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Chris A

Heritage Members
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About Chris A

  • Rank
    Music Enthusiast

Profile Information

  • Gender
    Male
  • Location
    Arlington, Texas, USA
  • Interests
    Small room acoustics, acoustic measurement, acoustic horn design (including multiple entry horns), sound reproduction system design, and source music remastering (restoring/rebalancing music tracks).
  • My System
    https://community.klipsch.com/index.php?/profile/26262-chris-a/&tab=field_core_pfield_14

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  • Website URL
    https://sites.google.com/site/dbremaster/

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  1. Chris A

    Best female vocals, looking for suggestions

    Some jazz artists that have good (dynamic and clean) recordings include Xiomora Laugart (on the Chesky label) with a truly amazing Cuban deep contralto: Jane Monheit, Sarah Vaughan ("the divine one"), Stacey Kent (Breakfast on the Morning Tram album is really good), Tierney Sutton (Dancing in the Dark, Something Cool albums are great)., Ute Lemper (All That Jazz album is very good), A classical female voice that I'd recommend is Sumi Jo. She did the closing credits for the film The Ninth Gate by Roman Polanski. She has amazing projection and range that I've not heard very often, especially in a lyric soprano. You'll think that you're listening to an alto at times due to the depth of her voice:
  2. Chris A

    Certified Klipsch Heritage Dealers

    That's what struck me almost 40 years ago, when I was auditioning Polk, Magnepan, AR, JBL (L100), Yamaha and many more brands, it was the Klipschorns with center Belle along a longer wall in a glassed-in room that absolutely captivated my attention. That sound and listening experience never left my memory. It's not difficult to hear the difference. Having plenty of listening time with A-B comparison can help, but I personally found that the A-B comparison wasn't needed the moment the Khorns were turned on with a good recording playing. Nowadays, I think that many potential buyers are still looking for a stereo setup because that's what 99+% of the music sales and all viable streaming/download services are producing. By and large, people are still listening to stereo as the basic hi-fi format. Playing back movies in a multichannel system today is typically viewed differently (by most buyers). In my opinion however, simply adding a center (like the Belle used to do) and surround loudspeakers/subwoofers is the way to go...staying hi-fi all the way. With the Khorns/Belle, the only addition needed was surrounds and subs, and an AV processor/preamp. PWK was probably the earliest proponent of multichannel (by 35 years or more)...and he was right. Chris
  3. Chris A

    Certified Klipsch Heritage Dealers

    Can you point me to data? My information says just the opposite: multichannel HT sales are not doing very well and many HT box stores have been closed in DFW for a few years now. Stereo downloads are picking up steam. It's been harder going finding new multichannel recordings of late. Chris
  4. Chris A

    Certified Klipsch Heritage Dealers

    Why the artificial controversy? The news is actually quite good. Bad day? Chris
  5. Chris A

    Certified Klipsch Heritage Dealers

    Perhaps this isn't the only factor. I remember when Best Buy/Magnolia Audio dropped the higher end Klipsch HT (Palladium, RF-7II?) around 2010 (plus or minus a couple of years). I suspect there is much more to the story besides a perception that Klipsch marketing is at fault. I've not seen any Heritage models at Magnolia before. This says a lot to me that these recent Klipsch dealers are stepping up to the line. For me, this all says that Best Buy is the problem. If Best Buy were actively trying to upgrade their loudspeaker sound quality, I think that Klipsch Heritage would have already been there. I think that the big discount store required profit margins are the issue - Best Buy can't raise the price to get their "required margin" without pricing the product out of reach for the type of people that shop there. I also haven't been to a Best Buy in many years now. They're not relevant to my needs anymore. Klipsch still is. If what Chad says comes true, the issue of too sparsely distributed dealer locations will heal itself over time, especially if the word-of-mouth sales is any indicator. Chris
  6. Chris A

    Certified Klipsch Heritage Dealers

    Klipsch Heritage is clearly alive. Why would these dealers spend their money and time investing in their valued floor space to have them around? I would hazard that the new models have something to offer over their 30+ year old counterparts. Chris
  7. I know this is a posting from some time ago, but go listen to Roy's horns (K-510 and K-402) with 2" compression drivers. I think you'll probably amend your statement to acknowledge that advances have been made to PWK's designs dating back 45-70 years ago. However, I do get what you are saying. The drive toward smaller and less expensive has compromised a great deal on PWK's original designs in terms of sound quality, and that's not terribly controversial...although it may not be terribly popular to say it out loud. This is something that the guys doing the loudspeaker designs tend to avoid acknowledging since it shows that hi-fi isn't really the goal of 99.9%+ of all loudspeaker purchases. PWK said that many years ago. His company didn't really sell to that 99% then, but it does now... Chris
  8. Chris A

    Certified Klipsch Heritage Dealers

    This is a big deal that's been a long time coming, and I believe it will breath new life into "affordable hi-fi". I can't tell you how many people have never heard Heritage models, and how blown away the very few that get to hear them are when they do... I'd also recommend Belgium, the Netherlands, Australia, New Zealand, UK, as well as Canada, Texas (DFW, Austin/SA, Houston), and perhaps southern California as potential focus sites for Heritage dealer certs. Apparent demand and general levels of disposable income seem to be high for vintage and new Klipsch gear in those locales. Chris
  9. Chris A

    Your first?

