MMurg

Just get Jubilee instead. They don't need corners. 😁

As a Heritage Jubilee owner, I can tell you that the Axi2050 is a crazy good driver. With the Jubilee DSP the response is flat out to 20 kHz+. And with it going down to 300 Hz, you have a lot of flexibility in setting the crossover point. That's why I purchased one to use in the center speaker for the Jubilee.

Look at the PDF file attached here:

As Trey mentioned, OmniMount definitely used to make them. I bought these a while back to use with the AW-650 in my garage. They are for outdoor use as well. Unfortunately, it looks like the entire OmniMount line and brand is gone. Maybe you can find some new old stock online somewhere. The similar wall mounts I see online have 1/4"-20 threaded studs. 😞 Good luck.

I mentioned Trade Secret when @Schroedinger asked about this in one of the Klipsch Facebook groups. 😉 By the way, I used it on my 35 year old pine Ikea kitchen table. It did a great job of restoring the appearance of the finish.

The last Heresy version that was available with a standard oiled finish was the Heresy II. The standard finishes for the Heresy III (or later) were all sealed. My understanding is that the topcoat was lacquer (and still is on current Heritage products), but I'm not 100% certain. Perhaps someone from Klipsch will chime in to confirm this or correct me.

Yes, the Heritage Jubilee definitely bests the Underground Jubilee in the deep bass. The large cuts in my room had to be made in in the 20s (-10.5 dB at 26 Hz in the left channel and -7.5 dB at 22 Hz in the right channel. And that's leaving it a little high, the way I like it. I could have cut more to be really flat. (There were much smaller cuts in the 100 Hz region). That 18 Hz number in the frequency response specification is no joke. With my PEQs, the - 3dB point is at 16 Hz in my small room.

I would imagine it's cabin gain. Since Roy mentioned earlier in this thread that the Heritage Jubilee is curved to be flat in half space, then once you get near a wall or corner there will be bass gain. Having them in my small living room required two PEQs per channel to tame the bass, one of them was more than -10 dB. It's a shame the Jubilee DSP doesn't let change the low bass response. I was fortunate that my processor has built-in PEQ capability.

Those look great in there. I wish I has a room that size for mine. Congrats.

@Heritage house - Here is some info from @Chris A that might be helpful. Am I doing this right? comment: https://community.klipsch.com/index.php?/topic/181099-am-i-doing-this-right/&do=findComment&comment=2340776 How to use Room EQ Wizard to set up DSP crossovers: https://community.klipsch.com/index.php?/topic/167089-using-rew-to-find-parametric-equalizer-peq-settings/ https://community.klipsch.com/index.php?/topic/182892-using-rew-to-determine-time-delays-between-drivers/ Active Bi-Amping/Tri-Amping FAQ (DSP crossover FAQ): https://community.klipsch.com/index.php?topic/117543-active-bi-ampingtri-amping-faq/

Now just get it over with and buy a pair of Axi2050. (I like to spend other people's money too. 😁 )

I would agree that the Forte IV is likely the closest current product to the KLF-20. The Legend series (KLF-10, KLF-20, KLF-30) was essentially the direct replacement for what I call the "Forte family" (Quartet, Forte, Chorus) when those were discontinued. The KLF-20 and the Forte were both the middle product of each set.

If you can accommodate it in vertical orientation, a Heresy II (or later) would probably be the best "smallish" match. Having a 3-way center means having a similar "horn-to-direct radiator" crossover point as the mains and more of the midrange covered by a horn-loaded driver. Therefore, it will have similar midrange clarity with the mains. I used a Heresy II as the center for original Forte and later KLF-30. It was a great match. If you can't accommodate it, then I'd recommend a KLF-C7 (or perhaps the similar KV-4, although I've never heard one to confirm). It's about the closest match to the 3-way Klipsch for horizontal 2-way center that I've heard.

While that's true as a general rule, are you suggesting that people forgo purchasing their dream speakers just because the only option they have is a small room? Perhaps one day I'll bother moving to a house with a bigger room for them. However, I didn't see any point waiting for what may be years to own a pair of Jubilee The Klipschorn specifically has issues in small rooms due to how it's designed. This is due to the wide splay angle between the bass bin horn mouths. I believe it was Jim Hunter who said that you need to be about 12 feet away for the bass horn mouths to sum properly and then integrate with the MF/HF. The Jubilee does not suffer from this limitation. The speaker acts almost like a point source. You can get quite close to the Jubilee, and it still sounds like one integrated sound source. The Jubilee is nothing like the Khorn in the regard.

Then you have obviously not heard the new Jubilee. With one large CD horn covering from 340 Hz to 20 kHz, what needs to integrate? The speaker acts almost like a point source. You can get quite close to the Jubilee, and it still sounds like one integrated sound source. The Jubilee is nothing like the Khorn in the regard.

