mikebse2a3

Having experienced the Heritage Jubilee in Hope at the “Last Jubfest” I fully understand his reactions and the realism of their musical reproduction was something I’m still wrapping my mind around..!!! 😄 miketn

@babadono Here you can see how I’m using the Studio Traps at First Reflection points and they give me the ability to choose between absorption or diffusion as well as the ability to disperse/redirect the reflections. This is a powerful feature that allows me to easily experiment and adjust the room acoustics for the sense of liveness I find desirable and engaging. Note: due to the loudspeakers placements and the fact they are horns with controlled directivity I am able to choose a much more HF reflective return into the room versus the standard direction that you usually see ASC recommend which is often depicted with wide dispersion direct radiator systems. I have also removed (seen stacked on the floor) some of the flat wall panel Sound Planks to adjust the overall HF absorption for a better balance of the liveness sensation. miketn

I wouldn’t consider myself as a purist especially considering the almost total lack of standardized practices in recording and playback as evident in the real world we live and listen in. In my experience reverb is experienced much differently than what I consider liveness and room spaciousness that can happen in a room designed for good 2ch reproduction. Some 2ch to Multi-Channel Playback conversion effects programs might bring some liveness and spaciousness simulation back to acoustically dead listening rooms and this is why multi-channel home theater rooms are often found to be treated with much more absorption because the liveness/spaciousness are in the surround channels programming. Not based on my experiences. The strength and timing of the first reflection points and the channel’s they are associated with are factors to be considered along with the polar response of the loudspeakers and what works best could be better left untreated, redirected, or diffused instead of absorbed in some situations. I mentioned the Polar Response of the loudspeaker as a variable because when you so often see Room Treatments as suggested by many companies they are most often using wide-dispersion loudspeakers and that often wouldn’t be the appropriate treatment methods for dipole loudspeakers or controlled directivity horn loudspeakers in my experiences. miketn

If this is going to be used as a 2-channel stereo system then I would caution the over use of absorption because it’s easy to unnaturally alter the decay of sound especially in the upper midrange and high frequencies and basically it begins to sound like an anechoic chamber (a very unpleasant place for music when you experience it.) in the upper midrange and high frequencies. This can be very fatiguing and some frequencies can almost become piercing. Diffusion can be a mixed bag as well depending on the type of diffusers you choose. Overall I have come to prefer poly type diffusers versus ones like the RPG QRD Type or RPG Skyline primitive root diffusers because all can work well when used properly but the RPG Type if not placed optimally can sometimes create some audible effects that can lead to a fatigue effect revealed over extended listening. The Poly Diffusers seem to be the most forgiving of placement and rarely cause undesirable audible effects in my experience. In my current listening room the only places I ultimately found beneficial and acceptable for the Skyline diffusers was on the front wall and as a ceiling cloud above the listening position. In a smaller room the Skyline worked well on the side wall first reflection points but only after I slightly offset their positions so that left and right didn’t send symmetrical reflective signals to the center listening position. Visually the Skyline diffusers might seem impressive to some when on the front wall I actually prefer a less dramatic and more visually neutral and relaxing front wall where it becomes easier to visually imagine the imaging in recordings and ultimately listening in a dimly lit or dark room best of all. I consider the ASC Tube Trap design to offer the least negative and most positive and easiest to place and one of the most important features of all is their adjustability for absorption/versus diffusion above approximately 400Hz which I find extremely valuable achieving the proper liveness and decay of the upper midrange and high frequencies. All ASC products have upper frequency absorption control to prevent unnatural over absorption unless ordered/specified differently. Whatever you choose for absorption I strongly suggest it feature some form of upper frequency absorption control/limitation if possible to prevent the unnatural anechoic effect in the mid/high frequencies. Have you identified the best balanced/smoothest locations for your loudspeakers for the frequency range below 200Hz..? This is step one IMHO and the foundation to begin the acoustical design of the listening room/loudspeaker integration. miketn 2 Examples of Skyline Diffusers positions that worked for me but again ultimately I chose them in the Cloud Position which also allowed me to shift the floor to ceiling room mode at the listening position to a more favorable frequency.

The Roy you see in the museum video you posted is the Roy I have always known from the first time we met which is a down to earth person who loves to laugh, tinker, share knowledge, easy going, designs speakers that sound OK and loves bass fishing. His love and respect for PWK is obvious when you talk with him. Oh by the way he really is the “Chief Bonehead” 😜 miketn

Place the Jubs side by side would get you very close… miketn

I would say NO based on the fact that we never seem to see reports of cone/coil rubbing even on 40 year old units. miketn

You know baby will just find something else to be upset about…. 😄

GOOD GRIEF…!!!! 🤪 Talk about sucking the life out of these forums…. Just keep it up guys.. !!! Maybe it would help if people stepped away from their keyboard and instead turned their attention to things that really mattered in life. If the forum isn’t fun or informative for you then maybe ask youself what are you bringing to the place…? miketn

They state not to use in other manufactures equipment just for their units if someone wants to experiment with their preamps as optional solid state units. Might be an interesting experience for open minded users. miketn

John T Post thesis paper… post_thesis_ut94.pdf Some comments on Tractrix from 2006 thread.

