pzannucci

I had a rattle and there was actually some additional glue that they had bound the voice coil to the former with had broken off. There was a glob under the cap. Removed the cap and the chunk fell out. You would not hear a screen rattling loudly. If it's loud you need to remove the dust cap. Just get yourself an exacto knife and slowly work it between the dust cap and the cone (if you don't find a problem elsewhere).

Ok so the connections are: - MyBook Live HTPC >> ethernet cable to wireless router >> BDP accepts wirelessly >> AVR via hdmi - Internet >> cable modem >> ethernet cable to wireless router >> BDP accepts wirelessly >> AVI via hdmi or - Internet >> cable modem ethernet cable to wireless router >> BDP accepts wired connection >> AVI via hdmi I would assume something is different in the streamed version (type of transfer, compression, etc) and the local version or you have latency due to more overhead using the MyBook. That would be the typical culprits. If you changed to wired, if it isn't already, with the MyBook to the BDP, that might show interesting results.

Yes, I was thinking the end of stock for the woofer frames also. I really don't think these have ever been opened up, so that makes sense. Just wanted to be careful about this.....grateful for the responses! Here is a passive radiator calculator that shows what matters from a passive radiator perspective: http://www.mh-audio.nl/PassiveRadiator.asp

If you want a non-horn or build your own short horn solution, look at the Aurum Cantus G1. Fantastic ribbon though you might want to drop the mid horn one notch on the auto-former. Likely would make a more balance, less in your face La Scala.

I have used clear adhesive caulk on a dust cap on some klf woofers in the past. Easy cleanup if you need to and totally damped due to being latex based. Just buy a good brand which should last for years.

Still sounds like the cloud version is different than the what you have stored. If not, then you need to look at what are the connections and protocols. Which has a lot of overhead or may cache so you reduce the overhead and is the target playing the file fast enough. If you are doing things wirelessly, you can be introducing a lot of overhead and timing errors, particularly if you are streaming through multiple devices to get to your amp. Most simple connection is do everything on a very high performance home theater PC connected to your front end, wired with hdmi if needed. I have everything going through one home built i7 3770 system with 32GB and terabytes of storage, streaming, youtube, blue-ray built in, CDs, DVDs (RAW on hard drive), karaoke music, everything through either hdmi or toslink. Everything sounds very good. Things can get a little unhappy when I run some of it through wireless but with adequate caching, only if the buffer is empty does it sound bad. By the way, what are you using the BDP in this configuration for, everything going through the wireless connection to the AVR?

From the looks of the pictures, they still use the same cone so I would not be concerned. As long as the frame that holds the code will allow adequate excursion though the cones are the same size and weight (looks like it from the picture), and compliance (of which is very likely because you didn't say the cones looked different), they should tune and perform the same. It just looks like someone changed the frame at one time or another in manufacture. The only difference would be maybe at high excursion that the smaller hole would restrict some air flow causing a slight tuning difference but likely doubtful due the volume there.

Bad part is with a service such as the one Derrickdj1 is referencing, it sounds like others have the chance to make use of your data. Not sure I like that. Secondly, what you put in, you don't get back out. If I am storing and paying for high resolution transfers, I think I should get them. 256kbs should not be what I get back if I want to download. Normal off site data repositories give you back what you put in, byte for byte. I'd just go buy a couple of 4tb drives on the cheap, throw them on the net so I can access from anywhere (provided you don't have dialup) and be done - that is provided I had the original high res transfer in the first place.

As stated, different presentation. Also depending on the size of the area the efficiency and dispersion of the sound may be even more of a consideration. A lot of people don't realized that on certain a particular axis, the ribbon's dispersion will be quite limited which majorly can affect the perceived presentation depending on where you are on axis. Key consideration.

Sad.

First off, I would wonder if the Amazon Cloud actually is letting you download and make an exact duplicate of the music. If it does then it seems like the two different connections run at different speeds and have different amounts of overhead or maybe caching to minimize timing considerations. You don't say how you are connecting the devices so that's the only thing that seems different. I do wonder if they are exactly the same. Save them locally on the tablet and see what happens.

The problem is when you change 3db on your auto-former, I believe you usually approx. double the impedance. To be able to use the same caps in the crossover, you have to add resistance across the line to bring the impedance back to an appropriate level for the capacitors to work correctly. The cheaper non-inductive resistors are usually OK across the line. If you are in line with the driver (like an lpad), the Mills wirewound are very good.

If you are using it to keep the pile of cables he has across the room away from each other, probably not. He has quite a mess.

