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Did you see this: https://support.apple.com/en-us/HT201945

That picture I posted is directly from the SVS-SB2000 manual - it appears like it has line-level inputs. On the MA5200, he can remove the jumpers between the pre-amp outputs and the power-amp inputs and use Y-splitters to route the full-range signal to both the H3's and the sub. At least that's what I would do - like the picture.

The Y-cable method I mentioned would send full-range to both your amp (and thus your Heresy III's) as well as your subwoofer. Set the low-pass on the sub somewhere in the 55hz range to blend in nicely with the H3's and you're done. This is how I run my H3's with a sub, powered by a MA6500. This is what is also recommended in your sub's manual:

Would a couple of Y-RCA cables splitting the signal from the mac's pre-amp output, one side going directly back into the power-amp input on the mac and the other side feeding the subwoofer, work instead?

If it's the same distortion on both speakers, and the crossover point is 6K, then my guess is either 1) the midrange gaskets are both old and need replacing, or 2) the crossovers are old or something got jacked up when the crossovers were converted from type-D to type-E. Do you know when this was done and who did it?

This is what I would try: Pg 247-248 - Speaker Config - make sure your fronts are set to LARGE, and your sub, center, surrounds are set to NONE. Pg 161 - Select stereo sound mode. Also refer to the chart on page 333-334.

Does the Marantz have your main speakers set to large or small? Until you get a sub and center, tell the Marantz you have neither so it routes low-frequencies and the LFE channel to your main speakers, and you want them set to large. Note this is all just temporary until you get the other speakers.

Looks like the crossover point is 4500hz? I'm not sure. If so, then the distortion spans both the squawker and tweeter. Either something is buzzing and needs to be tightened down or replaced like Pauln said above, or the crossover needs help. If the crossover point is 6000hz, then it's probably localized to the squawker. How long ago did it get converted from a type-D to a type-E? Here's a nice article about replacing squawker gaskets: https://steveneudaly.wordpress.com/2013/09/08/klipsch-heresy-type-e-capacitor-replacement/ I had a brand new K77 tweeter that was throwing distortion. I carefully took it apart and reassembled everything. Distortion was gone. I think it was the bug screen vibrating. Before and after pics below:

If it has Klipsch's name on it, then they are responsible for quality control at their suppliers.

Sounds like a lemon. I had a problem with the electronics on my first pair and had to exchange them. There's been 2-3 other people that have posted potential problems with these things out of the box. Klipsch should check the quality control on the electronics in these things.

If you don't want to pay for a built-in DAC, try to find a used MA6600 if you want autoformers. or MA6300 if you want a direct-couple amp.

The Timex will keep better time. The more expensive the watch, the less accurate it is. I listened to some Martin Login electro-static speakers powered by a McIntosh MC275 tube amp at Magnolia last year. Not impressed. In fairness, those guys didn't do it any favors with it's setup and positioning - it was sort of on an end-cap display to attract passers-by attention. I think McIntosh amps and integrateds are a great audio investment considering you can buy them gently used, keep them for 10-20 years, and then sell them for probably about what you paid for them. Not bad.

Just making sure you are pushing down the volume/input selector on the back while rotating it to select the input?

Agreed. I think the only blanket statement you can make today on this topic is if you want to ensure nothing changes the sound of your pure direct analog stereo sound, then get an analog stereo pre-amp or integrated amp. I think the amp sections of modern AVRs have come a long way but still can't match a dedicated amp. Differences are noticeable. However I think the pre-amp sections of modern AVRs can be as transparent (or not) as you want them to be, and work very well for stereo listening.

I like this approach as well. Although today, you have to go fairly high up the chain in most AVR product lines to get pre-outs.

