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Chris A

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About Chris A

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    Music Enthusiast

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

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  1. Chris A

    Super MWM

    Thanks!
  2. Chris A

    Super MWM

    Link? I don't see it in this thread.
  3. Chris A

    Super MWM

    Dave or Claude--could you show the Hornresp input screenshot with all the driver parameters and horn segment sizes used? Your basic horn/driver configuration might be useful for other fold geometries, too, or perhaps the horn length stretched a bit--for other needs. Chris
  4. Chris A

    Adding sub to (my) "Belle's"

    By the way, the free Xilica XConsole control software available for download on the web also converts your input bandwidth settings into a filter "Q" and displays it just below the bandwidth input value, so you don't need the handy Rane conversion scale. You can simply iterate the bandwidth settings until the resulting "Q" that is calculated and displayed is the value that you desire. Chris
  5. Chris A

    Adding sub to (my) "Belle's"

    Here's a thread on tri-amping a Belle using a DSP crossover (EV DX38), including the settings that I used. These settings will also work quite well using a Xilica XP series crossover if you convert filter "Q" to bandwidth. There is a conversion scale at Rane's site: Chris
  6. Chris A

    Adding sub to (my) "Belle's"

    Yes. If you've got the Belles located mid-wall away from the corners, I'd cross over at 80 Hz, or perhaps even 100 Hz. Here's a natural response of an 1981 Belle without corrective equalization, located in the center position mid-wall between my left-right Jubs. You can EQ the midbass on the Belles down a bit based on what you see here: Chris
  7. This is what I figured was happening out there in several listening rooms. I'm impressed that you are out there already, and it's not just me.... Perhaps this thread should highlight in particular horn-loaded bass systems for at least the front left/right channels, i.e., Khorns, La Scalas, Belles, and pro gear such as Jubilees, and MWM-based front left/right channels, and perhaps other horn-loaded bass. These are loudspeakers that are peculiar to this forum and I find that yields the most outstanding sound that I've ever experienced--which just so happens to be surround sound in typical 5.1 format. Don't worry, we'll also discuss direct-radiating woofer-based systems, but I think the horn-loaded fronts are the most difficult to do, but yield the most outstanding results. Note that the comment about not liking the surround format--I find is wrapped up with getting the system calibrated well and getting the harsh-sounding drivers replaced with better ones (if they exist in the setup). More on this subject to come. Chris
  8. Pink Floyd has SACD multichannel versions of Dark Side of the Moon and Wish You Were Here that I own. These are really good. Additionally, I own the early Elton John albums (Elton John, Madman Across the Water, Tumbleweed Connection, Honky Chateau, and Goodbye Yellow Brick Road) on multichannel SACD. These are a little loud, but still well worth the money. Elton John orchestrated his albums surprisingly well, so you get really nice surround sound voices/instruments is each channel--orchestrated even nicer than the Pink Floyd multichannel SACDs. Eric Clapton's Slowhand in multichannel SACD is almost iconic in its stature within the multichannel rock genre. It's a great album in multichannel. Perhaps the most impressive one is Hell Freezes Over (DTS multichannel version) by the Eagles. The last track (Seven Bridges Road) is a real treat--a capella voices in each channel when the Eagles were in their vocal prime in the early 1980s. There are many others, but I list only the ones that I own. There are many rock concerts on Blu-Ray and DVD in multichannel, (especially Joe Bonamassa--who has perhaps 15 BDs and DVDs--out of which I own 6 of them, including all five of his London tour from 3-4 years ago). These are outstanding--but really require some sort of video capability to see interactive menus and to see the bands while they're playing. I really, really enjoy these concerts since the fidelity and clarity of the recordings are second to none/really outstanding and the volume control is fully in your hands (...if you catch my drift: I don't like it loud enough to cause my hearing defenses to kick in--like you get at the live concerts in person). You can find all of these non-video discs for sale from the Discogs marketplace and all of them (including video discs) on Amazon marketplace. Since my musical tastes run a bit more toward classical and jazz (I own perhaps a 200-300 multichannel discs in these genres), I haven't spent as much time collecting rock multichannel discs, but I plan to continue acquiring them slowly. Watch the prices on Discogs, as some collectors really believe that they're cornered the market. Just wait a few months, and the prices usually change a great deal. Supply and demand seems to work there. Chris
