glens

But if you've got carpet (assuming wall-to-wall, and likely stretched in over pad), then you don't have a concrete slab floor anymore, acoustically. My stuff is in the basement. Bare (well, painted) block walls, they skimped several ways building the house, one of which was one (or two) too few courses of block, so the finished ceiling is hardly 7'. I took up the brand new cheap-*** ("flip-house") carpet from the main floor and glued it on the floor in the basement before we moved in. The stereo rig which also serves TV sound duty is on the end of a very long wall. Just the right combination of lively and dead.

I'm interested to hear why you classify you room as tough by pointing out carpet over concrete. In my experience carpet makes things very much easier.

Depending on the makeup of the paint that had been used, likely you can get a chemical paint remover to get the last bit out of the voids and gaps. Beyond that remnant the cabinets look wonderful. I'd start 2:1 with the oil.

Yeah, but you can always use that event as a benchmark. So long as you never do anything that bad again, you're golden, whatever it may be "this" time!

You can plug the cap and coil values you have into an easily-found online crossover calculator, with the driver impedances, and see what the crossover frequencies calculate out to. You may well find you've got excessive gaps or overlaps. Also a calibrated USB mike and free software will show you what you've got for relative driver levels. Really, it behoves one to go about experimentation like this using such tools so you can correlate what you're hearing with data. It can cut much guesswork (and time) out of the process.

A year is still a year, they just seem shorter and shorter as you gather more of them under your belt!

Mars was restored to a breathable atmosphere (a couple times now) as a result of interesting feed-the-brain tech too.

My money would be on the results being even better.

I fetched the manual for the current iteration of that Krell a bit earlier. They say outright not to use power conditioners. Interesting... Anyway, it's been my experience that the bass that slams you in the chest is a fair bit higher in frequency than is typically sent to a sub, so adding one (I have in the past) ain't gonna bring that to the table if it ain't there already.

Either I just got lucky or I don't know enough, but my NAD (my first) class D fires right up settled down.

Or is it just the bass bins that are being swapped?

Or some 3D thing on the ceiling over the listening spot to bust up standing waves there. I don't get the notion of a "high current" amp. It's not like the amp is pushing anything toward the load; it's only making it available for the load to pull. If the load ain't pulling all that's available, making more available won't avail a thing. Also, the speakers are consuming Watts (more accurately, Volt-Amps Reactive) - a product of current and voltage. Now I'm curious - have to look and see what the manufacturer claims are on that gear...

With the drivers, too? Hell, I'll go $30!

Very nearly.

Eastern Iowa... I have a few good memories from the late '70s from the Clinton to Quad Cities area.

So Klipsch doesn't have or can't get you a replacement driver?

So $25 each with shipping then. Got it! When you're ready I'll PM you my address.

Huh. So although the point isn’t to make this Xilica curve look like the hoped for FR curve, it is alot smoother now. And the shelves are gone. Maybe I was on the right track. I suspect the point is to measure the actual output FR in room not just plug in someone else’s settings 😸 Just in case anyone reads through this and doesn't already know, the curve as shown is not for the desired result, it's actually the inverse of the non-equalized ("before") condition. In other words, it shows the changes necessary to achieve the desired results. It's the same concept as listening to a recording that sounds way too tinny, or way too bass heavy, where you might ask yourself "what were the engineers thinking?". Assuming in both cases the engineer was looking for a smooth-sounding result, when it's too tinny, they likely were listening to speakers that had either too much bass or too little treble; in the bass-heavy case, it would be the opposite - too little bass in their speakers or too much treble. What we're hearing when we listen to the recording is the inverse of their playback system compared to ours - assuming they were going for an even response in the same way we are.

Yeah, I've followed your current escapade and knew what this thread was based on. If it doesn't work out, I'll take those 510s off your hands. What were they? $25 each?

I guess I didn't make proper sense of you post. The construction of your words implies the Dayton put out only 0.9 volts. So I followed the link now, fetched the user manual, searched for "high" and surmise that the high-level inputs are for amplifier outputs as opposed to "low-level" (pre-amp) outputs. It might work for you, but it might not. JBL 18" drivers ought to be sufficiently efficient. If you're not getting adequate volume out of them then I think it would be prudent to look into what's between the drivers and the amplifier to see what might be amiss. [edit: add that the manual states the 'high-level' inputs have an impedance of 180 ohms. This likely isn't enough for the output of your pre-amp ]

Output only 0.9 V? Why even continue consideration?

They'd be black and copper?

I prefer a little bottom end roundness, too!

I'd call the low pass a third order, as well the high pass. The LCR bits in parallel with the drivers are for frequency response shaping. If you go the low-level crossover / bi-amp route, making your own circuits, then I'd suggest leaving all those parallel LCR parts in place. If using a digital crossover with which you can frequency-shape, then remove all the components and just drive the bare drivers. If you go that route...

Haha, they didn't "do" video shields back then, though the cap you're seeing does suffice for that, usually. I'd call it a magnetic field return and good drivers were made that way (using a ductile cap to direct the magnetic energy forward to the outside of the voice coil gap) back in the day, usually using an internal alnico magnet. This is as far as I can be of assistance to you in this matter.