Don't feel bad about having that initial response that seems intuitive at first. The expectation of large speakers not performing well in small rooms is not unreasonable since this can be the case with many direct radiator speaker designs. It's the reason why you see many audiophile speaker setups with the speakers pulled well away from the front and side walls, often accompanied by significant room treatment near the speakers. This is because many direct radiator speakers have little directivity control. Many monopole direct radiator speakers can have significant sound energy even up to 90° off-axis (sideways) or more, leading to significant reflected sound. As I mentioned above, early reflections can prevent proper imaging and all reflections can change the timbe of the sound depending on what range of frequencies end up being reflected and the timing of those reflections. So, the larger the direct radiator speaker, the closer they have to be placed to the room boundaries in smaller rooms, exacerbating what I've described. On the other hand, as horns get larger, the better they control directivity. As you move up the Heritage line in size, the ability to place the speakers closer to the room boundaries (and hence into small rooms) increases. The only large Heritage speaker that might have issues in a room my size would be the Klipschorn. This is only due to the wide splay angle between the bass bin horn mouths. My understanding is that you need to be about 12 feet away for the bass horn mouths to sum properly at the listening position. I have La Scala AL5 as the surround speakers in this system in the back corners behind the couch. They also sound good in this room even though I'm sitting even closer to those than the Jubilee.

The soundstage is smaller than it was in the Klipsch Lab listening room, but not as much as one would expect by the difference in scale. I still get wall to wall imaging and because I'm sitting fairly close, the "angular distance" (the angle to the limits of the image from the listening position) is not that much different. Since all my listening rooms are about the same width, it's about what I expected. However, the Jubilee imaging precision and realism are just as good as what I remember hearing in the lab. It's leaps ahead of my Palladium systems, which are no slouches at imaging themselves. 🙂

Your muscle car analogy only works if the purpose of purchasing the Jubilee is raw sound pressure level. It's not. There is a reason why Klipsch Chief Engineer Roy Delgado, the person worked with Paul Klipsch on the original Jubilee design and is responsible for the updated Heritage Jubilee, says that "smaller rooms need bigger horns". It's about directivity control. The smaller the room, the more important it is to keep sound off the room boundaries. Early reflections can prevent proper imaging and all reflections can change the timbe of the sound depending on what range of frequencies end up being reflected. In general, the larger the horn mouth, the lower the frequency is before the horn loses directivity control. With the K-402 horn in the Jubilee, its low frequency cutoff is actually well below where the driver is crossed over to the bass bin. So, that horn doesn't lose directivity control across its entire operating range in the Jubilee. Very little sound ends up being reflected from nearby room boundaries. Other goals for the Jubilee design are ultra-low low distortion and very high dynamic range. The large, fully horn-loaded Jubilee has ultra-low distortion, orders of magnitude lower than typical speakers. It about the cleanest sounding speaker you likely to hear in anyone's home. It's also the only speaker I've ever owned that properly reproduces the dynamic range of a large orchestra. Another goal was the 2-way design, which eliminates a crossover point and another driver/horn and their issues (inter-driver interference, polar mismatches, phase and timing problems, etc.). Because of this, the imaging capabilities of the Jubilee are amazing. None of these things depend on large room size either. I could go on, but I think I've made the point. I have a pair of Heritage Jubilee in my smallish living room, and they sound fantastic in that room. I didn't buy them to make myself deaf listening at dangerous volumes. I bought them because they are wildly great sounding, by far the best sounding speakers I've ever owned.

(Waiting to see how long this mod thread survives before it disappears...) Get the Celestion Axi2050 (the driver in the Heritage Jubilee) and go active. You'll be glad you did. You can get the driver from Parts Express: https://www.parts-express.com/Celestion-Axi2050-AxiPerodic-2-Wide-Bandwidth-Compression-Driver-4-Bolt-294-2142. Correction, you can preorder it and wait for it to ship a few months later like I did. 🙂

I will be doing the same. I have La Scala AL5 as the surrounds in this setup in the corners behind the couch. In that position, they are a little too low. The horns are not ear height and since they are even closer to the listening position than the Jubilee, the horns are not on-axis vertically with my ears. So, I purchased two platforms to raise them up about six inches. They came the other day. I just need my son to get a break from classes at college to help me move the speakers.

While it's true that some recordings are not correctable with EQ (over compressed, distorted, completely missing bass, etc.), there are many that can be made much more listenable with some EQ (usually some bass boost, a mid-treble shelf down, or both). On my Palladium setups, the same recordings are corrected by the same EQ settings. The Jubilee system was the odd man out until I got the K-402 horns on-axis in both directions with the listening position. Now, it behaves the same as the Palladium systems in this regard.