  9. I put placeholder here so to keep the most basic stuff together with the opening of the thread--for newcomers reading this for the first time. I'll try to break the above 6 points labeled "a-f" into two groups of three for this and the next post. a) listening room suitability for multichannel music reproduction This is the most basic requirement, but usually the most difficult to change things if something isn't quite right. Books have been written on the subject, so we'll keep the discussion at the more basic level in this post, but feel free to ask more detailed questions below in the thread. First, you've got to have a place for all five (i.e., we're focusing on 5.1 arrays, with multiple subwoofers, since that is the only multichannel hi-fi format that I've found thus far) surround channels, and good place(s) to put the subwoofer(s). We'll take these channel positions in order of problems usually encountered. So if you're already running stereo in your listening room (and you may not currently have a listening room), and you are like a lot of HT folks, the center loudspeaker is usually the most problematic placement. For HT folks, they usually grapple with large flat screens or projector screens to shoot through with at least the center loudspeaker. In multichannel hi-fi, we want the system to be able to be played audio-only without a video screen, so shooting through a screen has to be an "added mode" to the settings of the loudspeaker channels. (More on this subject to come later.) The next problem in most setups I find to be the placement of the surrounds. For a 5.1 array, these actually need to be no more than 90 degrees to the listeners facing the front wall (and this is controversial, but nevertheless true). You can even move the surrounds forward of the main listening position and actually increase the surround performance of the array. More on why this is true later. This should open up possibilities for surround placement that you probably haven't really considered. I run my surrounds slightly forward of the 90 degree mark, but if I could move them a little farther forward, their performance could actually be a little better. The last issue is usually the subwoofer(s). It turns out that if you have an issue finding a room corner for one or more subs, then buy more subs and place one close to a corner, another along the front mid-wall next to the center loudspeaker (if you can), and another (if you can afford it and the subs aren't huge) somewhere behind the listeners--anywhere that you can put it, but along a wall is usually best. If you're having issues with the above, then we can talk about them below. The last thing is the placement of the front left-right loudspeakers. If you're currently running your fronts away from the walls and you're also most interested in turning your stereo setup into a HT, then you can move the fronts to just outside of the flat panel or projector screen in order to synchronize the apparent positions of the sounds just off-screen corresponding to the edges of the screen. If, however, your intent is to retain the highest sound quality, then placement of the fronts will be for this, and you get what you get for the off-screen sound locations (this latter choice is the way that I run my setup). [Enough for now on HT screens and multichannel hi-fi setups--since this is usually secondary in importance.] Since all hi-fi surround music is in 5.1 format, (I'm not currently aware of any Atmos discs for music-only), then elevation loudspeakers are not really required for a hi-fi multichannel setup. If you want to talk about those, feel free to do so below. -----------------------------<placeholder>---------------------------------------
  10. If you're here, you obviously have some interest in being able to extend or start from scratch to play multichannel recordings on your primarily hi-fi setup. There is a lot to share on this subject I believe, "share" being the key word. But try to keep your entries brief and to the point (and I'll try to do that, too). No "audiophile crusades" here, please. First the caveats and guidelines. This isn't a Klipsch Reference, Klipsch THX Ultra, or other home theater thread. So no further discussion of these topics is encouraged on those subjects--except in terms of comparisons as they may occur to focus on the differences between a HT setup and perhaps how hi-fi multichannel setups might also function as home theater systems. [If you presently own primarily home theater and bookshelf loudspeakers and electronics that are primary geared toward canned audio and video reproduction solutions from Klipsch or other manufacturers (and are content staying in that realm), this is really not the place to discuss those.] There are plenty of other threads in the Home Theater forum for those discussions. What this thread is: 1) It's about extending your very high quality stereo setup, mainly used for listening to music into a setup so that it can also play high fidelity (hi-fi) multichannel music recordings. [If it does that well, it will also be a knock-your-socks-off HT setup with the addition of a suitable flat screen or projector video system. But first and foremost, its focus is on hi-fi audio listening.] 