If the Sonos is connected to the Marantz via analog inputs, then the Sonos is doing the D-->A conversion, sending it to the Marantz that, in turn, does an A-->D conversion to send through its internal DSP chips, then does another D-->A conversion before sending it to your speakers. That expensive turntable or external DAC you have connected to your AVR gets its analog signal converted to digital and then back to analog by the chips inside the AVR. Most AVRs are 100% digital inside. Some have various "direct" modes which are marketing terms for "we still convert everything to digital but don't apply any DSP, tone controls, bass management, or room EQ." A few (Anthem, Arcam, Emotiva, maybe the lower end McIntosh Pre) promote their "direct" mode as avoiding any sort of A-->D-->A conversion for certain analog inputs. I'm no expert in this area but just parroting what I've learned on the internet, and of course we all know you can't put anything on the internet that's not true. The bottom line is if you want to ensure an all-analog signal path, go buy a refurbished integrated amp from the 1970s or early 1980s - or one of the tube amps that many talk about on this forum. This adds complexity and cost to a combo home-theater and 2-channel setup, but many do it with switch boxes or components with HT bypass modes and the like. Now the question is, for luddites like myself, can you tell a difference if an AVR does a "neutral" A-->D-->A conversion internally? So far I can't tell a difference. And, hopefully this doesn't get me banned, but a well implemented AVR (acting as a PRE only with a good amp) can potentially improve the sound over the 2-channel 100% analog approach using room correction and other modern features.

Agree 100%. Get a decent AVR with pre-outs to feed a high quality amp. If it's setup properly, the pre-AVR should be transparent for 2-channel listening, and then you can layer on your features from there to your liking: EQ, room correction, distances, DSP modes etc etc etc. The problem is AVRs are complex computers inside a box that processes sound, and they can be setup incorrectly, or, as Pete discovered, their firmware can go on the fritz requiring a factory reset. One nice feature of your LS2's is they are so sensitive, you can feed your source directly to the Amp via a low-cost switch like the Schiit Sys. This way, if you are not quite sure if your AVR is helping or hurting your sound, it's easy to rig up an A/B test to see what effect your pre-AVR is having on your sound. About 9 months ago, I had an itch to upgrade my 15-year old middle-of-the-road Yamaha AVR being used as a PRE for a McIntosh amp. Someone on this forum gave me the idea to test it with a Schiit Sys, and after about an hour of blind A/B 2-channel listening, neither my son or I could tell any difference in sound with the PRE in the mix. I still may upgrade, but I'm in no rush and it will be for features and convenience reasons.

It should be pretty easy. The speaker should be visible after the initial power-on cycle and then for several minutes while the blue light is flashing. Sounds like you've done all the basic troubleshooting, so I'm stumped.

I currently own LS2's and H3's. Different rooms. McIntosh amps. Both have subs. Comparing the two, the H3's have a more forward midrange. The LS2 midrange is recessed but smoother and a bigger sound. Maybe tomorrow I'll carry my H3's downstairs and hook them up to the same system to compare directly vs the LS2's. Both speakers are much better than my previous KEFs and Sonus Fabers, but I don't have broad exposure to lots of speakers. On my LS2's, I've been back-n-forth between the original K77s and CT120 tweets several times. My current preference is the CT120 but this is just a personal taste issue - I was very happy with the K77s too. If there was something inherently 'wrong' or 'sub-par' with the midrange on the LS2's, wouldn't the same apply to the K-horns? Isn't everything the same between the LS2 and K-horn above 450hz?

I like the LS2's better between the two. Tough to tell with the recording though. I can hear a stronger bottom-end with the CW3s. That's expected. Midrange sounds fuller on the LS2's. I don't hear anything missing from either. The LS2's could probably benefit from some room treatments and/or play around with positioning. Maybe your LS2's are fine and you're just used to the more forward presentation of the CW3s and your old 78 LS's? I know with my H3's, the midrange is hotter than than on my LS2's.

That sounds like an ice cream truck! :-) What did you use to record it? At first I thought it could be the mic, but when I play that song from iTunes through the same speakers and compare it your your soundtrack, yours has an echo/reverb quality to it. Like you're playing a transistor radio in a sewer. To really nail this down, if you recorded that same song with the same gear playing through your CW3's, I'm assuming it would sound a lot better?

Roy knows slightly more than us about speakers :-) In the meantime, it might be worth downloading REW (free software) to your laptop and running a few test sweeps to see what exactly is missing. There are other free test tone generators out there too.

I'm running out of ideas. Do frequency sweeps sound continuous and somewhat normal compared to your CW3s? No gaps or missing frequencies?

Ok good. What about popping off the cane grill in the front? If I drive over and find packing material stuffed down the throat of the squawker, I'm going to make you listen to the complete Kenny-G collection as a penalty :-)

Then there's something jacked up with your LS2's. They should sound fantastic on pure-direct and get better from there as you apply room correction etc. Were you able to open them up and take a look-see?