moray james

why would your gender have an impact on my comments? I don't need to know about your RF7mk2, I think you would agree that is off topic here though I am happy to know that you like to modify. If you are offended by my response I don't know what you would expect me to do. Feel free to ignore what ever you don't like. I have attempted (and intended) to be helpful but it seems to have missed the mark. Please don't expect me to treat you differently than I would anyone else, I have no interest in getting into a gender identity discussion.

thanks for the welcome. why should looking at your profile make a difference to my comments? working with what you have and that can be a great experience be it good or bad. If you really don't like the CW4 then go back to a two way. I think the Crites Cornscala "D" might be worth considering as it is an upgraded Cornwall in a two way format, just a suggestion again just so you don't feel cheated. Like I said what you like matters the most so my suggestions are just that, they may or may not fit with your sensibilities. The Cornscala "D" with it's much larger horn will hold it's polar pattern to a much lower frequency than the Rf7 or the RF83 horns can. A CF3 or CF4 might be more to your liking or not, they are also designed by Roy Delgado but a long time ago.

I have one K700 but I don't have any Atlas K55. I have a pair of K61K hybrid tractrix mid horns as used in Quartet, Forte 2, Chorus 2 and which a number of forum members here have inserted into Cornwall's as an upgrade. I have the matching K61 drivers with stock Klipsch phenolic diaphragms and I have pair of Forte networks.These are a much newer and better horn than the K700/701. Let me know if you are interested. I am situated in Calgary Alberta Canada.

yes to the bolt pattern question, the K52H (Hepner) and the K52m are the two exceptions as they differ in build a little but not a lot and I think it would be reasonable to say that most users would not hear a significant difference between them and the others which are all the same Klipsch made part.

so your theory is that if system (A) works with speaker (A) but not with speaker (B) then speaker (B) is a bad speaker? You have a flawed theory and will likely spend (waste) a lot of money and time going down endless rabbit holes. I suggest you find someone who has the system of your dreams take them as your mentor and follow their lead. Roy Delgado does not design bad speakers! Perhaps you could start by looking to see if there are owners of Cornwall 4 or earlier versions local to you and ask if yu could visit for a listen. This way you can hear for yourself what others have achieved and what their systems are like. Maybe you are just a two way guy take a look at the Bob Crites Cornscalla "D" an upgraded two way version of a Cornwall. Only you can say.

experiment with the placement of your speakers and experiment with all your gear including power cords interconnects speaker cables stands and components especially the front end and Pre amp. This is the part which takes dedication and work. So you won't feel cheated, I run a modified Sony as a transport and a Metrum Octave DAC a Tortuga Light Dependent Resistor (LDR) volume control with a pair of Benchmark AHB2 stereo block amplifiers Tannoy Revolution Series XT Mini on new four post Skylan Stands and balanced power conditioners and assorted power tweaks (mostly my own). All of my cables and power cords are of my own design and build. Interface devices are all original and my own. Everything matters and everything makes a difference. What you like matters most. If you are lucky enough to find a system that absolutely spins your prop then buy that system all of it and go from there working til you have it sounding the way you want at home in your room and then move on from there with that as your reference. There is no easy answer no formula. Learn what you like and what you don't and let your ears and your gut be your guide. Most importantly enjoy the (your) journey.

Having your loudspeakers effectively disappear is in my opinion only the beginning of a good set up. There is much more that you can do after that to improve on stage and 3d image. Your system your ears along with your level of interest will determine how far you will ultimately go with this.

you can use a K52H K52 k53 K55 K55m K57 K58 K59 K61 or K62 the driver numbers are specific to what cabinet they came out of.

that hump is a mechanical resonance which has been identified and dealt with you can either thicken and stiffen the side walls as in the LaScala ll or you can install braces between the side walls and the doghouse. Problem solved either way. There should be lots of threads in the archives.

