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ATLAudio

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Posts posted by ATLAudio

  1. Some offerings of Klipsch speakers over time made more sense to be offered at the time the were offered, then now. 

     

    PWK Heritage: These stand alone, and I think Klipsch should always continue to make them, and tweak them as needed, or when advancements are available. 

     

    KG Series: Klipsch was going against the big box speakers at the time, but those aren't really a thing now; for better or worse. 

     

    Forte Chorus: These were the most popular line offered at the time, with each able to be outside the corners or walls and still be "full range." The Chorus II and Forte II are nearly the same speaker, with the Forte trading efficiency for extension, and more mid bass bunch compared to the more linear and efficient Chorus. Yes, the Chorus would be closer to the Cornwall III of today, with the Cornwall III better in nearly all respects outside placement freedom; an advantage that I don't think would appeal to as many consumers in today's market. 

     

  2. The cat basically tore these a new one. What options do I have for total replacement? I've seen repair kits for other brands, but not Klipsch KD-12 PRs, also Dayton Audio has one, but the screw pattern looks different. 

    All that said, I'll be damned if I can hear a difference, is that typical? 

  3. On 9/23/2017 at 10:07 PM, ndavis1971 said:

    Thanks for posting. Given the other speakers he cited as examples of doing something better in certain ways, I am a little skeptical. I don't care for those other speakers. I also don't know why any serious reviewer of klipsch would use solid state instead of tubes, or seriously use these as part of some surround sound system. But then again it's CNET, not Absolute Sound. The most accurate insight was the comment: "A modernization of the venerable Cornwall / Heresy designs - biradial mid-horn, passive radiator to extend low end. Horn mid / treble exceeds in one seldom mentioned area - transient response. If your musical preference points to rock / hard rock or night club music these speakers would be incredible. As a DJ, used Klipsch in clubs and owned LaScalas running on a vacuum tube McIntosh 240 myself. Strong, punchy and LOUD!"  

     

    "Given the other speakers he cited as examples of doing something better in certain ways, I am a little skeptical."

    Indeed

     

    "I also don't know why any serious reviewer of klipsch would use solid state instead of tubes"

    PWK used solid state. Under normal working conditions there's no secret sauce with a tube amp. 

     

    "or seriously use these as part of some surround sound system"

    I believe he played movies in stereo to hear movie dynamics. 

     

    "But then again it's CNET, not Absolute Sound."

    The audio press is a complete mess, no one is immune. Wasn't it Absolute Sound with the "dancing cables?" 

     

     

    • Haha 1
  4. On 9/21/2017 at 11:55 AM, John Albright said:

     

    The Inflation Calculator

     

    What cost $2.10 in 1974 would cost $10.38 in 2016.

    Also, if you were to buy exactly the same products in 2016 and 1974,
    they would cost you $2.10 and $0.39 respectively.

    Do you want to do another calculation?

     

    My 26-y.o. is making ~$14/hr, but sound to him is earphones. 

     

    The Inflation Calculator

     

    What cost $525 in 1974 would cost $2595.69 in 2016.

    Also, if you were to buy exactly the same products in 2016 and 1974,
    they would cost you $525 and $97.41 respectively.

    Do you want to do another calculation?

     

    As best I remember, the last La Scalas in plywood were ~$2500 each with AL-4 crossovers, maybe less with dealer discounts.  The new ones with $$$ veneered mdf are more, but they replace Belles, beautifully.  

     

    Minimum wage has not kept up, but few really make minimum wage.  It is not intended to be nor ever was a living wage.  It is a foot in the door, learn to work wage. 

     

    Klipsch have always been expensive. Still are.  But not as much more expensive as you thought. 

     
     
     
     
     
     

     

    “By living wages, I mean more than a bare subsistence level — I mean the wages of a decent living.” (1933, Statement on National Industrial Recovery Act) FDR, in creation of the Federal Minimum Wage.

  5. 17 hours ago, Coytee said:

     

     

    If you have the space, I"d put a LaScala bottom with a K402 (best scenario) or a K510 on top

     

    If you don't have the space, I'd think it would be a workable choice since it's got the 510 on top.

     

     

     

    Space is always the issue. With a set up like @bhendrix that allows a "cubby" for the center then yes, the LaSK402 hybrid is ideal.

     

  6. 24 bit / 192 Music Downloads ...and why they make no sense

     

    "What about 16 bit vs. 24 bit audio?

    It's true that 16 bit linear PCM audio does not quite cover the entire theoretical dynamic range of the human ear in ideal conditions. Also, there are (and always will be) reasons to use more than 16 bits in recording and production. None of that is relevant to playback; here 24 bit audio is as useless as 192kHz sampling. The good news is that at least 24 bit depth doesn't harm fidelity. It just doesn't help, and also wastes space."

  7. 22 hours ago, CECAA850 said:

    SVS was much cheaper when they first went into business.  It seems the more successful (bigger) they got as a company, the higher the prices went.

     

    I believe they aren't really an ID sub maker anymore for this reason. I don't see the wholesale direct bargain. 

    • Like 1
  8. As a matter of principle, the ID sub makers do not have discounts, as added costs aren't built into their products which department store brands would have to give. 

