Klewless
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Posts posted by Klewless
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I put mine very close to the corner and twist them so they point toward me. I believe that all the original designs by Klipsch were to be put into corners. However the LaScala was designed to be used outdoors. They sound very good when used with a good quality sub. The room itself dictates where they (any speakers) sound best.
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Another attempt to upload a properly proportioned image. Please let me know if you are able to view it. Thanks
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There are some excellent examples of stand-alone corners on this forum. Just construct the corner and set the Khorn in it with no mods to the Khorn itself. I my case I cut boards slightly larger than the width of the top housing where the Khorn actually touches the wall and fastened them to the bass horn where the "missing backs" would be. I attached them with eye bolts.
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I have a similar room to yours and the exact same problem. I made some sides for my Khorns which allows me to twist them in the corner aiming the mid/tweeter to cross just in front of my head. Works out quite well. I have used LaScalas in said room (good quality sub required if serious bass is to be heard) with very good results. My recommendation is to go LaScalas if the Khorn must go. Good Luck!
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I agree that nothing beats having the correct room. However I am not one of those people. My room has long enough corner walls but the problem is room width. The Khorns are simply too close together. So the outside edge of each Khorn still touches the wall in the standard fashion; only the inside edges are about 4 to 6 inches away from the front wall. I had plans for adding a continous hinge to the "errant" sides with a board which can swing like a door to transition to the actual front wall. Have not tried that yet but probably will one of these days.
My improvement is not in the bass but in the "imaging" and "upper bass". I use a powered sub woofer for the really deep bass, which has not suffered in my case.
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Obviously I do not know how to properly format my images to fit. If anyone is willing to do it for me, I will be happy to email them. There are 6 images total. I have what the developer gave me on CD from my 35 mm camera.
Otherwise, sorry I cannot show my pictures.
Picture quality is not the best because I used film that was too slow for my light. But they are good enough to see what I accomplished. I am still very happy with the sonic results.
"Preview" on my mac mini has no problem displaying the images and it allowed me to create them in reduced resolution in jpeg format.
jp
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What my wall board looks like when attached to Khorn
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I have never see any kind of kit from Klipsch. However I have seen a Khorn with sides provided by Klipsch for a dealer in Minneapolis. I suspect they would do them special order if one were willing to pay but that is just a wild guess on my part.
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Finally got pics with my old 35 mm camera. Not into the digital scene as yet. When they are developed I will also get them on a CD and the attempt to put them on the site. I have no idea how to do that however.
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I have a very bad room for my Khorns and have always wanted to put backs on them. Have seen the work done by many people but do not have the resources to do what most people have. I could have gotten someone to do it for me, but wanted to try something myself.
I cut what I shall call "wall boards" 17 in X 38 1/2 in. That is wide enough to overlap the front grill about 1/4 in and pass the tailboard by about an inch. Not critical.
The height put the wall boards just even with the bottom of top hat.
I used 3 four inch eye bolts and 2 five inch eye bolts to attach them to the bass horn. The tail board has three horizontal pieces which attach it to the horn onto which I bolted the three short eye bolts. Did the same thing with the long eye bolts to the boards which attach the grill frame to the bass horn. The new wall boards bolts are in tension pulling them toward their mount points. The bass bin was not compromised in any manner.
I positioned all eye bolts to extend perpendicular to the wall board and poke through them long enough to put nuts on the eye bolts from the outside.
I did each hole/eye bolt combination separately, ie. custom fit. It worked better when I attached the 2 front grill frame eye bolts first. Lots of removing and replacing the wall boards but I did not trust myself to try doing measurements and drilling all holes at one setting. ( It turns out that would work after all. )
I really like the results. Now I can rotate my Khorns to face me, rather than 10 feet in front of me!
At my levels of listening, which can be pretty loud but not unreasonably so, without any vibrations of the new wall boards. They effectively touch the Horns where the actual walls do.
PS. Klipsch could easily make a kit to do the same thing. It would be better with a heavy metal bar to anchor to the tail board from the inside and turn forward to follow the wall board to which bolts or machine screws could be put into them.
Thanks for listening.
JP
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A good question. I will anxiously watch for responses. There must be phase shift involved.
And, hopefully not out of line, pose my own related question on the subject. How do those who know remember which driver needs the trap? I keep getting confused on that issue.
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Two good options for you.
1. A cabinet shop should be able to veneer them at a reasonable price.
2. The shop teacher at a local high school did that for me, and he did not charge very much.
Good Luck
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I plan to do the same to my LaScalas. My current thoughts are to use a saber saw and cut the top just above the doghouse. Then use a router to trim the protruding edges level with the doghouse top. I plan to watch this thread for ideas on this project!
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If you know the station doing the broadcast and the time of day, you should be able to find out
1. What program was being aired
2. The person moderating the program
and contact that person at the station and probably get a complete list of the musical pieces played that day.
The moderator might even know which piece it was by the time of day or by your recollection of what you heard. These people are usually well informed.
Good luck
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I would add one additional caution. Make sure it is NOT POSSIBLE to have both A and B active at the same time.
