CONVERGENCE

If your going to play them loud and if your amp is manufactured in China ,chances are it might let dc voltage pass through which will destroy or pop your speakers. Use a commercial amp made in US preferably. It's worth to spend a few hundred or thousand dollars on a good amp. Power is measured as 2X the speaker wattage. Under power amps could clip and destroy your HF drivers. You will have better performance and ease of mind. ..................................

Yes go for it if you can afford it. But there will always be that Block Buster movie like the upcoming Indiana Jones that people will not wait for the HD DVD . The 72 foot screen will give you an experience that a top notch home movie cannot reproduce. There are private screening theaters in LA for movie makers. These are equipped like a real theater. ............................

This theater is 2 theaters of 1000 seats .What appears like tables in the second picture are actually cardboard boxes. That gives you an idea of the leg room between the seats. In one picture there seem to be a ledge between the seats. The speaker system seems to be only 5.1 with 3 speakers behind a 72 foot screen seems to be under the required size for 1000 seats. An 8.1 system would have been preferable. A lot of money went into decoration. Theres always room to convert to 8.1 in the future. ..............................

Tere is a curved screen for cineplex. The corners are bit fuzzy if not installed properly. The curved screen needs a long throw panavision anamorphic lens and preferably a 70mm print. Here is a new theater called Marcus Majestic The new Marcus Majestic Cinema in the Town of Brookfield is like no other movie theater in the Milwaukee area It has a 72 feet screen . This one is slightly curved . Being curved gives a visual throw back efect at the viewer, The speakers UltraScreen. Curtain .............

Read this first. ....... You can't improve on the Uptown. .......................... The Projectionist point of view. Quote: Well it has now been over a year since I worked the Uptown...I was one of the projectionists at the Uptown from 1988 until 2005. After college, I only worked Saturdays though. I can honestly say, we had the best show in town. What some projectionists think as a clean/sharp print woudn't cut it at the Uptown. The screen is so big and curved, any damage just shows up more and scractches take on a curved appearance. Focus was another issue. 35mm is too small a gauge for the Uptown's screen. The relatively poorly made prints of today really don't have a great focus to begin with..combine that with the small gauge and the deep curve screen, which taxes the depth of focus of the lens, and you have a very tricky arrangement. While I was there, focus was checked at least every 5-minutes to ensure it is at its best. Some films were just a demonstration of futility. CinemaScope films being the worst for the Uptown due to lenses adding the most to the image challenges. 70mm is the only format the Uptown should run. It is the only format that has the resolution, light throughput and the projection lens at the Uptown is designed for the curved screen. Yes, even 35mm blow-ups to 70mm would make (and have made) HUGE differences. As for DLP...it is definately is not up to the task at the moment. The depth of focus is not up to the task, the resolution is not good enough either. While I know that Jodar posted above about the Crown (I was part of that installation team...at least on the original system), but you are comparing apples to oranges. Technicolor limited us to 40-foot wide screens for those installations so they WOULD look good and bright. While they are in many ways quite good, they are not really at the level that cinemas should be striving for. 35mm film has the capability to exceed even 2K DCinema. DCinema needs to try and meet/exceed 70mm capability and offer an improvement. As for the Uptown's sound...it suffers from lack of attention combined with being played with by the latest special show that comes to town. The equipment within the place is quite good and you won't do much better just by replacing it (in fact you will most likely do worse). The Uptown's sound systems is quite similar to the Senator's in Baltimore, MD. Altec A-4 stage speakers, JBL subwoofers, Altec A-7 surrounds (12 of them), QSC amps, and the Dolby CP200 (upgraded). Probably the best the Uptown sounded was back when three of us tuned the room for a Paramount film with Al Matano...we had three analyzers going for the various zones throughout the room...one could really balance it out better than even with just a multiplexed mic system...and then critical listening was done by several people rather than taking just one person's opinion. As some have discovered...the sound in a room that large can vary quite a bit...a bit tinny downstairs towards the screen (in the middle, particularly), and notably subdued in the balcony. Then again, many techs don't realize there are two HF horn systems for each speaker to properly cover the Balcony and main section separately. The potential to have good sound there is indeed doable...just not every tech is up to the task nor has the time available (nor prior experience) to do it.

