TheSoundBroker

Roger...try Kevin@deadmold.com for the Paypal thing.

I won't deny the money is decent, it is a problem a lot of people simply don't want to deal with and I've invested a ton in training, equipment, etc. to do it for them. But more importantly, it is for the satisfaction of knowing I am helping people out with a serious problem. Selling audio is fun, but doing the mold and the air quality is far more satisfying.

Okay...to clarify things a bit. First off, yes I did sell Roger his speakers and he is out of the country. "Illegal"? Technically it violates the dealer contract. But...here is the plain truth of the matter...if you do enough volume, people look the other way. Klipsch for a long time had a no-internet policy. I followed it. But time after time after time, my customers I worked long and hard on would buy stuff off E-Bay and from Sound Distributors cheap. I forwarded the links, I complained, nothing happened. Then Klipsch started selling direct on their own store on E-bay. From there, they started allowing mail order including Sound Distributors...one of the major violators previously. Anybody in my area can go onto any of the mail order companies and buy them in my territory. You can now buy Heritage directly from Klipsch. In short, they want the sales. Hey, I can't blame them, that is their job. Roger has no people in his country who sell Klipsch. He was going to order from Germany. Would that dealer be accused of trans shipping? What is the difference ordering from Germany or the U.S? Either way the client is taken care of. I took Klipsch's actions to be a tacit agreement to allow things as long as folks were taken care of. Seems to be the case for a lot of companies. In a slow economy, they want to survive. I suggested the Crown because I've used it personally in two Ultra 2 setups with very good results. It is acknowledged as one of the better sub amps out there and it is multi-voltage and super easy to re-market. I did suggest he use some EQ with it. No, I did NOT lose my dealership. I terminated it, I have a copy of the E-mail to my rep stating so. I do own another company called The MoldBuster Group. We do mold remediation, structural drying, and air purification systems in the State of Washington. We just picked up a contract for the world's leading advanced air purification systems and have an exclusive for the entire state. I am in a very wet, moldy area...the Pacific Northwest and we are unique in our market. Thus, the company is growing like mad and taking up HUGE amounts of my time. I sell the home theater stuff not because I need the money, but because it is fun and something I love to do. It is a hobby and it generates a few extra bucks. I have the luxury of recommending things because they work, not because I need to make the sale to meet the rent or payroll. The vast majority of the systems go smoothly and people are happy. When it ceased to be fun, I decided to stop. Klipsch was becoming too much work and taking too much time so I decided to pare way back, drop the line, and specilize in some very niche products. Partially because they happen to be the best and are more suited to the larger spaces a lot of my clients are building in, and partially because they drop ship directly to the customer since I frankly am just out of time in the day and simply don't want to deal with shipping to customers anymore. Now, as for Roger's mounts. I did put them on the first shipment. I personally put them on the truck myself. The shipping company says the shipment was delivered in full. Somewhere they were misplaced. When he e-mailed and said they didn't arrive, I ordered a second set and sent them off via USPS. After that, I never heard back. I figured he received them a long time ago. The hoop jumping that had to go on with that shipment was epic...the most difficult I've ever had in 29 years selling and installing audio all over the world. Shipping to Croatia turns out to be a bloody nightmare. I even sent a follow up e-mail but that was the last I heard. Happy to issue a refund at this point...it is cheaper than sending out another pair to Croatia. Lots of folks have ordered from me. I try to treat people fairly. I love the Klipsch products and will continue to defend them...but I've moved on.

I believe the spec calls for 120 db at 30hz with under 10% distortion in a 3K ft^3 room. KW-120s won't hit 130 unless you add more modules (quads perhaps). But back to the original question...go with the twin KW-120/KA-1000 setup vs. the F-113, no question. Better setup which will actually keep up with the RF-83's dynamically (the F-113 won't).

Get the 62's. No question about it. If (when) you upgrade into bigger Ref, they'll be there.

Not sure if I agree on that or not. WF-35 is a nice speaker, but the matching center is a bit on the small side. Comparing the dynamic capabilities of a WF-35/ WC-24 to an RF-82/RC-62 setup is almost not fair with the Reference being a pretty substantial step up in capabilities. Icon-W is nice but Reference is still a better product. Also, if the OP decides on in-ceiling surrounds, there isn't a matching Icon surround available (yet), though I am sure it is coming. As for dealers...there are other good ones out there too! [H]

Nice little speaker but the question is what will you be using for your left and right speakers? If you go with the Reference speakers, the R2502 isn't the proper match. The proper match is going to be the R-5502. Also, can you go with in-wall for the left and right fronts? If so, go with three of the R-5502's or . Unless you have a slanted ceiling, or can step up into the KL-7502 THX Ultra 2 in-ceiling L/C/R's...I've not had great results using in-ceiling as mains in anything but a secondary system (bedroom or for the kids). Even the CDT's, which are pretty good, have issues if the seats have any distance from the display. For a primary theater, not the best idea. In-ceiling rears can work fine if they cover the seating area properly.