After living with the Heritage Jubilee in my smallish (13’ x 17’) living room for about three months now, I have a few insights and tips that have improved my enjoyment that I’d like to share. Apologies for the length but I wanted to include as much detail as possible in the hope that this is helpful for anyone who has purchased them or may be considering a purchase. I also apologize if some of this may be old news to some, such as Underground Jubilee owners, but it was new to me. The first major insight has to do with positioning the Jubilee. About a month after getting the Jubilee someone on the Klipsch Forum asked me how I was liking them. My only complaint at the time was that I couldn’t listen to a lot of the not-so-great recordings on this system. I was unable to EQ them to sound decent the same way that I did on my other systems. So, I decided to use my UMIK-1 microphone with the REW software to see if I could figure out the bad recording mystery (which I had recently learned how to use during "the speaker project that must not be named" 🙂). Thanks to Klipsch Forum member @Chris A for all the help with REW, interpreting the measurements, and help with the solutions during this effort too. First, I made a few near field measurements at 1 meter on-axis horizontally to see the response in the mids and highs uninfluenced by the room (above the Schroeder frequency). My first measurements were at the height of the dividing line between the LF and HF sections, about ear height. I wasn’t sure where I should be measuring these speakers, and this seemed like a reasonable place to try. However, the response was not flat at that that location. It looked more like a bell curve. There was a broad hill from about 4 kHz to about 11 kHz and a tail off above that. So, I moved the measurement position to on-axis vertically as well with the K-402 horn. Now the response above the Schroeder frequency was nice and flat. This information turned out to be the key to what I was experiencing. When I moved the mic to ear height at the main listening position (MLP) to see what was going on there, the response looked similar to the 1m ear height measurement. Now I understood why the bad recordings sounded worse on this system. My initial setup was to place the Jubilee snugly in the corners at 45° just like Roy had them in the Hope lab listening room at JubFest. This gave me a smidge more separation than pointing them at the listening position as I usually do with speakers. However, doing that in my small room put the K-402 horns too far off-axis horizontally at the MLP. Also, the short distance to the MLP (a little over 9’) put them off-axis vertically as well. That was causing the upper mid and lower high frequency emphasis that was making the bad recordings sound even more shrill. So, I turned the speakers to put the K-402 on-axis horizontally with the MLP. I then tilted the horns down to put the K-402 on-axis vertically with my ear height the MLP. At this point I must mention what seems to be design issue with the Heritage Jubilee top-hat (HF section) that may not allow the horn to be tilted in the way that I was told was intended and what can be done about it. I’ve included pictures where you can see what I’m about to describe. The mounting bracket at the horn throat/driver is fully adjustable and is not the problem. The issue is with how the front baffle and base board are attached together with two L-brackets. I believe Roy mentioned a JubFest that these brackets are supposed to be bendable to allow the horn to be pointed down. However, because the front baffle is butted up against the front of base board and the L-brackets only have circular holes for the screws, any attempt to turn the front baffle down may be prevented as the bend in the L-bracket cannot move forward with the front baffle. I believe that the screw hole in the L-bracket at the base needs to be a slot so that the screw can be loosened allowing the L-bracket bend to move with the front baffle. ***** Update – @Chief bonehead replied to my Facebook post about this saying he had no problem pointing the horn down as is. So, I guess I was in error with my assessment of the L-bracket situation. However, I think I still prefer my method of tilting the horn described below as it doesn’t involve messing with the factory adjustment of the horn/driver bracket or deforming the L-brackets. ***** So instead of trying to tilt the horn down that way, I simply placed a spacer board under the rear of the top-hat base board on top of the bass bin. I determined the angle of tilt that I needed by placing my tripod-mounted UMIK-1 at the MLP at ear height, pointing it at the throat of the K-402, and measuring the angle from level. This was about 6°. So, I experimented with various spacer board heights until I got close to this angle. I ended up using a 2.5” x 2.5” x 18” long poplar square dowel wrapped at the contact edges with some three-layer Duralux shelf liner to prevent the edges from digging into the MDF. This was placed under the rear of the top-hat just behind the two rubber pucks that support the top-hat when it’s level. This got me to within 1/2° of my desired angle. You can’t really use a bigger spacer than this as the two front veneer panels are very close together, a little over 1/16” on one speaker, using a 2.5” high spacer. Any attempt to go to a steeper angle would require lifting the front of the top-hat as well. This might lift it off the three rubber support pucks at the front edge and cause it to slide forward. I can’t imagine needing a steeper tilt than this unless you had an even smaller distance from the speakers, which is unlikely. If you want to try this method of tilting the horn, I recommend that you temporarily put some cushioning material between the two