Theres one theater in Washington Dc . Washington Post Editorial Review "The" place to see a movie in Washington is unquestionably the Uptown. In this day of generic multiplexes, the Uptown theater carries you back to the era of the movie palaces. It has only one screen. But, wow, what a screen. It's curved, 40-feet high and about 70-feet long. Installed in 1966, this eye-popper helps sell more than 200,000 tickets each year. Jack Valenti, the president of the Motion Picture Association of America, says the screen "is probably the best we have in this town." The second great attraction is a balcony with stadium seating. It almost feels like being at a drive-in without having to look over a dashboard. A $500,000 renovation project in 1996 brought high-back velour seats with drink holders along with new wallpaper, flooring, carpet, drapes and a second concession stand. While the refurbishing didn't take away that old-time feeling, it did take away seats; capacity dropped from 1,120 to 850. More than 300 seats are in the balcony. The sound System Altec A-4 Main 5 of them. JBL subs Altec A-7 Surround 12 of them. .......................

Yes the HPS 4000 looks like the K Grand . The interior might be different. It's SMPTE aproved thefore the quality must be quite good. Here is a photo of your conventional JBL University auditorium theater. ...............................

The Klipsch commercial series is doing well. In almost evry major city in the US we can count at least 10 to 20 theaters equiped with this make. Here ia a resize picture in a soffit mount . j

I've got new photos of an Altec theater set up with A-4 by Tom Loizeaux. Quote from Tom Loizeaux. For the past week I've been setting up a theatre space by rolling three full-sized speakers into position. It's a pleasure to push 3 Altec 4A, dual 15 cabinets (w Altec 515s), with wings, into a line. On top there are JBL 2446H drivers attached to JBL 2360B horns. They are on wheels, but at almost 10 feet tall and about 800 lbs. each, it's a push for sure. Then I roll in a pair of JBL 4642A dual subs into position. When they power up you're really covered in a BIG sound. I used to think my 4343s were big, but these Altec monsters make my 4343s look like bookshelf speakers. Tom passed away last year .He was a true professional . The Giant Folded horn type theater speaker is making a come back ...................................................................

I made a mistake here Linearity is important and subs should be RTA for Fr 15 to 125 HZ . Then SPL can be adjusted. Sorry for the commotion.

Theaters don't RTA subs. The Fr range is usually Any where from 20 to 200 Hz . They measure the SPL with a meter and set at between 80 and 90 DB. It should match the rest of the system So do an SPL check with out the subs . Of course you should RTA your system if your main speakers and surrounds separately and average it out. Theaters use a multiplexer to do this .The EQ is 1/3 octave 27 band. But all this is professional . All you need to adjust is the SPL level of your subs with a meter.

In order to test your speakers you need an equal signal on both channels. Do you have a mono switch on your pre amp . By playing a CD in monophonic you will be able to tell if it's the speakers that are defective. GMX A-2.1 System If it's set up on your computer . If you can't play them in mono take them back to the store and get a new pair. Just say you think one side is louder than the other.Or you want your money back.

Is your system hooked up to a receiver or preamp that has a mono function. If played in mono with balance function in middle. If the sound still comes from one side rather than the other. Then you might have a weaker speaker. These are the small cubes by Bose. They are like tweeters . More fragile than a 8"speaker for example. Do you still have the warranty?

I had mine repaired in mid 70's by Engineering dept.Cost me around 60$ . They corrected some manufacturer mistakes on top of that.

DR WHO QUOTE How does one determine which caps need replacing? I've never tore into the inside of one, but I would imagine replacing all the caps would be rather expensive... You have a point since old caps values are different than todays caps. For ex: They made 21MF caps back in the 80's now you only have 20 and 22 MF. That's why I would rather leave it to the pros like ALK. Anny way that should be the last thing to modify on a sound system. First thing should be speaker components conditions. ...........................................