RockOn4Klipsch

For those who have Full Range speakers as surrounds how do you like them? Do you prefer the Floorstanders vs surrounds? I currently have a pair of RS7 but have the option to sell them and get a pair of RF5 to replace them. Anythoughts on floorstanders as surrounds.

Had a question in regards to whether or not to pass through audio from the tv? Would it be better to go straight to the processor? Would there be an ill effect passing the audio through the TV to the processor?

Of the stuff i tried I liked the sound of the HKs the best. I have pioneer, yamaha, hk and onkyo.

Wondering if any has seen this cable anywhere? I'm changing my setup and getting rid of HDMI inputs and was wondering how I could get HD audio to the new Aragon Stage One? I know they have 8x RCA to DB25 in order to get the new HD audio codecs but that means dropping the PS3 and getting a BR player with analog outputs, which is an option but I don't really want to get rid of the PS3. Are the HDMI to db25 gender changers? I've had no luck comming across one. Thanks guys.

I use my reciever all the time, so I hook everything possible up to the reciever, with 1 HDMI cable to the TV. Make sure you remember waht inputs you assigned to each device (ie cbl/sat - to you cable box, CD - to your CD player) makes things easier.

John is very much right, if you do the math in order to reach max at reference level of about 114 dB which is rare in movies you only need 16 watts on a speaker that had a 102dB effciency. The switching that happens in class G in an A/B to G amp happens at a higher output which the A/B usually covers. So seldom would it actually switch to the G side. All amps are different but I think you usually get between 20-40 watts of class A power before it switches.

Borrowd for "Ray Garrison" First, note that while class A, AB, B, C, and (I think) D are recognized as defined, standard classifications and mean the same thing no matter which manufacturer is using the term, other classes (H, G, K, EIEIO) are not so universally defined, and someone's class "G" amp might not be operating in the same "class" as someone else's class "G" amp. Having said that... Class A operation is where both devices conduct continuously for the entire cycle of signal swing, or the bias current flows in the output devices at all times. The key ingredient of class A operation is that both devices are always on. There is no condition where one or the other is turned off. Because of this, class A amplifiers are single-ended designs with only one type polarityoutput devices. Class A is the most inefficient of all power amplifier designs, averaging only around 20%. Because of this, class A amplifiers are large, heavy and run very hot. All this is due to the amplifier constantly operating at full power.The positive effect of all this is that class A designs are inherently the most linear, with the least amount of distortion. Class B operation is the opposite of class A. Both output devices are never allowed to be on at the same time, or the bias is set so that current flow in a specific output device is zero when not stimulated with an input signal, i.e., the current in a specific output flows for one half cycle. Thus each output device is on for exactly one half of a complete sinusoidal signal cycle. Due to this operation, class B designs show high efficiency but poor linearity around the crossover region. This is due to the time it takes to turn one device off and the other device on, which translates into extreme crossover distortion. Thus restricting class B designs to power consumption critical applications, e.g., battery operated equipment, such as 2-way radio and other communications audio. Class AB operation allows both devices to be on at the same time (like in class A), but just barely. The output bias is set so that current flows in a specific output device appreciably more than a half cycle but less than the entire cycle. That is, only a small amount of current is allowed to flow through both devices, unlike the complete load current of class A designs, but enough to keep each device operating so they respond instantly to input voltage demands. Thus the inherent non-linearity of class B designs is eliminated, without the gross inefficiencies of the class A design. It is this combination of good efficiency (around 50%) with excellent linearity that makes class AB the most popular audio amplifier design. Class AB plus B design involves two pairs of output devices: one pair operates class AB while the other (slave) pair operates class B. Class D operation is switching, hence the term switching power amplifier. Here the output devices are rapidly switched on and off at least twice for each cycle. Since the output devices are either completely on or completely off they do not theoretically dissipate any power. Consequently class D operation is theoretically 100% efficient, but this requires zero on-impedance switches with infinitely fast switching times -- a product we're still waiting for; meanwhile designs do exist with true efficiencies approaching 90%. Class G operation involves changing the power supply voltage from a lower level to a higher level when larger output swings are required. There have been several ways to do this. The simplest involves a single class AB output stage that is connected to two power supply rails by a diode, or a transistor switch. The design is such that for most musical program material, the output stage is connected to the lower supply voltage, and automatically switches to the higher rails for large signal peaks. Another approach uses two class AB output stages, each connected to a different power supply voltage, with the magnitude of the input signal determining the signal path. Using two power supplies improves efficiency enough to allow significantly more power for a given size and weight. Class G is becoming common for pro audio designs. Class H operation takes the class G design one step further and actually modulates the higher power supply voltage by the input signal. This allows the power supply to track the audio input and provide just enough voltage for optimum operation of the output devices. The efficiency of class H is comparable to class G designs. Music is art Audio is engineering

that's kind of how i saw it. it's purchased should be here on Jan 5, I'm excitied , that's the reason for selling the Onkyo hopefully someone will buy it before it goes to ebay.

Inventor the price for a 9/10 stage one and a 9/10 2005 for 500 bucks. sounds like a deal to me.