Most kg but not all. The KG4 has a passive on the rear baffle, there may be others in the KG and or the Tangent line up. I was not into them and did not spend much time on them when I first got into Klipsch. Wish I had. Perhaps some with KG and or Tangent experience will chime in.

to convert buy ti tweeter diaphragms from Bob Crites (I prefer them to Klipsch and have found them to be more reliable) and purchase the Klipsch ti mid diaphragm from Simply Speakers (these are factory Klipsch parts and not after market) these two diaphragms are direct drop in to our drivers Heresy or Forte and take only minutes to install. Why not make these mods to a pair of Forte or Forte ll? You will get better bass response and a much better mid horn in the Forte ll. All the drivers are the same. The passive in the Forte ll is a fifteen inch one as opposed to the twelve inch passive in the Forte. The Forte ll is the better option but don't pass on a Forte if you can find a pair and get a good deal. You will never have any trouble selling a well set up set of Forte never.

this is not always a recommendation which is true especially with the quasi balanced amps on the market today. Running some of them single ended may well sound better. Run the amp both ways and see what your ears and your toes tell you.

I'd like to say he probably just uses his stick to find his way around. There is the long one for walking and a smaller one for up close use. He may also have some limited vision. My ex without her corrective lenses she was certified blind. With her glasses on she could read a license plate out on the highway when I could not even see if there was a front plate on the car at all and back then I had just better than 20/20 vision. Just happy for the guy in that photo being able to enjoy his limited vision.

Nad 3020 was a good little class B amplifier responded well to modifications performed well beyond its weight class.

plywoood 3/4" thick cut 1 1/4" wide is all you need for your braces and for the stringers to tie yur braces together. typically you are only pushing the first resonant mode up one octave that takes it out of the range which the woofer can excite. 3/4" square along all your panel to panel seams adds tremdous strength but you only really need a 45 degree pieces at the seams but if you cannot cut 45's a square length is just fine, soft wood or plywood are equally fine for this job. This also insures your cabinet is air tight (use white or yellow wood glue).

curious did you have problems with the 1/4-20 tee nuts? coarser threads are less prone to vibration as they tend to jam up tight on themselves where fine threads turn smoothly.

The foam actually causes the speaker to respond as if it were in a larger cabinet so removing the internal damping would be a mistake. You could replace the factory foam with more effective foam but the difference would not be worth the effort in my estimation. Leave the foam alone it is what it is move on to more effective mods like your brace work and replacing network caps retuning the vents and damping the baskets upgrading to all ti horn diaphragms. Have fun and enjoy your efforts.

they have this thing sort of like one of those magic eight balls except it has a random list of titles. I wouldn't lose any sleep over it.

you can learn to listen around such issues but it does not make them go away and you might not notice this as a problem until you actually hear the problem resolved. Some folks simply focus on other aspects of the playback performance in this case powerful bass with low distortion and great dynamics. That's a lot to be happy about right there!

for the same reason you do not see designers running say a fifteen inch woofer that high, the horn playing 1KHz will have all manner of cancellations and additions of frequencies across the mouth and these will screw up the image because you tweeter will be covering the same range and your ear/brain combination will hear both at the same time in different locations and not be able to tell which is the correct one to listen to. The dispersion of the bass horn and the tweeter horn at crossover become very different and this is very noticeable and becomes more so the higher up you go hence the goal of a 500 Hz crossover in big two way designs.

yes the wide brace is having a negative impact upon the vent action which is to begin with too close to the rear baffle for ideal function. The air in a reflex vent at full resonance will travel fully 1.5 times the vent length in both directions (into the cabinet and out of the cabinet). Turn that brace 90 degrees and you can minimize the impact. The next time leave out the 3/4" plates you used under and above the brace and make the brace smaller. The ideal brace ratio is 1.5 time the thickness for the width. Remember you want the air flow of the vent to be as laminar as possible to insure the best possible performance. Low frequencies are long, they do bounce off of a reflective surface but they also shake most surfaces because of their length and high energy when you play loud.

that's true but you don't want to hear 1k coming out of a Classic in a home rig. That said both the classic and the dean (both by University) are two more of the very good bass horns out there. The California designed by Ernst Georg Beck is an ideal bass horn for a two way because it has the necessary extension and a natural roll off this permits running a mid horn of reasonable proportions which was also the goal of the Jubilee by the way as the KHorn cannot get up high enough to make a two way with a reasonable size horn.

why not? no one is twisting your arm to purchase anything.

a straight horn is your best option provided you have the room. Find me a better horn for a given bulk this is the best I have found so far. wider bandwidth than a Jubilee and smoother response. folded horns when don right are your friend the folds help to filter out out high frequency which you do no not want coming out of a big bass horn to screw up the image.

I have made worse mistakes and I have found I learned the most when I made mistakes.