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Bozak woofers and midrange speakers came in two versions, 8 ohm and 16 ohm. The 8 ohm version dc resistance was slightly less than 8 (possibly around 6) and the 16 ohm version was slightly less than 16 (possibly around 12). This is because the rating (8/16 ohm impedance) included the inductance (ac resistance) in addition to the dc resistance.
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I do not have the RSP-1068 but do have a Rotel HT receiver.
On my receiver 2-channel bypass means "analog in / analog out" (no digital involvement) and no sub.The 2-channel stereo (with sub) / PCM means "digital", that is the input is converted to digital from analog input and, of course, the PCM is already digital. That is how it comes up with the sub output. Then it is re-converted back to analog for passing on to the power amps.I am fairly certain that is what you gear is doing, but I cannot guarantee that to be true.If you want the sub send it the PCM and let the Rotel do all the converting.If you do not want the sub you can let each player do the converting and sent analog to the Rotel. Personally I would let the Rotel do that job.Hope this helps. It becomes a matter of deciding which component does the better job of converting A/D and D/A. -
You are absolutely correct. Consequently I do not listen to that mode (Neo6) for mono sources. I discovered this effect when I scanned through an FM station which was mono because of poor (weak) signal. I was surprised and went to all three speakers to verify that what I heard was really happening. I thought I had lost my L/R mains.
I only mentioned it to illustrate that HT decoders are available which can separate channels. Stereo is decoded as true stereo without shrinking the image width. The resulting sound is a lot like listening to one of my 3-channel sources from the 50's, which I have on an SACD. No matter where I go in the room the center channel sounds like it is where it belongs.I also realize that in the real world there will be sounds from all channels in all channels. However these signals are properly delayed by the physical distance between performers. I also realize that the sound path from performers to playback systems is far more complex than I understand.Learning from people's comments on this forum is one of my greatest pleasures. I have been interested in stereo ever since my hero, Mr. Paul Klipsch, answered a letter from a clewless teen. Now I own Khorns, LaScalas, Cornwalls, and Heresys. -
HDBRbuilder,One of the best pieces of advice I have see on this forum in a long time.Thank you.
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I think there is more at issue than simple delay for the derived center channel (sum). I believe that the Center should only receive the delayed L+R sum as suggested AND the Sum should be removed from the L and R channels also.
I am using a Rotel HT receiver in 3-channel operation. I mean by that I set the receiver up for 5-channel mode, fail to connect any rear speakers (which prevents the decoders from sending rear info up front because it thinks there are some speakers hooked up back there), and appropriately delay the Center.I also believe that in some of the decoders the Center info is also deleted from the L/R channels and only the Sum gets to the center. When I play a mono source, ONLY the Center is operating. L and R are dead silent as well they should be.I am very happy with the resulting sound. -
My suggestion was based on my own observation over the years (with my own frustrations of remembering something I had seen before and couldn't find again later) and was not intended toward anyone directly. I really enjoy this forum and do not judge any posts I see, no matter how many times I see it.
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Every few weeks/months someone posts a question which has been fully covered (beat to death). That is understandable since new people appear and do not know their subject has been covered.
Blind searching either returns nothing or too much, assumming the person knows just what to search for in the first place.I am suggesting that with the HELP OF THE FORUM COMMUNITY, a section that summarizes common topics be created and easily accessed by all would be very useful. It would need categories like xover upgrades, the "minibox", bi-amping in all its faces, lots of charts that map certain details with their hosts (drivers/horn, drivers/notch filter, etc). A nice feature would be a chart mapping serial numbers to date of manufacture of the early Klipsch heritage speakers. Topic maintenance should be limited to authorized (Klipsch web experts?) personnel and should eventually stabilize into a fairly static display. Of course one section for the public to post topics to be added is necessary.I know all types of info is available and what is needed is an easy way to find it, just like the existing forum navigation system.I do appreciate the size of such an undertaking but I think it would add a greater sense of professionalism to this site. -
Will,
I was using a REL Strata with my LaScalas until I got my Khorns. Now I use it with the Khorns as well. A good sub really does make a difference with the benefit of removing power hungry bass from the main speakers (which reduces distortion). I personally believe a high powered amp with LaScalas/Khorns is not necessary (go for quality, not power) if a powered sub is in the system. I am using a home theater receiver (Rotel) and love my system. -
I have Rotel Home Theater receiver using only L/C/R and love the resulting sound. Perhaps a bit more expensive than NAD (which I have owned in the past and considered them to be excellent but not as good as the Rotel). I vote for Rotel but respect the NAD.
16 / 24 Bits ?? Need advise Please
in Technical/Restorations
Posted
I plan to capture my LPs to play back using one of the media players. Have done lots of "learning" lately. I understand that in general "more is better" and can relate to that. My real question: "Is there any PRACTICAL reason not to stick with 16 Bits". My Rotel book states that the Red Book CD standard sets the Least Significant Bit (LSB) to 6 db. Is that also true for 24 bits? I understand that LPs have maybe 60 to 65 db dynamic range (16 bits is good for nearly 100 db). So if I capture at 24, am I just storing more 0's (the silence above 65 db)? My Rotel book has a high regard for the quality of the Red Book standard. I am not into ultimate hi fi, but I want it to sound pleasingly close to the LP. Thanks for any advise anyone can offer.