mikebse2a3

Look at PWK’s original DFH Paper on the issues of corner seal integration with the Klipschorn LF Horn and the results of an improper seal which leads to frequency variations in the upper portion of the LF Horn. PWK recommendation of some form of a rubber gasket at the tailboard was given as a solution. The current closed back design addresses this potential issue more effectively while also allowing the ability to give some toe-in adjustment which the original gasket seal method doesn’t supply. This Toe-In adjustment ability is a very important advancement in my experience. The need for corner installation(or false corner) although not requiring a tight seal due to enclosed back is still a requirement if you want the full low frequency balance/extension that the Klipschorn design is capable of. miketn

I guess my first question is where do you intend to purchase the speakers from..? If your buying from a Heritage Dealer then maybe an in home trial would be a reasonable option so that you can try the Klipschorn AK6 first with the option to return and purchase the La Scala AL5 with high quality subwoofer(s). Ultimately your room’s acoustical quality/characteristics and your freedom or lack of freedom to locate and optimize the loudspeaker system integration will play a defining role in what will work best for you. By the way La Scala AL5 with high quality sub or subs can give you sound that many dream of when implemented properly…!!!🙂 miketn

Nyloc nuts are a good option but I have to say I’ve not experienced any issues using split washers and common sense on the torque needed for a good gasket seal is all that is needed. I like to use Stainless Steel Hardware to prevent rust issues long term and especially with expensive drivers. Often I find my preference is to use Stainless Steel Allen Set Screws of 25mm and 30mm lengths in drivers requiring M6-1.0 (6mm x 1.0mm x Length Needed) hardware. miketn

@Westerml This wasn’t an option in my situation (with first generation K402 and it’s mounting bracket that I started with and I wanted to flip the mounting plate and convert to second generation K402 bolt pattern) but this would be the simplest and best option in your situation I believe. miketn 🙂

I believe the following information will give you what you need to know to layout and drill your mounting plate to allow reverse mounting of the plate/flange for larger diameter compression drivers. Note: These pictures show a mounting plate/stand for the first generation K402 and the original 4-slotted drill pattern of the mounting plate which looks similar to yours. I then drilled additional holes to allow for the 2nd generation K402 horn bolt pattern as well as allowing the mounting bracket flanges to be oriented toward the horn versus the driver. If you look at the pictures of how I laid out the angle pattern for drilling the mounting bracket you can see that the set of holes you already have will match up with either the (18-degree, 108-degree, 198-degree, 288-degree pattern) or the (72-degree, 162-degree, 252-degree, 342-degree pattern) and you will just need to drill out the pattern opposite of what you currently have. You might also note that the patterns are exactly (+/-)18-degree off the (0-degree, 90-degree, 180-degree, 270-degree reference centering lines. I hope you find this helpful, miketn

Rest In Peace……. Reading his obituary it seems he was a very nice person and lived a very interesting life/career.

I would suggest if you haven’t already done so that you remove each Cornwall’s speaker wires from the amplifier and then test using a battery with (+) speaker wire to battery positive and (-) speaker wire to battery negative and verify that the woofer cone moves forward on both speakers which will verify all wiring “Internal” and “External” are correct. miketn

Hey Eric ….. I found this also which confirms if you are using the UMIK-1 or UMIK-2 the sensitivity factor is in the calibration file of the UMIK units. UMIK-PDF-3.pdf Note: This is from the attached pdf: Also confirmed UMIK SPL Calibrated in REW here…

Me to 😄. Haven’t used REW since last year and now my computer with REW isn’t working so will have to load it on a new computer later when I get time. miketn

Thanks …. Clearly you are correct and I missed reading that. 🙂

Hey my friend 🙂 That’s not what I’m reading ….. Yes the UMIK and Soundcard calibration files are used for correction but they don’t provide level calibration. For Level calibration you have to set the meter accuracy against a know accurate SPL Meter or SPL Meter Calibrator…. Also note if any input level changes are made in soundcard preferences you have to recalibrate again. miketn

This might also be a good option…. 99% mineral oil and lemon scented.