Maybe I am getting crazy at my old age but there is some scientific reasoning on why you should elevate your cabling, just like there is a reason to cross your cabling at 90 degree angles. All cabling when electricity runs through it presents a magnetic field and can cause some interference/noise. The closer those cables are to a local boundary or each other will be the amount of noise it can produce, to the cable next to it or to itself. Two things come to mind though and why people buy expensive equipment and cabling. Cheap equipment will be more likely to pick up all the junk and maybe some home made cabling risers or holders of sorts make sense. Those T blocks must cost a whole 20 cents to make. They can also be made to be variable height to keep the cords at different levels, away from one another. This may actually help the S/N of the equipment and the stability of the amplification. Just like certain cables can cause oscillation in equipment. The other end of the spectrum is for expensive equipment with heavy shielding and good noise rejection, these should not be subject to noise introduced from the cabling, my thought at least. If I am buying a beautiful set of jewelry such as Dan D'Aagostino Momentum mono-blocks for $55K per pair, I better be able to count on those amplifiers to reject noise otherwise maybe they should only be $5k. The risers in the $55k case would be additional jewelry because I could afford the amplifiers. My opinion is you should get what you pay for and any small tweak can change things, ever so slightly Will you notice it? Who knows.

This is how I EQ my 30's Sent from my SM-G920R4 using Tapatalk If you are doing -10db at 630hz, you have a serious problem with your KLFs or the room. The KLF-30s can sound a little bit tubby in that frequency range but are actually pretty flat. 10db, ouch. That would be a seriously under-damped speaker sound or room mode. Could even be lack of loading in the room in an odd way, lacking bottom end. You got me interested... I should measure my KLF-30s in my room.

3 way usually works better if you like more forward (not screechy but forward) presentation of sound due to the dedicated midrange.

Wrong room, wrong speaker. If you look at the components, they have pretty much the same components as a Cornwall, Heresy, Chorus, and Forte so I am always amazed with those statements. The tried and true components are used across the line, from Heritage to Legend so you have to wonder. The woofers are also better. Unless you don't like the bass but of course, to each their own.

You can't find a new speaker for $1100 that can even come close so depends on your perspective. Enjoy.

This is what I don't understand--If a power amp delivers enough current to drive the speakers efficiently and within the speaker's specs how can it or the listener change/differentiate the sound at a certain SPL that is also below clipping? The control and the way the amplifier reacts to the crazy load of a Klipsch speaker, especially with auto-formers, will determine it's difference in sound one to another. Not easily seen on spec sheets but when you first hook it up, especially without a subwoofer handling the low end, you will notice. Also the glassy, hard, etched highs will give away what the more inexpensive amplifiers can't do, though the specs are the same. I have used a number of amplifiers from a Rogue 88 in triode mode, to a GFA-555, to a Bel Canto REF-1000 (and lots in-between) on speakers almost all higher end Klipsch outside of Jubes. They all have their attributes good and bad.

Addressing each as best I can and congrats. When you get them working right I bet you'll love'm.

For a short run like jumpers, it would barely matter. Also a lot of people that use silver, use very thin pure silver. Can't do the proper transfer with a speaker cable with that. I bought up the last I could find of 14 and 12 gauge silver plated copper. Old Carol cable silver over ETP copper. Sounds much better, not as muddy as copper. Pure silver in thicknesses and lengths needed to drive woofers, probably bad idea. Used as a jumper cable to mids / highs connecting the main speaker cables to the woofers,

100% agreed. Those are not stock designers from mid 70s, maybe even not khorns. Likely the reason they are not showing the back. I bought a pair of designers a long time ago for 650. Also bought a very slightly beater khorns for 750 so those should go on the cheap.

I kept a set of KLF-30s over a beautifully finished set of La Scalas, then stupidly sold them to a friend. Searched after a few years and found another pair. Refinished them (scuffed up and such). I've had them for about 5-6 years now, put Ti tweeters in them, they have stock phenolic mids. Sound very good, as I said, kept them over k-horns. Going to be consolidating homes in the not to distant future, where the big black beasts may not be the best decor item so just bought two r-12sws and thinking of marrying them with a pair of P-17Bs. Am I crazy? Should I just veneer the 30's? SO likes the looks of the P-17Bs if anyone wants to part with a mint pair in natural.

Your problem is you were supposed to use the plastic fiber not glass. It is more flexible. Seriously if you used something like silver wire instead of copper or the bars, you may hear a slight difference. I usually replace the bars with silver wire just out of principle and as with all other things, placebo effect.

Yes the two ways can be addictive. I find that the more open sound from a separate midrange crossed lower and dedicated to that sound suits me. With a WTW configuration, it also depends on your positioning more because to have good combining of the woofers at crossover, you have a narrow vertical listening / positioning angle from the mid/tweeter. Three ways don't impose that on you. The other thing that WTM allows you to do is to raise your listening position to have some cancellation in the crossover / woofer range with presents more of the smile you see on eq's that a lot of people love. It will all come down to room and listening preferences.