Ski Bum

Hmm. Seems to me that the eq is addressing a frequency problem and resulting in the preferred sound. Just use it.

Where are the specific trouble frequencies? Below 500 hz? An important thing to consider is the influence of local acoustics. All rooms have an influence, and I suspect what you're noticing are issues with room modes. In most rooms, these will influence response up to 200-300 hz or so, depending on the room dimensions, and can play havoc with response at the main listening position. That's just a shot in the dark, with so little to actually go on. If I'm on the right track, you can play with speaker placement, as different locations will couple to the room differently and result in different modal response. You may not be able to get it perfect, and you will likely find that the best locations for bass are not the same ones for optimal imaging. This is where subs come in handy, and particularly multiple subs for the sake of modal smoothing.

Fortes's inherent response is ripe down to 80 hz or so, then loses a few db on the way down to the low thirties where they drop more quickly. Because of this, it typically takes corner placement to realize their full potential in terms of extension and output, so your impressions seem about right to me. With them deep in the corners like you have them, you should be getting useful output all the way down to the mid twenties, and full, robust bass from the low 30's on up. Sounds (and feels) pretty good, doesn't it? You may want to experiment with cross-firing them so the axis cross several feet in front of the main listening position. Similar to how you have them now, it will keep you out of the direct axis "hot zone", but should pay dividends in other areas. Have fun, and rock on!

Unfortunately, your Yamaha lacks the requisite pre-outs to integrate the R15PM with the rest in a 5.1 configuration. You need an AVR or AV pre that has those. Since a different AVR would set you back considerably with no huge performance gains (aside from being able to incorporate the powered monitors), it may make more sense to just use them as a secondary two channel system. Plus, the R15PM come in master/slave pairs, and I don't think Klipsch sells the masters (the ones with the amps) individually. And were you to get a new AVR to accommodate this, you would be duplicating features you're paying for in the powered monitors (all the inputs and flexibility features like remote control).

Try extreme toe-in orientation, with axis crossing several feet in front of the main listening position. Yes, it looks a bit odd if you're not used to it, but it helps to take advantage of your speakers polar pattern to completely eliminate any hard, early reflections from near walls, while expanding the sweet spot and stabilizing the image. (Anyone who thinks horns can't throw a convincing sonic image/soundstage really need to try this trick.)

I have an NAD C372 that I'm not using. Make me an offer.

If you've elevated them to get the mids to ear level, the deepest bass will be diminished, tipping their overall tonal balance toward the more strident side. For the sake of sharing experience of my similarly stand mounted forte II, here's what I do: -steep lpf @ 25 hz (protect the speaker!) -a judicious, fairly narrow-band boost at 35 hz -a slight reduction at about 3 khz to take the edge off. Cross fire w/ axis crossing several feet in front of the main listening position (this will completely eliminate hard early reflections from side walls, however they're treated). -use an amp that has plenty of headroom (the bass boost will eat up power)...the Carver should suffice quite nicely.

Hafler Dynaquad, Dolby PLII both work pretty well, on two channel source material.

I like the slim line Marantz AVRs for this sort of application. They're equipped with bass management, so you're good to go when you add the subs. They have pre-outs for the main L and R, if you need more power (the 50 or so watts they bring should be plenty for your small rooms). Audyssey (meh), but that means DynamicEQ too, which is quite useful. If you want to stay with strictly two-channel gear, you will have to compromise on some things (few to none offer proper bass management, for example, and due purely to economic factors it tends to be more expensive). But there are worthy options, such as Yamaha's line of stereo receivers/integrated amps. I'm a big fan of the ones that still have the analog "variable loudness" control, an old school feature that is still as pragmatic as ever. Don't bother with external amps for your current speakers and room sizes. [edit] I'm not familiar with that Pioneer, but considering your modest requirements I think it would probably work quite well for your situation.

Tool Shed Matt does invest more in the visual appearance of his amps. Considering the time and effort involved, and the exquisite looks of the end products, that's worth something. But I do kind of agree; the OP would probably be better served getting ears on various different types before spending big bucks on fancy case work.

