driving the DQ's, I don't notice it at all -- as the DQ's certainly won't have the resolving power of the RF7's. I don't remember exactly, but didn't you have some experience with the Aragon? If so, I'm surprised you would find the Bryston superior. I'm sure the AE-3 has something to do with why I feel this way. I wonder sometimes if tube preamps somehow filter out the odd order harmonics of SS amplificatin to some degree. At any rate, I like the MK II. The first 50 watts of this beast are Class A -- and that's plenty for now:)

RadioShack Non-Spill Paste Rosin Soldering Flux. Seriously, how corrosive is this stuff? Should I slice the jackets and go after it?

It's fun. Tedious. Rewarding. Aggravating. Things I like: A good soldering iron: I bought a Weller. Stay away from Radio Shack irons. They're junk. Good Solder: I used Kester 44 and Cardas. Stay away from Radio Shack solder. It sucks. Flux: You can solder without it, but it's painful. Everything heats up twice as fast with flux -- and that's a good thing. http://www.mouser.com http://www.madisound.com http://www.percyaudio.com http://www.soniccraft.com Great customer service, and always have everything and anything you need. Things I don't like: Sanding, priming, and painting. Cheap soldering irons. You make a connection, then have to wait 5 minutes for the tip to heat up again. I went through three of these. I started with 15 watts, then 30 watts, then 45 watts -- all the same. Junk. The 35 watt Weller is always hot and always ready. Solder that's advertised to melt at 370 degrees, but doesn't until the soldering iron tip melts. Flux: It goes wherever the solder leads. Usually underneath the sleeve covering the wire where you can't get to it. I hope it's non-corrosive, cause I AM NOT going after it. Well, it's Radio Shack flux. The cables will probably rot off within the next 6 months. http://www.regnar.com I'm not saying why cause I don't want to be sued.

"It's during times like this that we most need to keep our heads..." Bad choice of words Tom:) Now Ranger, I'm no history expert, but context clearly showed that these were places men gave up the ghost for the advacement of freedom. Uh...did I guess right? BTW - the Mitsubishi Zero was a hell of an aircraft. Kenratboy's thinking frightens me a little: "But, the plain truth is that the odds of getting it are slim to none, so it's not like he has killed 10,000 people. There are probably 5-10,000,000 people in that entire area, so 11 people, the odds are not horrible." Hmmm. I'm sure those 11 people would have pretty much thought the same thing before it started. Once he scopes you in, the stats don't mean very much. The other part of "odds" is "probability". Since we can't filter the factors being used by the killer, it's pretty much impossible to come up with real odds. For example: gas pumpers appear to be at higher risk than people that come out of Mcdonald's every day. If I give you a box of guns and tell you there is "only one bullet in there" -- how comfortable do you feel randomly taking one of the box, pointing it at your head, and pulling the trigger? I mean, the odds are real good you won't blow your head off:)

Dave, I think the Jon Risch design you are thinking of are these: http://www.diycable.com/catalog/products/ic_fat_ones.htm You can find all of Jon Risch's stuff here: http://www.geocities.com/jonrisch/index2.htm I do believe that since you have already invested in the tools, you might think about cranking things up a notch. Why not get a batch of the Belden 89259? The consensus certainly seems to be the teflon foam dialetric is the way to go. You can get 89259 from www.diycable.com for $2.50 a foot. If you were willing to do this, I would certainly be willing to buy several from you.

"Maybe they're too busy flogging the RF series which are not even nearly as close to the performance of the Heritage line of speakers. (price usually dictates that difference)." Bull$hit... ...and as I said in another post: With the exception of the cabinet dimensions, exterior finishes, and the slightly different x-over points in the Scalas -- all three larger Heritage models are identical. Until recently, a pair of Scalas and a pair of RF7's were separated by only $600. Even with the price increase of this past year, I would say the only two reasons for the difference in prices between the RF7 and the larger Heritage is the labor involved in making the cabinets, and the additional crossover components needed to support the third driver. My point is that in order to make a fair comparison between the bigger Heritage models and Reference -- the comparison should be made with the RF7's. I believe the RF7's compete head on in many ways. They put out 75 to 80 percent of the macro-dynamic ability They put out 110 percent of the micro-dynamic ability They deliver a smoother frequency response (as opposed to peaky) They deliver a stable and wide image (as opposed to beamy) The upper treble is practically flawless (as opposed to "grating") They are easier to place which aids in proper integration with the listening room The cones in the RF7 are fabulous. I see no problem with letting the cones handle the fundamentals, and the horn handling the harmonics -- it works.

Egads! 900 wpc per channel with a dummy load on the terminals at 1000Hz. Put a real load on it and chokes itself to death. C'mon man, it's made by Cerwin Vega! They probably left parts out of the circuit so they could sell it for next to nothing. Lynmm may have a point though. You should check it out.

last one next time I'm using Justin

again

next

Heck, I didn't know what else to name the topic, since I'm not quite done yet. Certainly getting closer though. I had new baffles cut, and I still need to sand, prime, and paint them. Build the other crossover, and that's it. Then keep my fingers crossed and hope it works! Can't attach multiple files, so I guess I'll have to submit each pic with an individual post.