Here's my question to you..... I currently have an onkyo tx sr 805 and was curious if it was worth selling to upgrade to an Aragon Stage One and an Aragon 2005 amp. I'm sure sound quality will be better on the aragon is it worth losing the HDMI on the Onkyo for the aragon? The only real benefit I get from the onyko is the new BR audio which i can just get a new BR player with analog out to go with the aragon. any input would be greatly appreciated. is 500$ a fair price to ask for an 805?

If there's is content below 20Hz on BluRay or SACDs but your reciever has an Frequency Response of 20Hz - 20kHz unless in a specific mode (ie direct mode on onkyo's) does the LFE out section function in these parameters? Or in order to get the most out of your sub in the "sub bass" (below 20Hz) department should I be listening in direct mode when watching/listening?

That's great John. It all makes sense I just didn't know why some people refer to them as sine sweeps and others as test tones if they are inevitably the same thing. Just confused didn't know if I was missing out on something from not using "SIne Sweeps"

I believe the onkyos calibrate to like 72 dB's (not 75 dB) the trim level is to get everything at or near those levels as possible to be at reference level. but for you'r curiousity RF 5 - 11dB RC 7 -9dB RS 7 - 9dB SVS PB13 Ultra - 8dB (only runs hot on music)

I've got someMinty White RS35. 200 for the pair PM me for pictures

For music I like the Neural 5.1 best (you need a kickin center channel though) For Blu Ray movies I use Pure Direct and with DD or DTS i leave the be with the exception of Re-EQ andthe Audyssey Calibration.

Primary difference is the bandwidth each cable can handle. As others have said you can get the newer formats via HDMI or analog outputs. I'm not sure the exact numbers of bandwidth with out looking but HDMI i believe can deliver upto like 20x more informations optical like 6.5mb or something and HDMi capable of like 10 gigs or something. Numbers are wrong just a guess.

Wide Dispersion Sound Technology just as it sounds, Wide sound if you use direct radiating speakers as surrounds if you sit of axis you will know that the sound is either ahead of you or behind you. WDSTis to disperse sound in 180 degrees to help eliminate being stuck in one location for listening purposes. As a previous poster said at a cinema there are 6 speakers or so on each wall that are direct radiating speakers so we are trying to simulate the effect of having sound all around us. I don't have 22 speakers in my listening room ....but some may.

Bi-ampings as you said later in a post is to seperate the frequencies accordingly (ie High Frequency and Low Frequency). With Bi-amping you get 'x' watts to the LF section and 'x' watts to the HF section because it take more work for the amplifier to produce Lower Frequencieswhich will hog the current to prodce those signal across the freuency spectrum. which can cause the amplifier to run out of juice as the source is calling for LF frequency and HF frequency you may not get the production of sound that you may like as 'headroom' isn't there for the speaker to show it's dynamics. so by having 2 amps on one speaker you can ensure that each section can operate at it's fullest. Bi-wiring uses one amp and 2 sets of speaker wire, the general consensus is it doesn't work but manufacturers (such as klipsch) suggest it. In theory what they hope will happen is that any loss of signal in one set of wires may be made up in the other. Just my 2 cents.

thanks edgar for the input. I know how the sin functions works and have read about sin wave sweeps and wasn't sure how/what the correalation was of how it was measured. What's the applications for running sine wave sweeps for speaker testing? Not sure if that's what I'm asking about and explanation would be great. I'll ask more as the post expands if need be.

what frequency is a sine wave, just out of curiosity? just sin(x) I don't care about the shift or amplitude because it all changes depending on the variables within the equation just what frequency does a sine wave oscillate at? Thanks guys.

Thanks for the input guys, I contemplating actually upgrading sincemy listening habits have changed from primarily HT to primarily 2 ch listening. I enjoy thesound of the RF 5s just looking for something a little different, not sure what it is but something a little different.

and how about KLF vs Heresy I. These speakers are both for sale locally and thought about maybe pick up a pair?

What would be the better 2 channel setup RF5s of the KLF 30's? Also would the RC7 match well with the KLF30's? I know its not perfect but would it be suitable anyone have this math up?

found it but i still don't see any reference to which channel is dedicated for HF and LF. Maybe it doesn't matter as it sends Full Range to both channels. If you can determine which channels are for HF and LF take the HF channel and hook it to the HF section on the Speaker and do the Same for the LF section. For example on the receiver the FL and FR are Low Frequency ( for the sake of the example) and the SurrBack L and SurrBac R are High Frequency. Take the Jumpers off of the speakers, and take the Red FL (from receiver) and hook it to the Red terminal on the speaker noted by LF (low frequency)and then take the Black from the reciever and hook it to the black LF on the speaker. Do the same thing for the High Freqeuncy section on the left speaker, then do the same thing for the FR (Front Right) Channel

i'm not sure on the dennon but read your user manual for proper setup, if your reciever doesn't support bi-amping don't hook the surr backs to your front speakers. If it does support it follow directions. I'm having trouble pulling up the user manual so i'm not sure what set of binding posts are for High Frequency and Which Binding posts are for Low Frequency. There we go, I've takin a quick look ath the user manual and don't see any info regarding bi-amping. If you point out a pager number I'll take a look at it and let you know. But from my brief look i didn't see anything.