I've actually heard the super-v in person (not the ones in the ad, but a pair built up by DR himself), as well as other GR research designs (these are all DIY kit speakers). They offered several that were similar, all open baffle, all used a P-Audio professional co-ax up top, and a pair of woofs below, also open baffle. The tops are passive, with DR's passive networks and his typically easy-on-the-ears voicing, and the lows controlled by a sub amp with specific eq for this application. They all sounded quite nice, rather punchy for OB designs, and of course had rather benign interaction with the room, another OB benefit (RMAF hotel room demo). They were all being powered with either modest pp tubes or chip amps. I strongly considered building a pair.

Tube cost has definitely influenced what I've chosen to mess around with. The outrageous cost of some tubes (not amps, but just individual tubes) is so ridiculous that it makes me really appreciate the alternatives we have to choose from. For example, Maynard's designs that use obscure, dirt cheap tubes are dope.

A tube amp in overload conditions will increase the low order harmonic content of the reproduced music. Let's say we have a one watt SET. We listen at a level that requires a fraction of a watt most of the time, where distortion is negligible. But occasionally a peak will come along requiring more than one watt, and the amp will not reproduce the peak accurately, but will round it off and pepper it with low order harmonics. Because of the brevity and particular low-order pattern, these harmonics are perceived as added loudness, much in the same way that the harmonic content of notes from musical instruments dictates their perceived loudness (J.C. Risset, "Computer Study of Trumpet Tones," Bell Telephone Labs, File MM-66-1222-2).

I always preferred the organics (psilocybin specifically) to help facilitate the ultimate music experience. YMMV. Music taps into deeper currents than religion (oh, shit, there goes the thread!).

Zero. There is a special place in Hell for those "holistic chiropractors" who have gullible old ladies chasing their tails taking twenty mystery pills per day.

It's impossible to pick a "best all around" Klipsch. That whole "all around" qualifier leaves too much to guessing. The KL-650THX have the flattest on-axis response of any Klipsch speaker ever produced. Does that make them the best? Various Cinema line speakers provide the greatest dynamic range. Does that make them the best? Speaker design is all about compromises, and the "best" speaker is the one with the fewest compromises or those with the lowest impact. The specifics of the local situation (room size and acoustics, intended coverage area, desired spl levels...) also largely dictate what would be "best". I'm pretty happy with the forte II. Of all the Klipsch designs, they're the "best" compromise with Hoffman's Iron Law and juggle all the other speaker design variables quite beautifully. They're the engineering equivalent of an album filled with great songs, no filler. They sound pretty good too.

Try Midwest Speaker Repair in Minneapolis.

Given you background with live sound, it's inevitable that you'll some day end up with a fully active Cinema rig. Inevitable. Might as well start planning for it now.

I agree w/ Bill's suggestion. I think in his recommended orientation it will be easier to get a symmetrical layout between the mains and the side/back wall. Symmetry is key. As it is, the right speaker will be closer to it's corner than the left speaker due to the entrance. Square-ish room...consider a pair of subs for modal smoothing, even slightly more modest subs (if budget is tight). It won't take much to pressurize that small room.

Too long, too sentimental, and frankly kind of boring. Compare to the short, sweet, and bizarrely surrealistic style of the Ray Lewis' "Heart of a Champion" Old Spice ad:

Perfect! The conflation of pre-scientific vitalism with audiophilia. It's a wonder these folks can even tie their shoes with so much bad ju ju floating around everywhere.

Step up to the RP-160 (that receiver should work just fine, either way). The R-15M would outpace that Denon speaker, I think it's safe to assume, but if you can scrape up the ducats for the RP-160, you'll be in even better shape. The 160's are a great little speaker (edit: I guess you already know that!).

Well, the obvious differences between them are the forte II and Quartet share the same tractrix mid horns. Which ones sound better to you and how they work in your room is another story. Nice collection of extended Heritage! (Do the caps in the networks.)

You realize that the bass issues were from the OP, three years ago. Julian resurrected an old thread to pose his receiver question. Julian, if you're willing to roll the dice with vintage, there is a NAD receiver in the Garage Sale sub-forum that would suit your needs quite nicely.