Quiet_Hollow

The only time I've experienced a direct relationship to bit rate (as distinguished here from sample depth) and perceived quality in practice is when listening to (or watching for that matter) anything that employs a compression algorithm. As such, the result has always been the same...a comparative loss of spatial separation and increased high frequency noise/harshness "grit" that ultimately induces listening fatigue and/or limits satisfactory playback volume. Examples of offenders I've found to be include Dolby AC3, DTS, MPEG-1,2,&3, and the cell phone.

Dizzi and Alizbar have them on their respective channels too:

Nice score Derrick. One of really nice things about the Pioneer Elite models (among others stated here) are their power supplies, which are also no joke. Lightning in bottle.

So you're above napkin drawings now? You need to get over yourself. A plot is a plot. They're obviously not crayon, and they're not that far off in appearance from what HOLMImpulse outputs. I can only wager that they're transcribed into that format order to maintain visual distinction perhaps, but the data has been spot-on if not a bit on the conservative side IME. Completely unprofessional.

This concept is completely foreign in our relationship. In fact, she just finished a cupboard in our bedroom to make place for an amp and BD player. I was throwing around words like "horn subwoofer" and "corner speakers" in regards to the bedroom without any disagreement from her what-so-ever. She even offered up a few suggestions. As far as some of her favorites? Hall & Oates, Wham!, DJ Baby Anne, Black Mill

Here's mine before bi-amping the front three channels:

Where are these located?

Top notch!

$500-$600 would be a reasonable take. They are HI after all, which pack quite a wallop over the standard SM, but the cabinets have clearly seen better days. I'd ask $700 shipped and see what you kind of traffic you get.

False. 1/4 wavelength at 6000 Hz is still better than 1/2 an inch. IOW, it would have to protrude a lot to be a problem. The factory gasket compresses down to almost nothing along the length of the fitting. How much of, or little, the gasket may get in the way of the throat is a matter of splitting hairs within the horn's pass band. Ensuring that it forms no extra cavities along the joint interface instead, like a typical o-ring would, and seals it airtight are the most important factors at play.

Continue with the 103, but when listening to CD's (or any other LPCM source for that matter) stick to coaxial S/PDIF using a decent RG-6 patch cable or the like. Just set it up on your 6006 as another input.

Agreed! +1

... 1 1/2 octaves of extension.

The RDX weighs in just shy of 2 tons. Could explain a few things. Turned me off from the Honda Pilot.

That's more to it than just that. Setting SMALL activates a high pass filter on all the channels which allows the user to best route the signal power according to all the boundary/source interactions. IOW, regardless if the speakers can play low or not, the primary goal in multi-channel setup is to keep all the channels from stepping all over one another acoustically. Easier said than done. Tape measure and a wavelength chart can work wonders for picking initial values during filter setup.

You'll need to take a look at the flange of the replacement pump. The factory pump (AISIN) has a molded channel that's designed to accept a continuous bead of Toyota's FIPG sealant. A very reliable combination. A few aftermarket pumps are machined flat, and use a gasket instead. If the replacement pump flange has a channel, then ditch the gasket, order the correct sealant and proceed. If not, then it all depends on the quality of the surface finish with the old pump removed. Mirror finishes can work with just a fiber gasket. Any defect though, and you'll have to hedge your luck with a good non-setting joint compound in addition to the gasket.....for which I'd highly recommend Hylomar.

It's all in the wavelengths, which is a tough pill to swallow. It needs to be said: 8 foot ceilings suck for acoustics. 10-11' are an improvement. 15' or greater is ideal....for any full range speaker type.

Wrong "Word of mouth," which predated the internet by centuries. OTOH - The savvy customer will be the type that can identify noise, hype, or shilling in those reviews when they see it.

Yes, listen first. I'd strongly advise against modifying these particular speakers in any way. TSCM are an engineering install (CE) speaker. It would be an utter waste attempting to make them something they're not.....ie. a B&W or Thiel for playing background music. Embrace the fact that you purchased a thoroughly researched horn-based speaker system: TSCM specs 1 TSCM specs 2

The units from ET are the real deal. My experience with them was extremely positive and eye-opening. Paired up with the right horn subwoofer above 30 Hz , and you'd have a system with unequaled dynamic capability.

I'm not entirely surprised by this, as the entire movie's DTS-Master soundtrack is clipped to high heaven. It's complete hash from top to bottom. Unfortunately not all digital soundtracks are created equal. We enjoy this one loud too, but the multi-channel soundtrack has clearly been run through DTS's "fun" blender. For a real-opener as to just how much? Try watching it again using the Dolby 2.0 option. ...or compare to any other movie that offers an uncompressed PCM soundtrack like Chicago or Kill Bill 1&2

Not up close, and the proportions can fool the eyes. The horn on the P-39 is much larger for starters, and the guts are different too. Once again though, I'm not privy to exactly how they differ. I just know they are indeed different between models, having inspected them in-person.

There are subtle differences in the construction of the horn assemblies between models. When compared visually side by side, the different parts are easy to see. Not sure how that equates performance-wise though.