Audible Nectar

I dunno about "great photography", but I will vouch for the subject matter, in an attempt to refamiliarize myself with posting photos on the forum. Been a long time since I've done this here. Forgive me if I go "splat"......

I need to file the John Warren name away. I have 2 minty 250s (and will source an MC50 for the fifth channel) that deserve the treatment and will be moved into my home theater. One's got a "hum" and I want to have them all "identically prepared". These are wonderful amps for Heritage.

Another Mac tube setup finds Heritage,, and the sun came up today😀 As you're finding out, it really is a nice combo, and noticing the flooring brought this to mind: I find that some sort of acoustic "treatment", which could be carpet/area rug, canvas or cloth type artwork on the walls, and similar can do wonders to tone down the "harsh". All of those hard surfaces can get the upper mids really bouncing around in a place like that so a little strategically placed room art/decorations can help.

With a cursory look of those pages, it appears to have some serious possibilities. I doubt I'll apply EQ to thew entire spectrum (just sub) but like what I see. Basically need a low pass with parametric and seems this might well be an option. I'll await any other comments, as it will be a few weeks if not longer before making a move here but like what I see as a cursory look. I need a mic setup to measure the room response too, and will comb through this more soon.

Yeah - I've had a soft spot in my heart for that place - saw a BUNCH of Grateful Dead and Phish concerts there back in the "Deer Creek" days - when it was all farms surrounding the place, who would create makeshift campgrounds for the throngs to stay. "Children of the corn", LOL. Now it's all suburbanized (urban sprawl and all that) but thought if it was ever to get a corporate sponsored moniker that it may as well be Klipsch as anyone else. At least there was some logical connection, as opposed to some bank - LOL.

Back in the day, when JBL did this thing called a "tent sale" that a bunch of us took advantage of around here, I found my home theater sub solution: a pair of the beastly 4638 twin 15" cabs, and paired them with a makeshift EQ solution: The Behringer "Feedback Destroyer", which had a section that could (and that I did) use as a sub EQ. Got a test tone disc, SPL meter, and used a webpage that very succinctly - step by step - so even an idiot like me could do it - allowed me to set up a parametric EQ to tame and shape those beastly cabinets into one beeeeeuuuuutiful sounding rig.....with a really nice "house curve" taboot. I kept the printouts of the online manual and the settings, just in case - or so I thought. Because after about 8-10 years, the EQ had some sort of "oops" which lost the memory of the settings within - and sans that old reference material are back to square one - a pair of outta control beasts as they were the day they arrived here. I can't for the life of me find those notes, so I'm thinking what of possibly better and easier solutions. The BFD unit worked wonders, but without those reference materials couldn't get another one set up even if I tried. So I ask: Are there any parametric style or other sub EQ solutions that I might use as an updated "sub"-stitute? I've read that stuff exists like "Audessy" and similar in preamps, and I suppose if it took buying a "newer" but probably now "vintage" HT preamp to get a solution that's not impossible to set up and get results from I would consider that too. I'm still using a Krell Home Theater Standard from circa 2002 or so.....and aside from this problem have no reason to replace it.....but I do figure if I'm in search of a solution for this problem and such a solution exists in say a fiveish year old HT pre that I can get a deal on, that might be an option too. Thanks in advance....

What's new? Only a matter of time since I found my way back here...glad to see the place is still tickin'. Heard they took the Music Theater moniker away and sold it to somebody else down in Indy (Ruoff?? Who's that?) Still Heritage, still tubin', been through a bunch of stuff and now in the middle of some house projects, may make a few changes and adjustments as a result. So when audio tweaks and changes beckon, you know well where I would go first.....

Ain't that the truth.🤣 And after all - that was the point!

So your sayin it would work. They do. It required several days work in setup, though - using test tones, microphone, and parametric EQ. Without the EQ, they were these uncontrollable beasts that were wayyyy out of balance with the rest of the system. But with the EQ - as well as some good advice on this forum on how to approach that - I got them to a place where these beasts blend seamlessly with the rest of the system, and with effortless power and depth that a Heritage HT demands. Short of a Tuba HT, Danley, or something similar, these seem an excellent option in a smaller package. Not easy to set up though - I spent hours reading - researching about the parametric EQ and how to use it, and some long days doing the measurements and getting it in tune with the room and system. I am still in that same room and system, though - so I only had to do it once, and it has been well worth all the work. Not good below 20 hz, though - but I have achieved 25 hz at about 4db down at high output, while removing all the peaks. Achieved a nice "house curve". I cut the signal below 20 hz to avoid stressing the woofers from overexcursion. If one wants to go below that, these cabs aren't made for that. There were a number of us who jumped on these during that tent sale, and some good advice was exchanged here on how to use them. Some moved on to other things, some of us ended up rather "blissed out" by what we could accomplish with so little invested.