    1. birth 2. a homemade K-horn with Klipsch components. [My father collaborated with PWK when he was an assistant EE prof. at SMU in the '50s. When PWK came to Dallas for the day, he'd sometimes stop by SMU to talk to EE department faculty.] 3. 2007 (suffice it to say that I almost invested in Khorns and center Belle in the late 70s when I heard them set up at a Houston hi-fi store.) 4. Jubilees (presently with TAD TD-4002 compression drivers and Xilica XP-8080 crossover).
  10. Chris A

    Cornwall placement in weird room

    Some threads of related interest for your reading pleasure: Chris
  11. Chris A

    Cornwall placement in weird room

    That's only if you don't add a little absorption on the side and front walls (about 2 feet deep). This is due to early reflections from these two surfaces. Same thing for the floor (even worse, in fact, needing more absorption) and ceiling if it's low (less than 8 feet). Just control these early reflections, then you get the free bass extension of the eighth space loading. This is where you EQ the bass flat again. You get about 1/2-1 octave more bass extension in the corners than if you place the Cornwall out in the room, especially if you've been playing them elevated above the floor. But the biggest deal is that you're decreasing the bass distortion by corner loading (and re-EQing the bass flat again). If you're not using EQ to flatten response, then you've got a problem... See https://community.klipsch.com/applications/core/interface/file/attachment.php?id=53973 Chris
  12. Chris A

    Cornwall placement in weird room

    I'd try the short wall first. Toeing in stabilizes the soundstage and is a good thing. The room coverage will be better than what you show as your current locations. I'd also recommend trying to measure the frequency response of what you get...in any case. Guessing is not a very effective approach, I've found. Once you EQ everything down to flat and control the "room boom" (too much midbass reverberation from 70-200 Hz), it should sound excellent. As always with Klipsch Heritage, adding some room absorption to the floor and perhaps walls just adjacent to the CW's midrange horn mouths to cut down on early reflections will dramatically improve the soundstage and phantom center imaging while retaining the corner (eighth space) loading for the CW woofers. A rule of thumb is to use two feet depth (toward the listening positions) of absorption material for the walls, and 4-6 feet in front of the loudspeakers on the floor (if you don't already have carpeting--which is not indicated in your drawing). Three channel operation with a Heresy would probably work well along the long wall (spread wide to the half wall). This locks in the center of the stereo image in a way that allows just about all listening positions to hear the stereo image without having to be in a "sweet spot". (This is a real advantage that I believe a lot of people easily forget here.) The trick of course is getting the center channel blended well and elevated properly to fill the "hole in the center". Once you elevate the Heresy, its low bass and midbass response will be severely compromised, but the midrange and treble will blend seamlessly. How you electrically blend the center channels is also important. Re-EQing the Heresy for maximum flatness of frequency response is also key to getting the three-channel operation dialed in. Chris
  13. Chris A

    REW download

    I would recommend changing the horizontal scale to logarithmic--not linear--and the sweep from about 30 Hz to 20 kHz. Open up the vertical scale until the vertical scale divisions show 5 dB or 2 dB divisions . Then you'll be able to see the frequency response. Chris
  14. Chris A

    REW download

    One loudspeaker at a time, microphone about 1 metre in front of the Jub, centered on the bottom of the K-402 base, looking up at 45 degrees. This is the best compromise that I've found for microphone position to avoid early reflections. I find that piling up absorption on the floor between the microphone and the Jub bass bin, the width of the speaker (at least) and about 2-3 inches thick will give you reasonable phase information (and group delay). Without that absorption, the phase plots will likely be mostly useless. If you're using subwoofer(s), then that measurement needs to be at least 2 metres from the Jubs/subs or at the prime listening position (LP). I mention the HDMI as a longer term way of getting better measurements. I believe that Carl has mentioned using a "HDMI-lite" device that might also help the connectivity issues. Chris
  15. Chris A

    REW download

    Yikes 😬 I guess I forgot how much I rely on the HDMI bus from my laptop to my AVP to give me consistent undistorted output. I don't know what to say other than "good luck". Chris
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