2) It's about assessing where you are now, your multichannel goal(s), and how to get there within reasonable budgetary and available personal time constraints over time. 3) It's about practical assessments of sound quality of multichannel audio components and room acoustics--their suitability to hi-fi multichannel...and not so much "the party line" of audiophilia. In other words, if you're a analog-only person, this probably isn't your thread in most likelihood. If you're a tube-only person, or one that currently plays only phonograph records on multi-thousand dollar turntables/cartridges and is basically happy only having that, this probably isn't your thread either (for reasons of affordability, reliability, and maintainability of a multichannel system). It's okay. You'll survive not posting your opposing viewpoints here to those who choose to come here wanting to discuss this particular subject--without having to defend themselves. 4) And it's foremost about talking about our experiences (subject to the constraints above), put into context so that others may benefit that are going down this path. If you agree with the above, we're good to go. If you disagree, well then--please start another thread and discuss that subject there. _______________________________________________________________________________________________ I think there are a few areas that we need to talk about for sure: a) listening room suitability for multichannel music reproduction b) where you're at in terms of present stereo or less-than 5.1 setup (multichannel music discs are all 5.1 or 5.0--and none are 7.1 or Atmos, etc.). c) looking closely at your loudspeakers and acoustic room treatments, and how those might differ from stereo-only rooms. d) then looking at the electronics (multichannel-capable music sources, preamps, crossovers, amplifiers, signal conditioners). e) putting it all together, ensuring that it's doing what it's supposed to (including measurements), and systematically upgrading as you go along, f) avoiding expenditures that dilute attaining your multichannel goals--at least until those multichannel goals are first met in order achieve a superior multichannel system Chris
  11. I need to start a thread on converting a hi-fi stereo setup into a hi-fi multichannel setup (i.e., not a typical home theater-quality setup). The most impressive recordings that I own are all on multichannel SACDs, DVD-As, and Blu-Rays (music). Stereo really can't compete in this domain. Chris
  12. Looks just like the ones in my K-402-MEH.
  13. Since my listening room is 15.5 feet across and has full corners, I haven't had the need for center channel in two-channel (stereo) mode. I do use an AVP, so there are several center channel modes available to use, and I've done so with certain dual-mono (called "stereo") recordings and movies. This cleans up the clarity and intelligibility of the audio significantly, however for good stereo sources, I've found that 2.0 stereo output usually but not always results in the best soundstage image and intelligibility. For 5.1 sources, the center channel really locks in the center image (if the mixing engineers did their job correctly and put in the fair share of center channel mix relative to the right and left channels--which really is a problem with quite a few music videos, I've found). The surround channels usually do their job in terms of creating soundstage depth (again, if the mixing engineers did their job well). It's actually very interesting to experiment with the different AVP listening modes using different source tracks--there are many of these listening modes to choose from: some work extremely well, some never work well. I can always tell when the recording had stereo microphones too close together, thus resulting in the "dual mono" effect that I mentioned. I've gone through a succession of center channels: Heresy, RC-62 (I couldn't stop laughing at how bad that was--it took perhaps 1-2 seconds to realize that I'd made a huge mistake), Cornwall, stock Belle, tri-amped Belle, tri-amped JuBelle, and finally K-402-MEH--first with a K-69-A compression driver, then with a bi-amped BMS 4592ND dual diaphragm driver. It was this last loudspeaker (the MEH) that solved all the center channel issues in my listening room. The shift to the BMS driver solved all the reproduction harshness issues and really allow me to dial all the channels in for an extremely convincing and pleasing surround sound capability (music videos in DVD and Blu-Ray format, multichannel SACDs, DVD-As, etc.). I personally feel that getting the center channel right and dialed in is the most difficult thing that I've accomplished with my Jubilee-anchored setup. Chris
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