@babadono It would be interesting to see pictures of the complete room with dimensions if you care to share so we can get a better understanding of what your working with. Is this going to be a room for 2ch system or a Multi-Channel system..? miketn 🙂

Thanks Tim Interestingly they worked well in both locations by maintaining a liveness and more spacious feeling (like I’m in a larger space) without a negative effect which can sometimes happen in the high frequencies similar to a delayed edginess to vocals as an example. My preference for ceiling location really comes down to the visual aspect in that while the front wall location looks great in pictures I find it distracting somewhat visually which hinders the mind imagining the image/soundstage from the recording versus the visually more open and less distracting current setup with the Studio Traps. Again front wall location of the RPG diffusers was fine acoustically and if I turned the lights off imaging/soundstage was excellent but in normal light it the visual distraction and thus limited my full enjoyment of the imaging/soundstage of the recordings. The placement of the RPG Skyline diffusers has been an interesting experiment in placement with some surprises in this room (nearly square) I didn’t expect versus the previous room (which was smaller and rectangular). In this room I found only the front wall and ceiling locations worked well and sidewall and back wall locations always eventually revealed themselves with some form of high frequency edginess. In my previously smaller/rectangular room the RPG Skyline diffusers worked extremely well on the sidewalls first reflection points but they did require a slightly different asymmetrical location along the sidewall to avoid an audible and unpleasant effect which again disappeared if offset by about 6” to 12” from each other. miketn

They are ASC Tube Traps from Acoustical Science Corporation and yes they are tunable absorbers/diffusers which I find them to be a powerful and indispensable tool for optimizing the listening experience. I started a thread about 1 year ago with my experimentations with variations on using the QSF (Quick Sound Field) methods used by recording and mastering engineers in my listening room and I’ve learned much since that time and I hope to add updates when time allows. I’ve provided many informational links in the thread that you and others might find interesting. miketn

Well I believe we all love music in different ways but I have been fascinated with its reproduction and this has lead to my several decades long search for knowledge and understanding in many fields (especially room acoustics) to achieve and maximize all aspects that lead to accurate reproduction. The journey has been filled with very fascinating, enlightening and frustrating experiences that keeps me engaged and learning to this day..!!! My current room/system is just the latest manifestation of my research and efforts at understanding an unbelievably complex multi-dimensional process. miketn 🙂

I suggest being very cautious about what you use as spacers with the Lacquer Finish currently used on Klipsch Loudspeakers. Rubber/Plastic type spacers can have chemical reactions with the Lacquer Finish causing damage. I’ve used felt type spacers or spacers I’ve made using heavy card stock without any issues with Lacquer Finishes so far in my experiences. miketn

I consider quality of imaging and especially depth of imaging to be a critical measurement of how well I’ve integrated my system with the room. This is my latest setup with the La Scala AL5 ME and KPT-1502-HLS prototype sub. I’ve audibly identified and mapped the areas of the room(which is almost square and has real modal strength challenges) where I could minimize the La Scala AL5 coupling with the (Front Wall to Back Wall problem modes in the 20Hz to 200Hz region) and (Left Wall to Right Wall problem modes also in the 20Hz to 200Hz region) while also listening for the best imaging in width and depth along with the loudspeakers totally disappearing as a sound source (unless the recording mix itself locates an image at the loudspeaker itself). Loudspeaker movements as little as 6” is critical for optimizing my setup and IMHO no room treatments or electronic equalization can fully substitute or replace this step in system/room optimization..!!! miketn

I certainly tried my best in the 2016 thread I linked in my previous post and I am absolutely shocked at your confusion of who was right after my simplified examples and excellent explanations….!!! 😄 miketn

The realities and facts about the “Swamping Resistor” as used in the ALK network was well discussed in this 2016 thread for anyone interested… miketn

These are edited clips from the Video on the Heritage Jubilee Product Page for anyone interested showing internal rendering of the dual 12” woofers and Vents operation. miketn

I wouldn’t assume that myself seeing what La Scalla appear to be bringing lately.. A friend of mine had no problem selling his very nice early 90’s Walnut Klipschorns within a couple of weeks for $5800 about 2 months ago. miketn

Yes it is very obvious that some recordings have been engineered/marketed to sound best when played over very compromised systems and environments like car audio systems over the past decades and those are a lost cause as far as any EQ correction. Recordings engineered/marketed with Tonal Balance issues I find can be improved and enjoyed with well designed Program EQ like the McIntosh designs (especially the 8 band version). I’m impressed with the Loki Max design features and especially the ability to adjust from the listener’s seat. From the Specs I wouldn’t expect any noise floor issues if implemented and used properly so I’m curious what your experience is in that regard especially considering the Jubilee sensitivity…? miketn To obtain the maximum benefits and enjoyment of using the McIntosh EQ Controls I have part of my system setup within easy reach from my listening position.

@MMurg If my memory is correct didn’t you buy a Schiit Loki Max and if so have you tried it with the Jubilee setup when you have recordings with obvious tonal balance issues..? miketn

I would love to see his “cupped mouth” face after listening to the new Heritage Jubilee Horn System compared to his new aspen FR30 ($28,499)…. 😃 miketn

Since the Zener, Zener (RED)wires and Bracket show no sign of heat damage I suspect the Woofer Inductor (which I believe these melted wires belong to) of the AA was overheated by an amplifier output shorting out throwing DC rail voltage onto the Woofer/Inductor circuit. Do you know if the woofer was blown in the speaker at some point. I suppose another option was the speaker/network was used at sustained high level SPL/Power levels over time. I would be concerned that the inductor could have damaged windings which could shift the crossover function off spec. miketn