RS-62's are excellent. I have a very large demo space (24 x 38) and they fill the rear stage extremely well at pretty high volumes. They have to in order to keep up with the RF-83s. No, they are not just a "sound sprayer". I specify RS-62's when the coverage needs call for a speaker with that type of dispersion. The trick to selecting surrounds is to select the speakers which will cover your seats evenly.

Remember, I didn't say it wouldn't work...just that it may take more work. The coverage angles aren't any different...but the commercial products are so powerful and put out so much energy over such a huge bandwidth they can induce stronger room acoustic effects which may not be an issue with a small home theater system. The same thing can happen with really potent home oriented systems too (back wall reflections being a biggie). Acoustic design of the room is going to be important (which it really should be anyways...but don't assume everybody does it). Last few systems I did with BIG setups needed more work before they were totally seamless (vs say, a THX Ultra 2 system which is relatively easy to get to sound good). Don't take me wrong. I LOVE the commercial systems, I have plans to do the first Jubilee demo theater in the country (world???). But just realize a lot of people may not take the sheer scale of some of the products into account, nor and the setup required for them. They are wonderful, but don't go in blind.

5400 FT^3...bit on the small side for a Pro Cinema system. It would work but be prepared to do acoustic treatment or fuggedaboudit. Remember, Pro Cinema is designed to fill a large space with a lot of sound very evenly. It can work very well and god knows you get dynamics for days, but it takes more work tweaking things like the horn alignments. Last two systems I did using pro cinema products (one was JBL, the other was a used Klipsch system) sounded FABULOUS...but we spent a lot a lot a LOT of time EQing things and tweaking the acoustics. It is harder to achieve really coherent sound VS. putting in an Ultra 2 package. Sub wise, that is the only area I've stuck to dedicated large home cinema designs. I had some designed specifically for screen wall use that give you an absolutely enormous amount of output, but also extend down to the 12hz range.

Take a look at the JTR Captivator. I commissioned that design to keep up with our very high output main speakers. The Epik is a heck of a sub...does 104 db at 16 hz which is pretty exceptional for a small sub. The Captivator was designed by Mark Seaton. It does 112 db at 16 hz. Both are roughly the same price, Captivator comes in a bit higher since it is passive. Captivator is fairly large at 40" x 31" x 24"...but to fit that much gear, your room must be huge. Yes I am JTR's Home Theater dealer...add grains of NaCl as appropriate.

I did a screen for a client recently with the SeymouAV material. It is really good and you save a huge amount of money doing it yourself.

One other thing you might want to wire in... If you are are putting in a wired network in the house...definitely run a network connection to the HT gear location. Even better...run it in conduit back to the network center so that if things like in home fiber become a reality in the future, you can re-pull. More and more gear is going to use network access. If you are doing a multi-room audio sytem (at the minimum, prewire for it), make sure you run source lines to the equipment location...again, conduit is even better.

Klipsch ALSO has a new In-Ceiling THX Ultra 2 SURROUND coming called the KS-7502 along with an in-ceiling fully THX Ultra 2 rated main channel setup (the KL-7502). Pricing will be $1000 ea. The design WILL allow for a lot of flexibility. There is also the new THX Select in-walls coming. Step up from the current in walls but not as pricey as the Ultra 2 setup. The models are the KL-6502-THX at $499 ea and the KL-6504-THX MSRP $750. There is also a new Reference In-wall coming...the R-5502 with twin woofers and a center mounted horn at $399 each.

Rubin's material is exceptional (Rubin owns SMX...I sold him his THX Ultra 2 System). I use it in my theater (160" wide 2.35 Scope setup).

Uh...No. You need more.