front veneer panels before starting so that you don’t accidentally crash the veneer panels together. I used two pieces of Duralux for that. I’m glad I came up with this method of tilting the horn since it is so easily changed or undone. I wasn’t too keen on loosening the bracket holding up the heavy Celestion driver or bending the L-brackets. Once I had the K-402 on-axis in both directions at the MLP, the response there above the Schroeder frequency was now fairly flat. I put on a few of the not-so-great recordings. They now sounded like they do on my Palladium systems and are correctable with a similar amount of EQ. This also corrected an intermittent imaging issue I experienced. On some recordings, the instruments or vocals at the speaker positions would sometimes be higher than ones in the center, appearing to be at the horn throat height instead of level with the rest. Now, everything is always level and solid with the acoustic center always at ear height. So, my conclusion from this is get the main listening position on-axis with the K-402 horns in both directions for best results. My front wall may look even more like a wall of speakers now, but the improvement is worth it. The second major insight has to do with bass room gain. It might be expected that putting a speaker like the Heritage Jubilee in a small room corner might lead to some pretty large room gain. I could hear such a gain when I was close to the corners. However, I thought I was spared this at the MLP since I didn’t hear that when listening there. Well, it turns out that I just hadn’t put on the right program material yet. One day, I decided to listen to some tracks from the Lord of the Rings soundtrack. The deep organ bass on this was so overblown that I couldn’t continue listening. The measurements I made for the positioning issue showed my why. While there was some room gain in the mid-bass at the MLP, most of that gain was below 30 Hz, peaking in the mid 20’s. Only the sustained low bass the LOTR soundtrack made this obvious at the listening position. Luckily, the processor that I am using in the Jubilee system, the Emotiva XMC-1, has two equalization presets that allow up to 11 PEQs to be defined per speaker per preset. REW was used to determine two PEQs per channel that were enough to tame this at the MLP in my room. This very low bass room gain was quite large. The largest peak required more than a 10 dB cut to correct. So, if you are going to have Heritage Jubilee in a smaller room, you will need some way to do bass room correction. It’s unfortunately that Klipsch does not allow the end user to adjust the DSP in any way (apart from the gain knobs that allow different amplifiers to be used with the LF and HF which wouldn’t help with this). This would be a good way to do such correction. Now that I have the speaker position and room dialed in, the Jubilee sound better than ever. The response at the MLP goes out to 20 kHz close to spec and the -3 dB point for the bass is about 16 Hz. I even get useable response (-10 dB) down to about 10 - 12 Hz (depending on which channel is measured since the room isn't quite symmetrical). These speakers have not been over hyped. They are the real deal. Last week I went to a concert at Lehigh University featuring the Lehigh University Orchestra and Choir. (My son sings bass in the Choir.) It was another opportunity to hear what a live, unamplified orchestra and chorus sounds like. I have to say that of all the speakers I’ve owned over the years, only the Jubilee seems to successfully reproduce the detail, dynamics, and sheer power of a live orchestra and chorus. One other thing the Jubilee do best is producing the “performer in the room” tangibility, that feeling that you could reach out and touch the performer. A few days ago, I purchased a used CD at a thrift shot of the Persuasions, a “doo-***” a cappella group, doing covers of U2 songs. While it’s not something I would normally buy, I was mainly interested in the recording as demo/test material. It was done by the audiophile label Chesky Records and was recorded direct to digital (no overdubs or remixing) in a Manhattan church. The imaging of the semicircle of the singers with this recording is amazingly precise and realistic. The “reach out and touch” feeling is astounding, as is everything else with these speakers. After three months of owning the Jubilee, I have no regrets.

Thanks Roy. I'm working on a more detailed post called "Heritage Jubilee in a Small Room – Three Months in" where I describe some insights from my experience with the Jubilee so far, how and why I made the measurements, and what I've learned from it. I hope it helps others who might be considering a purchase (or even those who already have). I hope to have it done soon. It may be a little long winded, but the engineer in me can't help but include all the details. 🤓

To add to the official story told by the spec sheet, I have measured the Jubilee in my listening room with my UMIK-1 and REW. Measured at 1m on-axis of the K-402 horn (both horizontally and vertically), the response measures to spec down to where the room response starts to take over. Once I got the K-402 on-axis in both direction at the main listening position (using speaker positioning and tilting the horn down due to the short distance in my small room) and corrected for the huge bass room gain from my small room with a two PEQs in my Emotiva processor, the speakers measure very well at the listening position as well. The response goes out to 20 kHz to spec and the -3 dB point for the bass is about 16 Hz. I even get useable response (-10 dB) down to about 10 - 12 Hz (depending on which channel is measured since the room isn't quite symmetrical). These speakers have not been over hyped. They are the real deal.