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About Droogne

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  1. The woofer does seems really high quality, thats true. I also thought it was about the frequency extension and size. Does make sense As far as I know the retailer I linked, and contacted, did sell them. Doesnt really matter as it doesnt like I'm gonna buy them. I'm happy with the K510 on my LaScalas for now!
  2. Droogne

    La Scala for PA use.

    Any audio experts ( @Chris A ) who can maybe help me decide how to set it all up? Area that should be covered is not very deep (around 8m so 26ft.) , but almost twice as wide. I have 4x P Audio PH4525 and 2x Klipsch K510 horns. For drivers I can choose between 2x JBL 2446 drivers and 4x Faital PRO HF200 drivers. The horn/driver combos will go in seperate top bins. How would I best stack them? The HF200 can do 500-20 000hz, so I was wondering how I would use 2 on each side without lobbing. Could I prevent lobbing by having each driver carry a different spectrum? So even though they are identical drivers, have one go from 500-4000, and the second one from 4000-... ? Or could I just have both of them do the full 500-20 000 spectrum? The area to be covered is around 8 meters deep, and 16 wide. So maybe best to no stack them, but put 2 on each side and have them cover a different horizontal region?
  3. PS some measurements I found (I think they're from Geddes, not sure though.) Looks like theyre pretty flat to almost 500hz.
  4. Also you're definitely not the only one frustrated by the direct radiating in the M2: " I was quite impressed with the wide dispersion, clarity and neutrality of these speakers when I heard them at an AES Convention a few years ago. Only wished they were not vented. The horn compression driver is an ingenious dual diaphragm design by Alex Voishvillo for extended high frequency coverage and low distortion at high output levels. Alex Voishvillo, Dual Diaphragm Compression Drivers, AES Convention Paper #8502, NY 2011"
  5. I still have 2 huge peaks around the crossover point, but the difference has almost disappeared at the crossoverpoint itself. What is the (probable/plausible) cause of these peaks (@ 870hz and 421hz), and how would I take these on?
  6. Well I was thinking the exact same thing. I must say I'm basing a lot on things you told me, but I have been looking a lot at the behind-the-screen models of their cinema line, as well as to the M2, and I did wonder how this direct-radiating model could ever be so superior.. Everyone is raving about it, and I believe that they sound amazing, but why would they leave out the horn loaded bass? It seems like theyre going all out on everything, but neglecting the bass. It is a fact though that the M2 is a studio monitor, and that that could explain the direct firing model no? This way they boast a flat response from 20-20000hz which is something that comes in pretty handy in mastering etc? That aside. It looks like the best part about the M2 can be bought seperately! (https://reconingspeakers.com/product/jbl-m2-horn-lens-5025594/) . This is without a driver, and is not unreasonably priced, which made me curious. Not convinced. But curious. Still want to go 100% for the MEH.
  7. @Chris A Hey Seen a lot of good reviews about the JBL M2 studio monitors, and primarily about their horn. It seems they also boast an extremely good polar control. Have you had the chance to hear them maybe? Or have theoretical comparisons between them? Thanks
  8. So youre looking at the min. GD vs the 1/12 smoothed graph? And "by look at the crossover region" you mean the SPL graph? Should I redo the measure, but without active crossovers? Or do you need the crossovers on to see and calculate the delays? Also, if I'm correct I should apply PEQs before calculating the delays right? So measure with xover and PEQ, calculate the delay, and then do another sweep to see the influence on the crossover region? Also, on a side note. What is a good end result for a SPL graph? 6db over the whole region? Thats where I'm at right now (with PsychoAcoustic smoothing). I was at 9db before the PEQs. I also have a few PEQs over to make that 6db a bit narrower (there are 2 "big" dips/peaks I think I can effectively correct), but first I want to get the delay right.
  9. Been rereading through it, and I tried to implement it on some of my readings. Tried this out in particular: some quesitions in bold. So not sure which graphs to look at. But here are the results of my measurement done on my Center LaScala (PH4525/Faital HF200). EDIT: these are sweeps with delay or PEQs.. I'm not able to do readings right now, so I'm gonna leave them here for now. It's more about the theory behind it, and knowing I'm doing it right. I do however have one reading with PEQs and an improvised delay (same as the K510 LaScalas). At my crossover (550hz) I come at these results: does this mean a 2,57ms delay on the HF channel? (I subtracted the Minimum GD from the Excess GD). Or am I wrong / is it not as simple as that? (EDIT: I come at a 7ms difference on the PEQd channel... I'll include the FR and GD graphs below here too.) This is the excess delay as you also showed it: PEQd channel: 1/48 smoothing Psychoacoustic smoothing
  10. Droogne

    Active Bi-Amping/Tri-Amping FAQ

    Is the (pure) direct mode in an AVR a good way to ensure best quality when using active crossovers / DSPs ?
  11. Droogne

    FS: Klipsch K55M (Europe)

    Selling this very nice pair of K55M drivers (no horns). Very good condition. Open to shipping (internationally). Price: 325 USD Greetings
  12. Droogne

    Active Bi-Amping/Tri-Amping FAQ

    Except getting amps with balanced inputs, any way to fix (or try) this?
  13. Droogne

    Active Bi-Amping/Tri-Amping FAQ

    Only the one going through the processor. The processor settings do not change the beep, only the amps levels.
  14. Droogne

    Active Bi-Amping/Tri-Amping FAQ

    I have some problems in my active setup, and I was hoping some people could help me out. As I'm new to this I didnt knew what to look for to maximise quality. I knew not to go over 0db in the crossover it self, but I didnt focus on clipping. I see and notice now how much influence this has on the sound quality. I have a few problems in trying to fix this. I have a beep, which is most noticeable in my tweeter horn. This only depends on the amp level, and is not influenced by the AVR level (or settings) or processor levels. I'm using a Marantz SR7000 amp which needs to be turned down to -35db to remove the beep. That is insanely low.. the amp itself has decent power, but like this it can not give enough. It makes it so that I need to make the difference very high in my processor to get it to the bass level. Same problem, but less severe, in my 2x 500W power amp which I use to drive the low end. All in all I need to pushe the speakers to their very limits in the AVR. They are set waaaay higher than the other channels (which is kinda crazy if you know that they have more than 12db sensitivity extra, ánd several times the power potential to drive them). My very very very cheap (10 USD) china amp doesn't have this problem.. I tested it, and it comes out pretty *BEEP*less. I can easily set the level of 1 speaker with this amp driving both high and low end (it does not have balance control) , without having to use crazy proces. In the end this problem with my main amps is most visible in the clipping of the processor. Even at moderate levels it clips. And it is soooo noticeable.. How do I fix this? The amps I have now are temporary in every sense, so changing the amps is the solution I have in mind. How do I know if an amp is gonna give a beep or not? It would be a waste to spend good money on something when I gives the same BEEP / clipping problem I have now. Also, what other rules of thumb and principles should I follow? Not adjust the processing above 0db is one. What are some others? If I want to raise the level of a speaker, what is the best way? Adjust it in the AVR, amps or processor? Same for adjusting high vs low: amp or processor? Thanks in advance!