glens

If you're asking me, of the three options the 12 is what I'd go with everywhere. The others? Overkill.

If you'd said "can be" fully analog and lossless you'd been more correct. It's most likely any current releases on vinyl have been digital at least somewhere before they got to the cutting lathe.

Not to be too argumentative, but I see no evidence of any horn profile there whatsoever.

I just looked, both the manual for yours and that of the M32 contain the same blurb about BluOs not being available to the digital outputs. I can understand that, what with "protected content" and all, but to implement it in such a way as to preclude any manipulation other than volume is ignorant. I'd hope NAD had figured out how to include tone and balance control for the M32, but get a gut feeling they didn't. Even with your generation of gear I'm disappointed with them for the way they handled it. I've been a NAD fan since ~1980 and am currently using their product. At least with mine there's no tone or balance controls across the board. If/when you find out about the M32, post a followup note here, would you?

You can find little mini furniture sliders at the hardware store. Different-length audio-frequency cables are fine.

If it's not "Maxxbass" proper, I've seen a blurb recently regarding inroads being made for this concept with smartphones &c. Pseudubass.

I, too, would not characterise him as arrogant. Mis- or ill-informed, perhaps, but certainly not arrogant. He has exhibited exemplary composure in the face of (I'd say "attack"s, but it's more along the lines of "wake-the-f***-up") responses to his viewpoints here thus far.

Not pertinent but I agree. I'd truly like a set of Chorus III!

Where's the typical "haystack"?

Thank you awsjr. We're not drawn in in the least. Jeff, you seem to be enamored with sub-harmonics. You do realize that the VAST majority of audio equipment (electronics, mainly, but also reproducers) are not designed to handle "out-of-band" (20-20,000 Hz) signals, right? When exposed to them, they (both) generally create (harmonic - both above and below - and "intermodulately") distortion that's disproportionate to anything programmatic. If you're hearing any "resultant"s of out-of-band signals, that's most definitely a result of faults in the system.

An off-the-cuff search on my part didn't discover T. D. elaborating on that (my interest is purely academic). BTW, Jeff "liked" one of my responses to him! I'm good for the rest of the year!

I believe I edited the post while you were responding... No, not looking for a fight (this time ). Re-read his post and my response; I'm trying to be pertinent to the originally-asked question is all.

As opposed to Fortes III and tubes? Or is this a one-sided viewpoint? If so, it's worth no more than mine. OP is looking for directly-comparative opinions. So far the reply by CECAA850 on the first page comes to mind as the most pertinent. kink56 also had an applicable opinion on the first page, but he was wrong ( ).

No, but golf balls and tape rolls are novel! I'll "buy" the tubes (microphonics) and turntables (obvious), but unless the D/A converter has tubes (why??), "no sale" on that one. And like I said, little-to-no vibration will be present at the corners anyway.

The pictured amp feet aren't too very far from the corners of the top surface, where (the corners) there will be virtually no vibration transmitted. In that speaker, panel vibration will be most prevalent on the front and back, next level will be the left and right sides, least on the top and bottom. In every case the most the most movement will be in the center of the panel "graduating" to non-existent at the corners. If the cabinet doesn't buzz the floor, something heavy on top will survive. :)

Vibration likely won't be an issue here. Rubber-backed rugs on vinyl floors can be a real no-no too. In the case presented in this thread plain copier paper cut to foot-size should suffice.

Oh, I'm sure it's beyond just a possibility. Even were I to attempt to address that issue it could only be at one almost atomically small location in my room, seeing how the range of frequencies are shared between 3 drivers. I find my system entertaining enough even if not entirely realistic in even most respects.

I don't know why it would be harmful. In fact, I've recently seen photos of paving blocks stacked all over speaker cabinets and it was said to have increased the quality of the sound! Also in that thread was a novel notion of using a small roll of electrical tape laying on its side holding a golf ball upon which sat whatever piece of equipment, as sound isolators. Naturally, at least three per unit... That thread is fun for those and other reasons!

Great!

Emile, you should let him know which Fortes and which Cornwalls you're referring to.

My vote is for the Fortes III but I'm not qualified to advise you in the matter. I've never heard, in person, the Cornwalls III. Nor had I heard the Fortes III in person until recently taking delivery of a new pair. (Had not auditioned any Klipsch products since the latter 1970s.) I am thoroughly pleased with my purchase, would make it again in a heartbeat if necessary, and highly recommend them to anybody. If I'd had the room and/or budget to accommodate the Cornwalls I surely would have driven the hour and change necessary to hear them both beforehand, and that has to be my recommendation in the case of this thread. Listen to both beforehand. I "like the idea of" the newer midrange horn in the Fortes over that in the Cornwalls (the same unit as in the Heresies) and it certainly doesn't disappoint me in any way. I find the Fortes to be very well balanced from top to bottom. They are a bit unforgiving of poorly-produced recordings (which includes a few "newly-remastered" CD releases, and some more-recent "greatest hits" compilations), however they absolutely shine in most every other instance, no matter what kind of music I throw at them. I've never before experienced such a discrepancy. There has always been a difference between good and bad productions but all the loudspeakers (entirely-direct-radiators) I've owned to date have masked the difference to a much greater extent. You've not yet replied whether Jubilees might could also be considered. I'll say that if I ever decide to upgrade they'd be the reason. I've not heard them, but as was the case with my Fortes, I know I don't need to do so beforehand.

The Forte III is rated some dB less output and their tweeters evidently have no attenuation (though it's been reported by one individual that they're too hot by a couple dB - he modded his to omit the tweeter but fell off the face of the earth afterward). It may be worth a try (using the F3 tweeter in a Cornwall), but without a Umike and REW for confirmation, the result would be totally anecdotal.

Before my tenure here (I was likely molesting tree work or Harley forums if I was "foruming" at the time). They wouldn't be terribly much more work, but as we've recently learned, double the zip ties means at least quadruple the trouble...

Please describe the result.

Jeff, how can you possibly claim 1/16" when you're off by 8"? Your discourse reminds me of how I thought I was doing things on my bicycle very early on, which, once I learned a little more about gravity and two-wheeled dynamics, I discovered I could in fact not do (or have done) because it was impossible. For each element in a low-pass filter there is, in fact, a 45 degree electrical phase shift delay. Likewise for a high-pass but in that case it's an advance by that much for each element. These are matters of absolute certainty whether or not you want them to be. 180 degrees of current waveform separation results in 180 degrees of sound wave separation because it's the current patterns in the voice coils which cause the drivers to produce motion, thus sound waves. Sorry to rain on your parade, buddy. I'd love to hear your system. I'm sure it sounds like no other.