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Chris A

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  1. That last PEQ filter isn't being used. Those are the default settings for unused filters (0 gain, 1000 Hz frequency, 0.33 bandwidth). You can mute the filters not being used, but I can't tell any difference in the sound. Sometimes I mute them, but if I've been doing a lot of editing, I probably just set the gain to zero if I don't need the filter in order to save the prior filter frequency and bandwidth in the settings to remind me of what that filter was doing before my latest edits. Xilica allows inputs into the filter bandwidths, but only calculates the "Q" for you and displays what it would be if it accepted "Q". EDIT: The available filter types are PEQ, lo-shelf, hi-shelf, and all pass ("phase 1" and "phase 2"). If you wanted to rotate the phase, you'd use the phase1 or phase 2 filter types (which I actually never use). Chris
  2. Prelude and Fugue in E Minor, "The Wedge" (BWV 548) From the notes to this video: ...and from the linked Wikipedia article: Chris
  3. The K-402-MEH drivers/ports (dual 15" woofers) were sized to be able to use in the center position between Jubilees in room corners. It does that job well--below measured in the center position touching the front wall, with the horn centerline elevated 46 inches above the floor level: Note the -3 dB roll-off at 16.5 Hz with boosting/flattening PEQs. This is pretty spectacular performance that can eliminate the need for subwoofers in-room if a surround array of K-402-MEHs are used in a 5.0, 3.0, or 2.0 configuration. But even in this instance, if the K-402-MEH was in a room corner, it picks up 10 dB of bass response below 85 Hz due to the efficiency of the horn to load the off-axis woofers in room corner loading. So placing them in corner loading is a significant advantage in reducing modulation and phase/group delay distortion, which should be taken advantage of...if possible. Chris
  4. Some of the extra effort taken in posting the above measurements and settings stems from the apparent tendency of others (not you) that mistakenly believe that Khorns and Jubs should be pulled out of their corners for home hi-fi duty (just like they do with every other loudspeaker, it seems). That recent Stereophile review of the Khorn (...the disastrous one...) is but one of a long line of those that even had people on this forum thinking that they could pull the latest version of the Khorn out of the corners. The effect of doing this instead of using nearfield absorption panels to control near-field early midrange reflections is something that's in the category of "I shouldn't have to say this". A link to a FAQ on setting up corner horns for best imaging performance from a few years back: Chris
  5. Here are the PEQs that I used for that measurement, in case you're wondering if I used some form of low frequency PEQ boost (which I didn't)...
  6. If you've got the Jub bass bins touching the front wall, you're only losing ~7-10 dB at 34 Hz (from the KPT-Jubilee/535-B cut sheet), which assumes that they are being placed in quarter space against the front wall. If you pull them out 3 feet from that wall, you're losing everything below ~100 Hz--just like a Khorn. If that absorption trick didn't work as advertised, I wouldn't recommend it. It works very well however, and the imaging covers side wall-to-side wall (with 31 Hz cutoff as shown below): Chris
  7. They're not cornerhorns in that placement. You're losing about an octave to an octave and a half of deep bass (60-100 Hz cutoff when placed out of the corners vs. 31 Hz cutoff in the corners). That's a huge loss. Perhaps placing absorption on the walls next to the Jub mouth exits (a total of twelve 2' x 2' pads, mentioned above) is a more useful approach--with the Jubs back into the room corners, within 12 inches of touching the adjacent walls. Chris
  8. Yes. But they're really horn-loaded loudspeakers with controlled directivity down to 100 Hz, at which point the room corner becomes part of the first full 1/4 wavelength of the bass frequencies. That's why it's so important to put corner horns fully into the corners--not pulled out away from the corners. Midrange early reflections can be easily handled by one row of 2' x 2' absorption panels each on the side walls and front wall, the height of the Jubs. In the case of K-402s and KPT-KHJ-LF bass bins, because they have almost spectacular SPL out to 40-50 degrees off-axis (see the polar plot below for the K-402--with the blue-green color being the horn's -6 dB contour), the towing-in scheme from the article actually doesn't do what it does like with poorer performing horns--which tend to beam a great deal to create the effect mentioned in the article. I've found that toeing in the K-402s and KPT-KHJ-LFs (Jubilees) very slightly in front of the listening position is probably the best solution, but note that I've treated my listening room to avoid early reflections from the center of the front wall (where a lot of folks place their electronics and flat screens--which need to be covered with absorption to avoid issues with phantom center channel imaging). In your case, the Jubs are far enough apart to avoid near-field reflections from the center of the front wall. All that is needed is a row of 2' x 2' absorption pads on each side of the K-402s the height of the loudspeakers, and something absorptive on the floor out to about 3-4 feet in front and the full width of the loudspeaker (to control floor bounce). The room acoustics do the rest. Horns are not "lenses", BTW. "Waveguides" (a misnomer) are all horns. Horn lenses were used by JBL in the '50s-'60s (using Bart Locanthi's patent that was granted while he was still working at the Jet Propulsion Lab). JBL later abandoned horn lenses in favor of better designed horns that can do the horizontal polar coverage without all the diffraction issues of the horn lenses. Chris