I use to use Formby Lemon Oil on my Walnut Klipschorns for many years with great results but it is no longer available. This looks to be similar and it or something similar might be worth your trying….

While the internet is full of DIY Tube Traps I’ve yet to see any that come remotely close to the real “ASC Tube Traps” … Here is a simulation picture from ASC showing an example of construction details of the “ASC Tube Trap” and also some quoted comments from Art Noxon describing the construction. BELOW: Is quoted from Art Noxon from discussion on another forum where DIY was mentioned” ______________________________________________________________________________________________________________________________________________________ I see no reason a person couldn’t build regular style DIY absorption panels with some kind of stand to avoid having to hang them on the walls and for placement flexibility but of course you wouldn’t have the diffusion ability of the “ASC Tube Trap”. I would strongly suggest whatever absorption panel design you choose that a reflective type membrane functioning similar to the ASC be implemented especially if it is for a 2-ch stereo system/setup. miketn🙂

Don’t forget to calibrate the REW SPL Meter for accurate readings…. 🙂

The Jubilee and room are beautiful together….. 👍🙂 miketn

This REW link has information that helps to understand the differences in SPL meter settings. https://www.roomeqwizard.com/help/help_en-GB/html/splmeter.html C weighting covers a wider frequency spectrum than A weighting Slow weighting gives a more average reading versus Fast weighting. NOTE: If anyone is using REW you must calibrate the meter for accurate readings miketn Here are a couple of screen shots from the link

For the purpose of this thread I believe your settings and method are very reasonable and repeatable for others interested in this threads comparison goal. It might be interesting to see people report C-weighted / in both Fast and Slow mode for comparison as well. miketn

Just for clarity when reporting the sound levels people are listening at what are the applied weightings (ie: dB(A), dB(C), dB(Z) and response time (ie: Fast or Slow) of the SPL Meters being used by everyone..? Other variables that should be considered: (1) The orientation of the Microphone (ie: are you pointing toward the loudspeaker sources or the ceiling for example). (2) Placement of the Microphone/Meter (ie: at eye level and arms length or lower and closer to the body or placed on an object like table or ottoman for examples). All the above can lead to considerable variations in the reported levels listeners are reporting if not consistently applied by everyone. miketn

This ^^^^ miketn 🙂

Keep in mind that the Polars of the Jubilee are much more consistent across the frequency spectrum versus the Klipschorn and this creates a more consistent interaction with the room boundary reflections versus the Klipschorn when placed in the same location. miketn

I believe what you experienced at 30’ was speaker/room interaction and not loudspeaker driver integration since you are in the extreme far field in your room at that distance. Even at 10’ distance the speaker/room interaction is still very strong and can influence a persons perception of sound quality. I would suggest if a person wants to listen for when the loudspeaker’s drivers integrations occurs that they may want to listen in an open outside space so that it isn’t masked by a room’s boundary interactions and reflections with the loudspeaker/listening positions. miketn

Just keep in mind @MMurg has experience also with these in the larger Klipsch Lab Listening Room and is we’ll aware of how they can reproduce sound in a much larger room. @MMurg So I’m curious can you describe the sense of imaging and soundstage scale in your room 🆚 the imaging and soundstage scale as experienced in the Klipsch Lab Listening Room..? miketn🙂

I appreciate that you have an opinion but I can offer you real world experience since the picture you posted is of my “Underground Jubilee” in my first room which was about 12ft x 17ft and the only room I had available when I bought them and I had Klipschorns in the room previously as well as Heresy in this room. My experience was that the Heresy was clearly outperformed by the Klipschorn and the “Underground Jubilee” outperformed them both in this room. I will say they all have the ability to perform even better (especially as it pertains to imaging and soundstage) in a larger room if the larger room has good acoustics. When I bought the “Underground Jubilee” it was always my plan to eventually place them into a larger room but until I had that larger room I had the best performing Klipsch Loudspeaker which gave me the best sound this room would ever be capable of. miketn🙂 Picture taken when I first moved them to the current listening room.

This is the (2) conductor zip cord that was very commonly used by Klipsch as used in this Klipsch Belle top section I have. The wire is at most 18ga tin-coated stranded wire. miketn