Quiet_Hollow

Big cat laid to rest. Sigh...

I was referring to this: Which would be 1-4 units depending on SPL and coverage requirements in regards to the SC-85, but that both Dolby and DTS will eventually be encouraging us to paste the entire ceiling and walls with speakers...when in reality the greatest effort involved is getting the 5.1 setup well.

Atmos is in its infancy. Don't fuss over it. Buy the amp as there's so much more to it than just that....it's a bargain now. Hack out the speaker details after the fact. You don't want to be stuck with an integrated setup. FWIW - Atmos, at its core, has no theoretical limit to the number of channels. It's the perfect sales pitch for those in the speaker business.

That's easy. Volvo XC70. More ground clearance than the F-150, same towing and payload. Rides a lot nicer than the Jeep on the freeway.

I don't know what you're talking about.

Would be an excellent match with the amp etc6849 is selling at the moment. https://community.klipsch.com/index.php?/topic/161097-ati-at2007-7-channel-multichannel-fully-differential-amp-2300-now-2250/#entry1962316 That all depends on setup. They were much more popular a decade ago, before THX started certifying everything that came through their door. Still a very capable speaker, with well established performance.

Automatically as part of MCACC Pro. Bi-wiring involves changing the Speaker System Setting option in the Manual Speaker Setup menu, re-wiring all your crossover networks, then re-running MCACC Pro.

I'll also throw in regarding Atmos (to include the recent "Dolby Surround") that I would agree with Mike (Dr. Who) in that even if you don't run a full Atmos speaker array (or ever intend to), that having a unit that can actually process the new format is certainly a plus. The five-channel down mixes I've heard over my system where very good. Sound-wise, it's all up to you. Out of the box, probably not so much. A little tweaking though, and Da-yum!

Only two, between the LF and MF for a total of six channels.

The amp has provisions to do both, but it still requires the passive networks. The owner can either leave everything patched together (stock) and let the software have it's best go at it in the signal domain, or the filter networks can be split up and driven individually. Where it differs from looking like the classic bi-wiring job is that once split, the software can delay each amp discretely by the required amount. I run 5.1 exclusively which typically leaves a pile of amp channels unused, so I set Pioneer to bi-amp the front three instead. As a footnote, of all things, even the Panasonic XR has the capability to do this. I just didn't have a chance to employ it at the time, because I didn't have the delay values at my disposal.

That first lick by KMFDM is a real fun one. Same goes for Fear Factory right at the end. The center channel is the two cabs wired in series, but they aren't running in the above video.

i suppose I could go back and confirm with REW as the vertical scale on the plot appears to be a little unconventional. Definitely in the ballpark.

Just picked them off of the excess group delay plot.

Unless that's the room's Schroeder frequency. Next pick would be 72 Hz according to the plot, but certainly not 40Hz.

For anyone looking to bi-amp or tri-amp their stock La Scala in an effort to align them, delay values are as follows: LF 0 ms MF 0.5 ms HF 2.0 ms

Just a heads up.... The SPL & phase plot above is titled "crossed at 40 Hz" but it's clearly indicating that acoustic crossover, as measured, is occurring in the 250 Hz region.

Cool. Indeed. Every video is an acoustic Easter egg hunt or case study. As you are quick to point out, none of my rooms have any acoustic treatment beyond carpet and plush furniture. I can point out everything wrong with the sound in every video I've shot and uploaded, but for the most part I wouldn't post it if it sounded absolutely terrible. I can usually avoid things first by monitoring during a take, but any clips that come off the camera and still leave any doubt during review, get tossed. At the moment I've only got two mono videos on my channel. The KP600 and AutoTuba ride along videos were shot with my iPhone and are in mono. The rest are stereo...the majority of which were filmed with the stock mic on a GL1 camera. I'm strongly considering outboard binaural mics as of late (if not outright selling the entire camera rig because of its age) because of the spacing of the GL1's stereo pair. I'm not sure if you can tell between the Galaxy and GL1 recorded videos, but the stock mic of the full size camera has a characteristically "pinched" sound that I'm not particularly fond of for indoor recordings.

Yeah, everyone else tends to fuss over bracing the mouth, but I'd wager the enclosure assembly sitting right on top of the bass bin also becomes a factor around Fc and is why they sealed it up on the II models. It's essentially a hidden Helmholtz resonator. When I tap on top of my cabs, it sounds right about at that frequency where it could be a problem at volume. When I get around to it, I'll measure it to see what the actual difference between the two are.

The brace should be full-length like the ones in the Peavey, HPS, and others for a reason. I wouldn't deviate too far from that method. If you run the cab through an FEA, it's plainly evident as to why.

Woops...meant Peavey FH-1. ...and the 555 looks like this (pic from their site) : The original theater La Scala design implemented a fully constrained mouth for the bass bin and an open top (no possibility of resonance)...purpose-built for max performance, not cosmetics:

If you really want to improve upon the La Scala bottom end: 1. 13 ply baltic birch 2. Either cross brace the bottom "exactly" like the EV FH-1 and HPS4000 555 & 525 series, or simply rotate the doghouse 90 degrees inside bin like the original La Scala did to avoid cross bracing all together. 3. K43 driver, as you intend to use a sub 4. Provisions to close off the backside of the top cabinet just like the La Scala II. Those four would make a keeper for life, and wouldn't scare off potential buyers in the future.

1/4 wavelength at the K400/401's upper cutoff is still ~0.5 inch, so a little protrusion is OK. Same goes for the protective screen in the throat that protects the phase plugs from debris. An air-tight seal is what's most important. With an O-ring, it's gotta be thin enough to prevent forming a secondary chamber in the throat with the driver installed. The stock gasket design takes up any clearance between the two faces.

Two things to consider in favor of this deal: 1. The top tier D3 amps have a stated rating sure....but have also been independently tested, consistently on several occasions over the last four years, at >100 watts 7 channels driven below 0.1% THD+N regardless of load. 40 lbs of chassis and power supply that deliver essentially lightning in a bottle. 2. The buzz regarding HDCP 2.2 is moot. Compliance issues span the entire life of HDMI and date all the way back to HDCP version 1.0 and DVI. In short, avoid running DV through a receiver where possible.

Had a pair of '89 La Scala a few years back that endured a pretty interesting journey. Bought them in Macon, GA. Hauled them up the coast to North Carolina, then onwards to Wisconsin. Eventually sold them to gentleman in western Europe that had them shipped via air freight. $$$

And would have the obligatory Klipsch factory markings. I'd be interested in those old AA's if you don't have an immediate home for them.