MikeFord

I've never heard of a collection this large and of such great stuff, Wash DC wrong side of map for me, maybe a good thing I have wanted some coax speakers for a long time. Link to CL post

Concern I have is that different almost always seems appealing, putting a sub on risers will change the frequency response, boosting a point higher I think in the low end than without a riser. Mid bass bumps are often appealing, initially. The trick is know where you want to end up so you don't bounce around changing, but not improving the sound.

Time to think about going 5.1. I've got Hersey's and Forte's, thinking hard about Epic or Quartets to compare with, and leftovers or a set of KG1 I have going in the rear, or office or garage or ? Worst case you pass the Klipschitis on to somebody new.

Hard to guess what the issue might be, but sound quality is pretty rarely a my amp isn't big enough issue. Volume knobs change the gain, the factor that defines input vs output signal level. Very often they are not set correctly. AVR's also have lots of options to mess up the sound, start by turning all of them off or defeated. Check that some basic wiring connection error hasn't been made.

AFAIK the main change with a riser is the frequency the woofer floor bounce reinforces at the listening position. Make a triangle from the direct distance as one leg, and the other two legs the down to the floor such that the "bounce" is aimed at you. The two different arrival times result in some frequencies reinforcing, and some canceling. Woofer coupling or loading maybe also an issue with farther from the floor resulting in less low bass. I figure Klipsch understands this pretty well and has the option of locating the woofer at any height on the face they choose, why diddle with it?

I'm a little confused, OP is asking about use with Chorus II mains and many comments are with Forte mains, isn't the difference in mains exactly the difference between the Academy and C7, the horn type? I have forte's with a KLF C7, and I have been thinking about an Academy, with the idea that its the matching horn type. Have I got this wrong? Alternately I have considered a pair of Chorus II or Quartets as a good match to the KLF C7.

The catch22 with that is unless you are on a track, the "fun" lasts less than 5 seconds, then you are in serious ticket territory and a bit dangerous for the street. I have two old Porsche 928's, a US 230 hp and a European 310 hp, and it makes an interesting contrast. The US car as long as I am a little cautious I can floor it and run through 1st and 2nd gear any time I want. The Euro has traction issues on the street and is going to get me a very fat ticket some day.

Most likely thing is the location of the microphone was in some hot spot in the room. If I understand correctly you are saying -5 on the AVR cooresponds to a reference level of 105 db? Any chance that reference level is -10 db from peak levels?

Congratulations on the build. Keep in mind the knob is not a power setting, it is a level of gain, how much an input signal is multiplied at the output, so 1/4 could be full power depending on the level of the signal you feed to it.

Not the old ones with the engine in the right place.

Not close to LA, closer to me, but seriously in the boonies as in nothing remotely to see in the area or on the way, and a good 3 hour or so drive. Once I start dorking around I am sure I will try a few different types of horn material, but wood has a lot of appeal in that some of the best horns use it, and with all the cheap wood CNC around I expect to see more flexibility in options. I found a local pair of Peavey 22A with nasty looking "baby butt" still horns, but asking price is $75 for the pair and they are supposed to work, so I might pick them up or at least make the guy an offer like $60. Funny to be looking for the 22A and some TAD's.

Just what I was looking for. the CF-3 are cheap, $400, but too far to drive and shipping did not look like a practical option. If I am eventually going to want to play with the horn, like switching to wood instead of plastic, and the 22A an equal or better driver, I might as well take that tack from the start and build something. Thanks for the info.

I've gotten interested in the Epic series, and the main feature seems to be the KN-63 2" tweeter. Anybody have more information on it, is it "like" some other compression driver? I may just buy a pair of the Epic's, but I have a strong feeling I will like them in principle, yet still want the bottom end done differently (I prefer using a sub to squeezing the last bit out of speakers used in the vocal range). Thanks.

Don't forget to post back on how well the issue was resolved.

I would think room nodes excited at a specific frequency would be the same regardless of the type of source. Forte's and Heresy's both have direct radiating bass drivers. You might try a nice sealed sub to pair them with. You also might start a thread to see what types of subs are available in your area to listen to. You want the bottom end "to sound the way you want". No one but you knows what that is. If you could listen to some different configurations, it may save you some trial and error money in your purchase. I am always the twitchiest and most indecisive when I have the least choice. M&K dual 12 boxes are sitting in my garage along with drivers and two or three plate amps, so I can't really skip putting them together, and decent chance that will be the end of the search. Either they will sound fine, or close enough that I won't be able to really decide until umpty ump other details in the system are sorted out. Dipoles have nulls up and down, right and left, so only the front to back modes get fully going, and diagonal only partially.

