boom3

thanks richieb

I built a Klipsch-derived center channel some years ago. Two 8" Klipsch woofers from Apex Jr. (home of great deals), a K-401, the Atlas driver, and the Crites 125 tweeter. Modified AA network, with the extra inductor to tame the top of the midrange. The mid and tweeter are mounted on their own baffle which is angled 10 degrees up so that their output is directed to seated listeners' ears, and not their ankles. The mid/tweeter baffle and bass box sit under the monitor stand. For a center for TV audio I question why a folded horn would be worth the trouble. You might get better results using either a small straight horn, with cutoff of 100 Hz, such as that found in the Voice of the Theater, or just one or two direct radiators of appropriate size.

Proverbial salami is an artisanal product, made on remote mountaintops, sourced from animals ethically raised to achieve their fullest potentials-you know, their peak pigness or cowness- and then mixed using grinders once touched by the hand of Oscar Meyer himself.

was supposed to be end of July...have seen nothing else on this...

I prefer my gators as nuggets or footwear

For me it's not sensitivity. If the house is quiet I can hear an ant pass gas. It's picking out voices when multiple conversations are going on. Bars are worse of course due to music on top of people babbling. I'm not sure a hearing aid would help that. Last time I checked with my trusty HP 204 oscillator and a JVC ribbon tweeter,, my hearing ended at 13 KHz. My audiologist's tests end at 8 KHz and he said my upper range was very good for a guy my age (62)

PWK stated that the peak woofer cone movement in the Klipschorn is 1/16ths of an inch, or 0.0625 inches. That's 1.588 mm. That's what is necessary, but more is possible. Eventually, the cone would hit the motorboard, but I don't recall any mention of that happening in the 40+ years I've been part of the Klipschverse.

Hovhaness, "Mt. St. Helens"

"Don't call me Bill" Sorry...William?

We saw some stuff about this earlier in the summer and I got the impression the announcement would be "end of July". Any updates? Thanks

The flare of the Heritage horns is dictated by the exponential expansion. I once saw PWK draw an exponential curve freehand. I bet that was very, very close to the ideal curve. Bill is right about the baffle size. I'd also add that Paul's paper, "A High Quality Loudspeaker of Small Dimensions", (Journal of the Acoustic Society of America, Vol.17, January 1946) which discusses the development of the K-5-J, would be of interest. That and the K-400 paper show his evolution in thinking up to 1963. I have always felt that the large baffle of the Cornwall is the main reason why the midrange integration between the woofer and midrange is so good. The K-600/601 horns are pretty good, but if you have the real estate on your baffle for the K-401, and the depth to accommodate it, I'd go for it. Having said that, horn design has marched on and there are better horns than the K-401 out there for midrange use. They've been discussed in great detail in the forum.

Ummm...did y'all get that the OPs question is about headgear?

I'll add to the original Wall topic...I could hear instruments from distinct areas...in other words, "imaging" when that term was not yet used by most audiophiles. I was a rookie audiophile at that time and I was in awe of the banks of Macs with their glowing meters. In 1974, the typical rock act PA used two stacks of speakers and some acts were still using banks of Fender cabinets and VOTs for each player, which made balancing tough. These acts' sound screamed out on axis and it was prudent to sit about midway back. A unified PA lets the mixer control the overall balance and loudness, and that is among other things what the Wall accomplished. The overall impression was not so much a Wall as a bow wave of sound. I was closer than I should have been, about 30 feet from the stage, so I did not hear the back of hall experience that Bob Weir alluded to. Because we were among the first in line, we got in on the sound check, and the band performed some of the more esoteric songs for us, until the rent-a-cops ran us out to wait for the formal opening. Another thing I remember is that Jerry was not bearded for this concert.

I had the good fortune to hear the wall in Louisville in 1974. Freedom Hall was designed for basketball and was somewhat U-shaped. Yet the Wall overcame the lousy acoustics. It was loud enough but so clean that our ears didn't ring as they did after every other major rock act.

I saw the vid but it's silent for me...is it supposed to be?

I rediscovered two reviews (in French) of the Klipschorn.I don't read French but the results are interesting to compare with Heyser's. The last curve in the first review was provided by Klipsch; I have a copy of it as well. Comparing results between two or three technical reviews is dicey, but the curve shown in the second review looks even flatter than the curve Klipsch was providing at the time. French%20Reviews%20of%20K-Horn.pdf

I only have a poor scan of the article, which has been posted in the Forum before, but I'm attaching it to let Heyser speak for himself. Richard C Heyser KHorn Review.pdf

I'd like to see temporal alignment in the Klipschorn as well, but that has to be done actively, the woofer path is just too long. Heyser measured the energy time characteristic of the Klipschorn as: tweeter, 3.7 ms, mid, 5.38 ms, and woofer, 8.4 ms after the tweeter. PWK did an experiment in which he lengthend the midrange path by using copper pipe to equal the woofer path length, and he concluded that it "made no difference." My big set has Cornwalls, and my study set has Dahlquist DQ-10s. I wish I could get the amazing 3-D depth of the DQ-10s with the clarity and dynamic range of the Corns.

I agree with both of you, but I think Klipsch is concentrating on the esthetics that are visible once the Khorn is in the corner. Other high end brands are plunked in the floor where almost all sides are visible. The P-39 is pretty all over because it will not be jammed into a corner. I am reminded of Lincolns, Cadillacs and Imperials of the golden era of huge land yachts. There were exposed fasteners all over the interior, and it took Mercedes and its imitators to school the American auto barons how how to make an interior look tailored.

Klipsch went to the GRP K-401 in the 1990s. There is a cover of Speaker Builder that has a great pic of the K-401 production line. I can't speak for Klipsch, but the metal horn rang and was frequently damped with putty. The K-401 is much more rigid. I bought one to use in my center channel rig and it it is quite inert. Paul was asked (more than once I'm sure) why the K-400 wasn't injection molded before, and in my presence about 1978, said, "The mold would stretch the account's butts (euphemism for the forum ) out to here."

Looking closely at the tweeter, it looks like an existing driver (maybe a Beyma?) coupled to a experimental throat, bolted to a new horn lens. The long path between the driver and lens makes me think that this combination's cutoff will be lower than the K-77, so maybe the second crossover will be moved back to 4 KHz.

The Klipschorn has evolved. The Pilgrimage folks got a sneak peak. We are all panting for details. Maybe Stereophile would condescend to review the new version.

Mike, this is all good stuff. Any details on the new tweeter?

Mike, thanks for posting. I took the liberty of blowing out the highlights so we can see the driver detail.

Intriguing. I would hope the mid horn could be enlarged, but since that alters the overall "envelope" of the system, I doubt that's in the cards. Maybe they are considering the A55 driver?