Sigh. Talk about a furball situation. Folks here is the deal. I agreed to sell this system at a decent price to Jean because he was a forum member. I took it up to be shipped out of Canada to save him a boatload of money on freight since Canada to Canada rates are a lot lower than US to Canada and I'm only 20 minutes from the border. I have a lot of folks come down to visit me from B.C. because the Canadian dollar is so strong. I waited in the hour long lines both ways, paid the border crossing fees (no, the speakers were NOT siezed and yes I got them into stock...sheesh!) and dropped them off at a shipping company just across the border who handles this stuff all the time. I've used them a couple of times on some used gear and a Danley sub. Problem started when the employees either put the wrong labels on the boxes or the wrong address into the system and they became misdirected. Fortunately, they received all the gear back in good shape and I've agreed to drive up, pick them up and take them directly to FedEx for re-shipment. Those who have done business with me know I am fair and honest. I try to go the extra mile to help folks out and try to take particular care of forum members and Klipsch lovers. Now this has exploded with e-mails from my Klipsch rep and I expect I'll probably lose my Klipsch franchise over this one infraction. This is an example of what happens when you try to do a good deed and it blows up in your face.

Two subs will always be better at smoothing room response than a single, more is always better (ask The Ear). You have to weigh that vs. the additional extension the larger sub might bring to the table. If you are happy with the extension your current sub delivers, then add another one. If you wish you had more extension or are not happy with the sound quality from your current sub, then get a new sub.

My comparison was between the IT-4000 and the F-2000TX. Level matched and I used about 4 different passive subs including a quad KW-120 array and a Danley DTS-20. The biggest difference was the sheer sense of weight the Face had at the very lowest frequencies. There was definitely more room shuddering happening with the F-2000's in line. Keep in mind, I was happy with the Crown amps and didn't have any real intention of adding another power amp line, particularly one that isn't as well known...but the listening tests and trials couldn't be ignored. One thing to keep in mind, and this is an advantage the switching amps have...I also have proper power supply for my amps...twin dedicated 30 amp lines for my LFE system. For somebody who has a 20 amp line and an impedance heavy LFE system with extreme extension, the switching amp makes sense as it will draw the line down less than the AB amp and it will be less current limited (though a larger line is still required for some of the uber amps like the 8000). A touring power (1KW/ch plus) class D switching amp on a 20 amp line will outperform a traditional heavy iron A/B amp on the same line since the heavy iron amp is current starved due to the lower efficiency. However...feed the AB amp adequate juice and the tables turn as the more massive power supply reserves come into play. Again...I'm not trying to slam the Crown and I recommend them all the time to folks and they ARE incredibly awesome power amps, some of the best on the planet, but I get more sheer impact from the old school design.

The answer is...it depends. 7.1 in the way it is primarily used, gets you the advantage of more even coverage to the seats. If your seating array includes more than 1 row and is more than 3 seats wide, then having the two surrounds placed to optimally cover the rear row is a good thing. With a single row of seats that is either far enough away or narrow enough, a 6.1 system may cover the seating area fine.

The RC-64 with the RF-83 *is* awesome...but three RF-83's is awesomer [] This is one reason I stress the screenwall setup for my clients...you can use identical speakers for all three front channels.

The Crown amps are good ones...I wouldn't sell them if they weren't. But if you are looking for the best bass there is, a big old honking traditional Class AB amps with boatloads of capicitance and a monsterous power supply is still the way to go. The design is optimized for low frequencies where the Crown and QSC's touring amps are optimized for running higher frequencies at stupidly insane power levels for several hours. Sustained LFE isn't necessarily what they had in mind when they designed them. They do deliver massive amounts of power, but side by side, there is definitely a difference in the quality of the lower registers (I've done the comparisons). There is always the Bryston 28BSST 1000 watt monoblocks if cost isn't an object. Great god almighty are they magnificent! Point is, if you are gonna build the ultimate subs, try one of the Face amps (the Guys at DIY Cable discovered them too) and I know you'll be converted.

It is unlikely to cause damage, but is irritating. You might try changing the switch if it is old. The contacts may be corroded and arcing as it is flipped.

In that price range, I'd look at a Bryston 9BSST. Exceptionally transparent, smooth and built like an iron ingot with a 20 year warranty. Some of the best sound I've ever got out of Klipsch has been with the Bryston SST series amps. They also make the Powerpac SST series which are the same modules in a monoblock version you can mount to the back of the speakers. Just run balanced interconnects to each one. This assumes you have power close to each speaker. With all due respect to the B&K's/Rotels/NAD's of the world, they are definitely the next level up.

I WISH they made an RC-84! If you ever came across a badly freight damaged RF-83 with a good driver and crossover set cheap you could make a KILLER center channel speaker.