I use two of these as subwoofers in my Cornwall theater. I lucked out and got them from a JBL "tent sale" years ago (survivors of the Northridge earthquake IIRC). I use a parametric EQ to smooth out the response, and get impressive performance down to 25 hz. While not truly "subwoofers" in a true technical sense, they function very well as such - having tried other subwoofer options before settling on these. As for power compression, the 3.2db is at the 800W rated power - when using two of them in a 14 x 24 foot room, it's akin to using a nuclear bomb as a flyswatter - so they never see that kind of power here. They have an easy life in the current roomspace, never needing to work very hard to do what I need them to do. They add tremendous scale to the audio performance, and I could never match the performance at multiples of what I paid for mine.

My wife says I have big hands.

I have someone I am working with several states away who I have assisted in procuring a pair of Chorus II's. Pretty nice condition overall, as well as having crossover and tweeter upgrades from Bob - but we are running into a bit of a problem finding out what exact finish they are. We suspect they are Oil Oak (they have that golden oak look and they were most often seen with Oil Oak finish), but the serial tags were removed at some point, so the finish isn't 100% known if it's oil or lacquered. The prior owner occasionally rubbed them down with Pledge (not ideal, I know). Given that I cannot see the speakers (four states away), I'm not 100% sure what we're dealing with, but we wonder about the possibility of giving them a light sanding job then re-oiling them properly. If I could eliminate a lacquered finish as a possibility we would be sure what we are dealing with. Did Klipsch make oak Chorus II's in anything other than oil finish? And if they were by chance lacquered, is there any reason we still cannot lightly sand them off and make them an oil finish? I suspect there is a thread in here discussing some of this but I'm having a hard time finding specifics. Any suggestions or knowledge of a good prior thread addressing this would be appreciated.

I believe it. I had the show pumping through the Cornwall theater and the energy was palpable. That show far exceeded my expectations.....just chock full of key GD material and really well played - especially once they got about half way through the first set. The PPV broadcast is extremely well produced - 5.1 audio and really well shot....it translates very well. It's hard to watch and not wish you were there.

Tonight's show kicked arse.

http://liveforlivemusic.com/news/grateful-deads-security-flyer-for-dealing-with-people-on-lsd-leaks

LOLOLOL There's a solution for that: Load him one Then load him another one.....just like the other one :lol: That was a great weekend, BTW. A Phish Halloween FESTIVAL?? Doesn't get any better than that. The Ventilator Blues is still ringing in my head six years later. Phish made Halloween my favorite holiday :emotion-29:

That is correct. Ever seen Neil Young?