Cats hate citrus, get a can of the keep cats off spray and that may work depending on the cats.

Good choice, no telling what exactly was damaged in the bending, and most really stiff metal once bent will never be the same.

Hard to imagine something is more effective than putting small polished stones on your gear.

I don't think small subs are useful beyond desktop PC's, and really don't care for speaker level crossovers that were not designed specifically for the speakers used. There might be a good way to use a sub with your integrated amp, but I don't know its specifics, types of outputs etc. I'm looking for a sub myself for use with Forte or Heresy speakers, and dual long throw 12" drivers are the minimum I am considering.

Back in my studio days I was very good about ear plugs or at least Koss Pro4AA headphones to protect my ears, but didn't give it much thought while cutting the particle board building the studio. What I wonder about though is the direction I took starting out in HiFi. It could have EASILY gone either way, low efficiency speakers and big SS amps, or high efficiency speakers and tubes. I bought a pair of DQ10's and a Sansui 9090, with the flip of a coin could have been Altec 604E and Mac 275. Hard to say exactly where the other path might have led, but its a sure guess it would have been different.

Lesson I learned a long time ago, speakers are the most dangerous things to compare because we have two strong preferences hard wired in our brands, the same and something different. Part of our brains doesn't want any change, and the other part finds change appealing, and it might take a month or more for this division to settle down into something logical and reality based. If you can buy them and try them for a good month before you have to make a decision, then maybe why not, but seems to me you aren't really looking at speakers that should have a whole lot of differences where improvement is substantial. That said, Chorus II is a speaker I would buy given the opportunity and good price and RF7 not so much, for no special reason, and I have not heard them, just reading comments from owners and thinking about what I would like to try. Chorus II with Crites diaphragms seem appealing. I would expect someone who owns RF7's to disagree.

Most service places could likely manage repairs, but modifications, parts upgrades to better grade modern caps etc. and you need a place that specializes in that sort of work, and in a direction that you like. It would be no help if the shop was local, deep into mods and did quality work, but insisted on using brands etc. you don't want for price or whatever reasons. That said, come to one of the meetings and ask around I am sure you will get a hat full of suggestions, take them with a grain of salt. http://www.laocas.com/

I'd say too basic for other than DJ use.

Sub cancelation wasn't an issue, matching the character and I think Q within the environment of the room was the problem. Dipole and monopole bass sources excite different types of room modes. Long time use of the ESL63, appropriately named FRED, full range electrostatic dipole, is an increased sensitivity to any changes vs frequency as they are very seamless themselves. What worked for me best was an Enigma dipole panel sub, it didn't have much output as measured in the room, down 3 db by 24h, with a sharp drop below 20hz, it did almost perfectly match if not improve on the bass of the ESL63's. Odd part was I had to order the sub without ever seeing or hearing it, and it was $2600 without an amp. I bought it because I was a bit kooky thinking I was missing something important with the Quads rolling off around 40hz. It more or less showed me that in general I wasn't missing anything, or much. Once educated it was a tough choice whether or not to keep them. Most of the reason I decided to keep them was that high passing the Quads made them sound better, much more depth. I knew if I returned them I wouldn't be happy without them. Short version is that I am not worried about level matching with the Forte or Heresy, I want all of the bottom end to sound just the way I want. This is my concern when considering a horn vs direct radiator for a sub. The character of the sound more than the eq.

For years I used Quad ESL63 speakers, and no diddling after the sub was made seemed to ever make one work better or worse, so it never occured to me it might be possible with the Klipsch. Nothing seemed to help my KLH 12, except keeping the volume very low. I've heard one of the smaller M&K subs with a set of Quartets in a smaller than my livingroom sized room, and they seemed good, but terrible placement and unfamiliar music made it hard to seriously judge performance. F20 is tempting, but its one of many horn options in the running. Does it work well with the Klipsch speakers? BTW I think I could complete one of the M&K subs in a day, but I don't have space to work due to other higher priority projects.