Quiet_Hollow

No problems there, so long as it's not at the expense of the noise floor.

Chris, what were the filter slopes were/are you employing with the K402 and Jub bin? I ask, because I also believe a large part of what you might be experiencing is the change not necessarily from physically lining up the drivers in the horn assembly, but rather the change to 1st order filters too...which is rather significant consideration, performance-wise.

A quick check, looks like the Waterfall Lodge closed its doors.

+1 for Ruidoso. We've spent a couple nights at the Shadow Mountain cabins just up the hill a bit from the scenic main street. Staying near Cloud Croft is another option and is only 40 minutes away. The Lodge Resort and Waterfall B&B come to mind. Ski Apache is mostly intermediate to expert skiing due to the abrupt slope at the top of the mountain. The lifts are nice and fast though. A couple of green runs that are rather long (service road and bunny slope), but typically packed with beginner skiers from El Paso and Mexico on the weekends. Still worth it though, even so for just the gondola ride to the top. It's beautiful up there.

There's a Flaming Lips song, can't recall specifically which one, where you can hear someone's wrist watch beep in the background. Pretty obvious though...don't need horns to pick it out. Vince Guarldi Trio has a song where the studio apparently forgot to high pass all the mics, and there's enough bleed through of the traffic passing by from outside the studio to practically blow up a subwoofer. Pink Floyd albums are usually littered with Easter eggs.

Challenge accepted. I concur. Sounds the bassist or keyboard player off to the side.

SWL is right. I'd describe the difference between run-in and not, as akin to tube bloom. It's not subtle either. After run-in, or after playing something at ridiculous levels, it's obvious that the horns develop a distinct finesse back at lower volume. I've used the track below with good results on my sub. All it takes is two passes running this song at sufficient volume to hear the second lowest bass drop at the LP, and THT will be all warmed up, without pissing off the neighbors: I've also found that the La Scala behave exactly the same. If I know I want to critically listening to something, I'll either set the mains to large and re-run the doctored Enya track or just play Strauss's Also sprach Zarathustra at volume 11 before hand. The THT subs are just animals. It's hard to keep the pictures in the living room straight. Movie night always knocks them out of whack. At 20 Hz, the interior wall next to the sub simply flexes like a sheet in the wind. Those two 12's side-by-side are a helluva lot of sub.

How are they be expected to know if they can't or won't measure? For all the times words like "power" and "watts" are thrown around, you'd think everyone actually understood what was going on inside their gear. The plain fact is most don't. Like the guys that setup that stage in the photo above, for example. It's a hot mess. If a picture like that turns on a person in some positive way, then they should at least be prepared for a lifetime of struggle when it comes to their own gear. Multimeters, SPL meters, understanding the inverse square law, voltage, how to express relationships in terms of the decibel...etc. These are just the basics, yet few people educate themselves about the very technology they're so willing to dump loads of cash on. So to answer your question in one word: ignorance

Is the ringing induced by the amount of EQ required to run the 402 as a 2-way, or is the ringing present in its native response? Just curious.

I've had that YouTube account for six years. You're the first to ever comment on that. Was beginning to wonder if I'd ever see the day.

Just a quickie I shot tonight with the cellphone while watching our latest rental. Struck gold. These two clips clearly demonstrate the fact that music is just as important as the sound effects for a good movie presentation. Really can't have one without the other, as is most commonly debated in HT vs 2-ch discussions. Some questions to ask yourself while listening: 1. What's the crossover point of the subwoofer? 2. What are the filter settings of the AVR and sub amp to achieve said crossover point? 3. Can you tell who the two voice actors are at the end of the clip, just by listening? 4. Why do some Samsung Galaxy phones randomly record noise? 5. How much acoustic treatment does this room have?

+1

Two things going on there.1. Not only is it a packaging technique, it's also a filter technique 2. It's a pressure region underneath there within the performance envelope of the design, so the load across the face of the driving element is uniform, even though it doesn't look like it at first glance. Symmetry is not required.

Depends upon the purpose. They are a straight-up power amp, so when compared to the latest crop of SOA feature-intensive gear (on board DSP, network capability, ultra high efficiency), the decision quickly falls into a gray area. OTOH, with the K2 you clearly get what you pay for in terms of hardware. They are 40lbs of rock solid amp. Essentially a brick of condensed lightning. Two things to consider regarding well-implemented legacy amps: 1. Good sound never goes out of style 2. A clean, easily serviceable design (inside &out) will stand the test of time I still have have two in service, and they can warp space/time on demand. Same as the additional pair of Crowns I've got, I simply cannot find any reason to part with them.

The next logical step is that we'll start seeing large format horn lenses that bear resemblance to wide-band feed horns used in RF data transmission.

I've got two of the Series II in very good condition. Every time I plug them in, I'm left wondering why I ever consider going new. I paid next to peanuts for them. When plugged into a class A preamp or a good late-model DAC, other than the sheer bulk of their transformers, I cannot find any reason to dispense with them based on the resulting sound.

I hear everything, and my post was targeting those reading the thread that might develop the impression that these large format horns can bend the principals of acoustics in that regard....because they don't. I disagree with you on the floor bounce issue, and set my high pass filters accordingly. Wasn't implying the other designs were any better...just pointing out the compromise for doing so. We both know it's a give and take situation.

Just be mindful with running a full-range horn (like the OP's perforated K402, Synergy, Unity, etc..) 1/4 wave interference from the floor will be a major factor below Fc. The 2 & 3 way designs (K-horn, Jub, La Scala, Belle) fare much better in that regard. IOW, for the uninitiated, don't fuss too much (or get overly excited) about how much low freq performance is gained going full range, unless the plan is to set them on the floor. At ear level, they'll need to be high passed according to their nearest boundary distance regardless of capability.

Another unmentioned trade-off is the voltage sensitivity penalty in the treble range for having the high frequency source located at the throat. This isn't so much a player at home playback levels, but is a limiting factor when attempting to scale the design for pro-sound usage. $$$$

Totally agree. This is a problem with all recent sedans and coupes. Stupid really, making a car that the driver can't physically see out of. It's a real eye-opener just how ineffective DOT and NHTSA have been in the last two decades at establishing safer cars for the drivers (instead of the occupants or pedestrians). One would think by now the insurance companies would be all over that, like they were on sport cars & bikes in the 90's. The statistical data are clearly there.

The news says "no jackpot winner(s)' as if to imply no one won. The Powerball website clearly indicates there were over 16 million winning tickets associated with Saturday night's drawing. The most to date.

No one may have won the big jackpot, but we drew the powerball + one match which was good for $4. We're happy.

Both Bose and Klipsch built corner speakers for their first designs....the 2201 and Corner Horn respectively. One designer clearly understood and respected the pitfalls associated with systems engineering and impedance matching, the other not so much. Bose went on to intensely develop and apply psycho-acoustic principals to his designs in order to produce practically-sized speakers that sound good....arguably. Klipsch instead researched what prevented the recording process and subsequently the dynamic driver from faithfully reproducing real, accurate sound pressure levels and developed product that mitigated those restrictions.

See this video for reference, in particular 22 minutes in:

Someone else using the feature is going to have to chime in as I don't run ceiling speakers, or even 7 channels because.... ...I've been to Atmos-equipped cinemas where they have spent more money on the ceiling array install than I'd ever put into a house, only to leave wondering what all the buzz was about. What's more important is the codec, and at this point in time Dolby and DTS are really splitting hairs. Lately, I'd be much more concerned about who's being assigned foley and sound design.