Jeesh Lynmm, are you going soft on us? I say that system, in that room -- is a complete waste. Like, why did he even bother!

Careful you don't miss the forest for the trees. I own a two story house with a full, finished basement. I'm tired of climbing stairs:) It's just one of those things you don't think about when you buy a house. A full, finished basement would be the simplest solution for controlling sound from the outside. It's also best for controlling light. The downside is that all of the mechanical related stuff is in the basement (HVAC, washer and dryer, etc.) It would be relatively easy to stand up some well insulated walls around the mechanics (basically a "room") -- to isolate the noise. New construction will give you a very dry basement. Older construction may offer some problems here. Opt for New Construction, with 4000psi concrete for the concrete. Make sure you see them pressure test it. Go for brick. Always. The alternative is a larger house built on slab that has a large "family" room. Most modern houses have a "Great Room" or family room. The modern day "Great Rooms" have cathedral ceilings, which are pretty cool. The problem here is plenty of glass. I think it would be close to impossible to achieve total darkness with these type rooms. Even houses built in the 70's and 80's will typically have at least a patio door with glass. You may have to look long and hard to find a house with the right room. The upside is that when you find this house, there is a good chance you will end up liking the rest of the house as well. You need to decide if you want to go with "spaciousness" or "cozy-ness". I would try to strike a balance here. "Six people", and I see six Lazy Boy recliners. Maybe two reclining type loveseats (for couples), and two recliners. I would elevate the second row of seats. You mentioned HVAC: You're only going to have control over this if you go with new construction. Modding an already built house is a bear. If you wanted to increase the output of the HVAC to accomodate the HT room, then you not only need to put in a bigger outside unit, but the inside unit needs to be increased in size as well (air handler and coil). You then need to add the additional ductwork to accomodate the increase in output. It can get very expensive. Also, you would need to see the blue prints of the house to first see if it's even possible. With new construction, you have control. No central return air. Go with multiple return air vents, one in each room of the house. You can tell the builder which room is being designated for the HT room, and he can put you in contact with the HVAC company doing the work. Tell them the total BTU of output of your equipment, as well as how many people you expect to have in the room most of the time. The heating and cooling load calculation will then be based on this information.

Well... ...a set of v15-f Vegas will run you $560. Much less probably, because they are usually discounted in a major way. A set of RF7's will run you $2000, give or take a couple of hundred. Since one usually gets what one pays for (for the most part) -- we are talking light years apart in parts quality and sound. It would make more sense to compare the Vegas to a set of RF3's. At any rate, the Klipsch uses a horn (or horns), and the Vegas don't. The RF7's will take 250 watts. Of course, you could have looked at the products section to compare specs.

Colin said: "This is not to say that Reference series is perfect; it is still one of the better sedan models of family home entertainment - it just can't compete with the esoteric race car models (some of the old ones Klipsch still produces." Heritage bigotry at it's best. It surprises me that a prolific writer such as yourself , and with your level of experience -- would resort to this type of statement. I do not know what Reference models you heard at the dealer as you did not say. However, you should remember that $1400 separate the RF7's from the RF3's and RB5's, and there is $700 of separation between the RF5's and the RF7's -- and the only differences between those two models are the basket material for the woofers with the two extra inches, and the driver/horn combo. With the exception of the cabinet dimensions, exterior finishes, and the slightly different x-over points in the Scalas -- all three larger Heritage models are identical. Until recently, a pair of Scalas and a pair of RF7's were separated by only $600. Even with the price increase of this past year, I would say the only two reasons for the difference in prices between the RF7 and the larger Heritage is the labor involved in making the cabinets, and the additional crossover components needed to support the third driver. My point is that in order to make a fair comparison between the bigger Heritage models and Reference -- the comparison should be made with the RF7's. I believe the RF7's compete head on in many ways. They put out 75 to 80 percent of the macro-dynamic ability They put out 110 percent of the micro-dynamic ability They deliver a smoother frequency response (as opposed to peaky) They deliver a stable and wide image (as opposed to beamy) The upper treble is practically flawless (as opposed to "grating") They are easier to place which aids in proper integration with the listening room The cones in the RF7 are fabulous. I see no problem with letting the cones handle the fundamentals, and the horn handling the harmonics -- it works. It would be great to A/B your K-horns and Bottleheads with my RF7's and AE-25 DJH push-pull. I believe there would be suprises for the both of us -- but I certainly do not believe you would find the RF7's outclassed by the K-horns (especially if you are sticking with 3 wpc). It is not really fair for you to make the comment with only having a cursory experience with Reference (in a dealer showroom no less, the worst possible place). At any rate, I would hardly consider the RF7 a "sedan".