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About DavidF

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  1. The crossover topology for the III has some significant differences from the I that may be of interest if you drive the speakers to high sound levels on occasion. The III crossover may be more effective than the I in dealing with high power to the drivers.
  2. The foam is there to suppress some of the sound energy bouncing around in the enclosure. As sound waves pass through foam, fiberglass or similar, some of that energy is converted to heat from the friction of passing through the fibers/cells. The amount of foam or enclosure stuffing is always a balance in what you are trying to achieve. Here the amount of foam is relatively small and therefore targets mid range frequencies that could set up standing waves. Using a large amount of stuffing in a sealed enclosure may act in a way that allows the woofer to "see" a larger enclosure. But this also changes the Q of the speaker considerably so some amount of thought should be given in how you are affecting the enclosure and woofer as a system. Personally, I do not care for the sound of highly-stuffed enclosures. Too much constriction in dynamics. I have tried this on limited occasions so experiences may vary.
  3. Just to be clear, you purchased the equipment direct from Klipsch? Not a dealer?
  4. I have an ATI AT602 I have had for a long time. I use it as my dead-center-of-summer amp with the original Forte speakers. It does not have any audio cache to speak of but it is a very good quality, build and completely neutral, and runs barely warm. As an out of left field suggestion look at the Schiit Audio Aegir. Modest in size and power (20 watts) but runs very high into Class A bias and is a stellar performer for $800.
  5. If you block a port in an enclosure designed with a woofer optimized for that enclosure size you will end up with a too-large enclosure and a low-Q bass loading for a sealed system. You will end up with a shelved low bass response tapering off up around 200Hz and well down in bass response below 100 Hz compared to that same woofer in the ported enclosure. You might gain some power handling but you shoot the bass response all to heck. I would not suggest to anyone that plugging the port of the IV, or adding a vent to the III is a good idea.
  6. Do you the know the make and model of the woofer? Does it have a vent hole in the magnet? There seems to be enough movement to make sound waves but something is limiting the travel. So, a warped coil former, loose coil winding or something in the gap.
  7. Annoying is just what it is. What has come about lately in the audiophile community where "we" can finally accept speaker designs such as Klipsch? After decades of disdain and indifference? I hope that that it means that the elements that make reproduced sound seem more real (to paraphrase Guttenburg) have finally cracked through to the top of the list of sonic priorities.
  8. Do they fit down part way into the cutout? I was thinking cutting out a thick casket of cork or similar that will seal off the fitting without having to set down so far into the cutout. Appearances may differ but they are on the back of the speaker.
  9. Yes, apologies, I was not following the thread too well back to your original questions.
  10. The lining and foam mentioned are used to mitigate standing waves. The variables with standing waves include distance from wall to wall and speaker location within the enclosure. The foam as used in the Heresy catches the waves roughly in the middle of the longest dimension, top to bottom. This where the velocity of the reflections are the greatest. The padding in the earlier Cornwall attacked the waves at the cabinet walls where pressure variations are the greatest. In both situations the need to provide friction to the wave movement or pressure variation. The woofer location in the Cornwall II was changed. It should be considered that this change in location changed the wave pattern internally enough to avoid the need for damping.
  11. An interesting look back, for sure. Many folks appear to be carefully thinking through their selection for the 3 hard-earned bucks they intend to spend for a disc. Maybe splurge for 3 albums and get some change back from a ten dollar bill.
  12. It's all digital these days. Perhaps revinventing the idea of a little Advent 300 receiver and Heresy of the 70s, Peachtree has something that might fit the neeed.... http://www.peachtreeaudio.com/decco65-amplifier-with-dac.html
  13. Interesting. Trying to think this through. What would be the design goal? A port is typically used to extend bass response. I got that. But compared to a seal box the woofer output is substantially reduced at a given resonance and replaced by the vent output. In this case though the woofer is horn loaded. Would the vent also be horn loaded to maintain overall sensitivity from both outputs? In other words, aren’t you going to lose some already-limited horn bass response and replace it with the vent response at a substantially lower output level?
  14. H-D and Buell may be a good analogy to brand identification which is, in part, the answer to your question. Paul Klipsch had several engineering principles that he adhered to throughout his involvement with his company. High efficiency provides low distortion and a dynamic sound where both combined form the prime characteristic of the brand over many years. Additionally his speakers were voiced with a flat-to-rising frequency response that was quite the opposite of many of the low efficiency models that allowed a dip in the mid range or falling high-end response to mimic the large symphony hall effect of sound propagation. So, put together all of the design traits Klipsch used and you have a house sound. I suppose that to many the Klipsch house sound seems “bright”. The house sound did not mimic the Altec theater sound (rolled off bass and high end). Nor did it mimic the symphony hall tendency to roll off the highs and add bloom to the mid-to-upper bass. To my ears the overall Klipsch sound provided a quality of reproduction that does remind me of original sound. Original sound has a certain bite and air. I read of people who just don’t like the horn sound, though. So there could many reasons Klipsch don’t appeal to all. H-D certainly has a design and riding experience that all who ride them know and love. Think of H-D and you think of a big twin set into a long low frame. The Buells hardly fit this H-D house design, however. Just as Paul would not continence a low-sensitivity design with an “audiophile” sound I sense also that Willie G. could never bring an upright frame that actually corners into a H-D catalog.
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