  9. See http://www.libinst.com/PublicArticles/Setup of WG Speakers.pdf Chris
  10. Those are La Scalas. I doubt that they've been altered from 1975. They will need new capacitors--as what I see are the old oil filled ones from that period. Other than that, I'd look at and/or listen to the diaphragms of the midrange K-55 drivers and tweeter K-77s for age-related degradation. You can look for a Klipsch refresh kit, or you can try Crites for replacement diaphragms. Chris
  11. They certainly look like real Klipsch La Scalas to me. I believe that there was at least one grill type that could be ordered from Klipsch that covered the entire front face of the loudspeaker. The version that you show do look like Belles, with fabric covering the center doghouse area and the sidewall, meeting in the center of the horn mouths. This will not affect the sound from the bass bin due to the longer wavelengths handled by the bass bins which are crossed over to the midrange horns at 400 Hz--it's completely transparent acoustically. The Type AA crossover circuit was introduced in 1971 and replaced by the Type AL in 1983, so without having the serial numbers from the two La Scalas from the back of the loudspeakers, it's probably not possible to know which exact year they were manufactured between those two years without that information. Perhaps our historian (Jim Hunter) might know if that particular bass bin decoration was factory installed or if it was installed after the factory. It certainly looks like it's factory installed. Chris
  12. Very nice looking La Scalas and RF-7s. Have you tried toeing-in the La Scalas a little bit more? It's easy to do or undo. Perhaps a 30 degree toe-in from the flat position is a good place to start. You can listen for soundstage coherence and better phantom center channel imaging. Additionally, you can try placing a little carpet in front of each La Scala to absorb the early floor bounce reflections from the midrange (about 1 m depth, and the width of the loudspeaker). Even placing a little absorption across the top of the La Scalas (a thick towel or fuzzy place mat) will help to calm the soundstage imaging and strengthen the center image a little. Welcome to the forum! Chris
  13. It doesn't matter much as long as the difference in front wave arrival times is compensated by delay. If the HF driver is a dipole radiator, then having its back wave pretty much lined up with the bass bin back wave will be to your advantage in terms of midbass/midrange "apparent soundstage depth". The impulse response looks the best to my eyes. The 800 crossover frequency will avoid the stretching of the midrange impulse energy (spectrogram plot) and potentially clean up the spectrogram a bit to increase the crispness of the transients. The reason why I place my K-402s slightly in front of the Jub bass bins is so that I can lower then K-402 centerline to be closer to the KPT-KHJ-LF bass bin centroid ("W" section bass bin with dual mouths). Lowering the K-402 allow me to significantly flatten the the resulting phase plot and the group delay plot. Chris
  14. Prelude and Fugue in G minor, BWV 535 This guy has a really nice home setup: it sounds pretty much like the real thing--with really nice reverberation times, etc. He has many Bach performances online that I'd also recommend for their interpretation and clarity of performance. He's also apparently a professional photographer by trade, and uses a couple of his cameras to record these organ performances. Chris
  15. Which one is that? Can you identify the crossover frequency and relative placement of the HF and bass bins? Generally, the hearing system is most sensitive to midrange frequencies from ~400-500 Hz to 3-5 kHz, so having a smooth group delay curve (the derivative of the phase curve) is nice to have. The ear can hear group delay growth, but is fairly tolerant of GD growth above 3-5 kHz and below 100-200 Hz. Having a flat phase curve is audibly a very nice thing to have, but if you can't achieve that, having a fairly smooth group delay curve with smoothly rising phase curve is the next best thing, in my experience. If you look at the phase/group delay curves of Klipsch Heritage products (Khorns, Belles, La Scalas, Cornwalls, and Heresies), you'll see really big jumps in the GD curve and huge chasms in the phase curve at the crossover interference bands--where the drivers/horns are not time-aligned and the phase jumps by 720 degrees or more. These are generally centered at 400 (Khorn and La Scala)-700 Hz (Heresy) and 5-6 kHz (all midrange-tweeter crossovers, some with extremely wide interference bands). So if PWK found that he could get away with these big phase/group delay discontinuities, he chose those frequencies to do it. The GD spikes that you have on your third-day trial are minuscule compared to the Heritage line GD spikes. If it were me, I'd try to push the lower frequency of the phase/GD jumps downward toward 200 Hz (if possible) since 440 Hz is in the middle of the midrange band (tuning fork frequency). Beyond that, I think that you're presently coaxing out the best compromise that you'll be able to get without using FIR filtering. Chris
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