String Cheese Incident at Red Rocks

Concert crowds are a mixed bag. What seems to be a problem is a concept of "like minds" - what is considered agreed upon proper behavior for a given show. When the opinions vary too much, it ends up being a bit of a s#itshow, and when any behavior is considered appropriate by some, it's even worse. "Love the band, hate the fans" is a sentiment I have mused on many occasions after certain shows. And it expresses itself in a myriad of ways. For most concerts (rock shows) I like to see shows with enthusiastic crowds who like a party, but know enough not to make life miserable for everyone else. There is a certain expectation that people are there to enjoy the show beyond what they would do in thier own living room, but yet not to the level they might aspire to in a jail riot. Rolling Stones and Jimmy Buffett shows are an interesting study because there's a large quantity of corporate types who get thier one night out per year - akin to their "New Year's Eve" - and make the most of it Practice makes perfect - and when one only does one show a year and gets so belligerantly drunk, yet still sees themselves as the in-office boss, that's a sight to behold. I find them the most intriguing, because the corporate ethos is buttoned down conservative, but they end up at these events making Rodney Dangerfield look "cultured". Shows that are highly popular amongst the youth are almost always a miserable experience. Pop shows - and nowadays EDM shows and festivals, are a study in self-absorbed, obnoxious behavior beyond anything I've seen over the last 30 years of seeing shows. Imagine entire groups of 12-20 people moving amoeba-like through a general admission crowd, pushing themselves into a space while moving other people out. Not so much pushing people with arms extended, but moving as a collective into an area, with the unspoken "we're standing here, and you're not", in the space you used to occupy. All with an ecstacy induced smile that has them believing it's OK, while pizzing off all kinds of people around them. Two years in a row I saw String Cheese Incident at a festival in Michigan, which was followed by Bassnectar an hour after the SCI show was over - and the Bassnectar crowds would show up half way through the SCI second set and start shoving people out of the way. Had they waited for SCI to be over, the field would have mostly cleared out and they could basically have most any space they wanted. After the second year, SXCI's keyboard player tweeted on his feed to the effect of "thanks Bass-Neck-Turds for last night", being so obviously obnoxious from the stage view that even they felt it appropriate to comment. I like Lorin (Bassnectar) personally, and like his act - but his fans are intolerable. These days, if he's at a fest, I go find another stage. Grateful Dead shows were the most interesting social experiment ever conducted. These people were on more powerful substances than most any crowd, yet almost always got along, danced harder than any crowd, and respected each other's space better than any rock crowd ever created. They wanted you to join the party and have a great time. Seeing Grateful Dead shows helped me understand that alcohol was the worst drug ever invented. Jimmy Buffett and Rolling Stones concerts confirmed this. On the other hand, there's an issue in the other direction: Those who go to see rock bands, and expect everyone to sit down like it's their living room in front of the 55", while the band's playing full tilt. If you insist on sitting on your arse while the band is in overdrive, you need to wait until the tour comes out on disc and watch it at home. The party poopers can and do spoil the show just as much as those who overdo it - I pretty much quit seeing shows at my local arena because so many people go to this place thinking that a rock show is viewed like an opera. Listen, folks - that seat is NOT for sitting in - it's just a place to mark your space and guarantee that you have a space of your own. It is understood that you don't dance at the symphony, opera, or even adult contemporary pop - but when Neil Young is shredding through a guitar every five minutes, that's not the time to be on your posterior. And it doesn't justify you demanding that everyone else in front of you sit down, either. I prefer festivals with multiple stages, because it's easy to move around to different shows - and to move at any given show. If I don't like the crowd or the vibe in a given area at a certain stage, I can move a little bit and find a more like minded crowd. I've pretty much given up on most arenas and cookie cutter shed shows - especially with commercially popular acts.....I haven't bought three sets of tickets via Ticketmaster in 15 years, yet seen too many shows to count. It's the smaller shows and festivals where I tend to enjoy live music the most.

Duie to a long personal story I won't get into here (I covered that extensively in the old BS forum) I am not making the trip. At the time the shows were being announced, I didn't think I could make it, so I didn't persue tickets and hotel, which sold out in a New York Minute. Regretting that a bit now, as I found out later I could have made it work - except that tix on the secondary market were very expensive, as were any lodging arrangements. I saw the Grateful Dead extensively from 1985-1995......ninety shows in ten years. You might say that I liked them a little bit I see them as the most American band in rock history, covering every genre of music we consider American, as well as exemplifying the concept of freedom of expression better than anyone else. I could live on an island just fine, so long as they played it as part of the regular tour schedule. Many of those shows were at Deer Creek Music Center, now known as "Klipsch". Those housing developments surrounding Deer Creek were places we camped for show runs in those days. Yes, we partied our ahhhhhhssses off in your now current backyard . So I will "make do" with the Pay-Per-View broadcast through our local cable company on the all-Cornwall home theater, sans the customary "consumables", since that would be a violation of my, uhhhhhh......"current arrangements" Having watched the prior weekend's shows in Santa Clara, however, I must say that it's been pretty good so far - especially the first 75 minutes of the second set on Saturday. If they can top that in Chicago, it's going to be a very good weekend. BTW - live Grateful Dead sounds really good through Cornwalls

The Chicago Symphony Orchestra salutes the Blackhawks: http://csosoundsandstories.org/muti-cso-hail-conquering-heroes-with-chelsea-dagger/

I enjoyed the game as well :D

I'll let everyone else be the guinea pigs for a while on this and see how it goes. If it goes well, I might consider changing - but I am loathe to mess with what works well, and Win 7 works very well for me.

I think this is much ado about....not much. Losers crying because they lost, over a so-called infraction that is routine in the game. Since Aaron Rodgers freely admitted that he uses overinflated balls beyond the league max in games he has played, does this mean the Packers get the same penalty? The league could easily solve this problem and do what other leagues do: "Here's the balls we are furnishing you - play with them". BTW I'm not a Pats fan, but I think this is ridiculous.