     

    That said, SVS's prices are too high IMHO, as other ID sub makers have more sub for the dollar in almost all cases.

  9. 30 minutes ago, robert_kc said:

    Thanks for the video showing the Forte III in wood veneer.  That looks much more appealing to me than black.

     

    Given the Forte III's rear mounted 15" passive radiator, how far out from a wall should it be placed?

     

    I'd give it 6" minimum or further to taste. 

  10. On 12/18/2016 at 7:18 PM, RSVRMAN said:

    Pic of my first setup. Trying to find other pics and will post. Painted the room copper to match the woofers. 

    klipsch.JPG

     

    Speakers way too close together, perhaps this was why you got headaches. You'll want even more space for Jubs

  11. 37 minutes ago, jkull said:

    They do, but the costs of some of these are sort of funny. And I agree with you about magnolia.  B&W's are risky speakers so I've learned. Mine bled my ears with my emotiva's. I'd make it through one side of a record and had enough. 

     

    I don't think the tweeter is anything special on even the high-end BWs. I've never heard a Klipsch speaker that bright. But they market their design as "cutting edge" and such. I've heard that to replace the tweeter motor it's only like 75$. Having to replace a tweeter motor on a high-end Vandersteen involves Richard Vandersteen actually building it. It will cost more than 75$ if out of warranty or abused.  

  12. 1 hour ago, jkull said:

    I thought you were going to come back at me again and this thread was going to get unnecessarily argumentative. But you didn't, so thank you, and I issue my respect for that.

     

    i agree that acoustical strings are found to more than not, with tubes, sound rather beautiful. I find the sound of horns and acoustics quite nice with the LM219ia thus far.

     

    I personally think some of the most outrageous gear are the humongous SS mono's out there calling for 15-20k by the likes of Pass or Krell etc.. I'm sorry but I feel like the production of many lower sensitivity speakers propels the production of larger and larger SS amps to be able to drive them, which, even though watts or fairly cheap, the companies don't always play it that way. Thus you have the 700lb Master Reference amp from krell that cost $120,000.  Yes that is the far extreme of things but how unnecessary!

     

    The large mono-block amps seem to have a home, however, with less sensitive low ohm speakers. What makes my ears bleed is the Best Buy Magnolia who matches them with high-end B&W. However, they sound great with 1st order designs, like Vandersteen or Thiel. 

  13. Tube amps do in fact change sound characteristics, especially push-pull designs, and when allowed to go into distortion. Actually, all amps have differing ways of handling distortion, NAD has soft clipping on solid state amps which I've found has a similar effect as a tube amp. This combination of push-pull and distortion handling creates a sound which I've found to be quite similar to an electrostatic speaker with a reflective front wall. If you have heard this before, and like this, go for it, but I've found that it introduces some coloration effects with a lot of material that I find objectionable. 

     

    Play Leonard Cohen's Nevermind. His mic is a bit hot, and the sound of smacking between lyrics is quite noticeable. With controlled directivity of horn speakers and neutral solid state amplification, all sonic material is situated on the front stage. With electrostatics, or overly colored tube reverb that smacking sounds like it's in surround sound all around, and right next to you. This immersion effect is intriguing, maybe even pleasing at first, but for me, quickly gets annoying. I also quickly realize that it's anything but accurate. Other sounds, especially horns, and synthesized material sound too different for me to appreciate their reproduction. However, string instruments benefit the most, especially acoustic strings, but even here I get into a circular argument with myself that if the artist wanted this coloration, wouldn't they have engineered the recording to provide it as such?

     

    That said, I wouldn't mind finding a tube power amp, say under $1000, closer to $500 to play around with. It's the exotically priced stuff I call BS on, and I do it with solid state as well. I'll also always call BS on the industry's "slapping a tube on it" approach to any and all audio gear, and charging a premium. Finally, I've also heard of using pro-gear pieces to introduce the specific flavor of reverb and tube characteristics to your speakers, but I don't know what specific gear was used, or how to properly use it.

  14. I was using the best Emotiva with the closest power output as the LM for price comparisons. It seems you made a lot of assumptions about how to properly troubleshoot and or repair the monoblocks, to say nothing of your home wiring. If not Emotiva, there are countless models costing much much less than the LM, and you've yet to answer my questions regarding this amp's claims for the money. 

     

    There are hundreds of happy customers with Emotiva amps and Heritage. I wouldn't consider them the best choice, but certainly not bad. I'd not be terribly surprised if the LM sounds better, but I'm certain that the best sound for Cornwalls is in an amp far cheaper and more accurate. Like I said, I would demand to know why I'd need to spend thousands and thousands of dollars for the LM, and if someone asked I'd gladly tell them. 

     

    I think McIntosh, SS or valve, are also audio jewelry for the most part. So I'm not sure where you were going there.

     

    As for amps for sensitive speakers; the Cornwalls are 100 watt RMS. Amplifier technology is a mature technology, and it doesn't cost that much to purchase a 100 watt amp which will amplify the signal from the source and nothing else; allowing your speakers to do the singing. What's silly is investing in a revealing and accurate set of speakers and spending far more money on an amplifier which perverts that revealing and accurate reproduction. 

     

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