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The Klipsch Audio Community


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About DirtyErnie

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    Twin Cities, MN
  • My System
    In flux... KG 2.5's (titanium tweeters, rebuilt x-overs) standing by to be replaced by re-built Epic CF-2.
    Powered by a Sony receiver, it's just easier to deal with than the '61 H.H. Scott 222C, sadly.

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  1. I have a 5-valve CC Miraphone, but you're talking about a speaker. 😄
  2. Friend had a '58 Bassman with a pair of mercury vapor recs in it. Those things would light up brighter the more current you pulled through them. Was a super-fun lightshow on stage, especially when he was doing punchy rhythm stuff.
  3. I could use spec for a 222c cabinet, please.
  4. Taking me back to some recording studio fun a few years ago.... The short version of this is the farther away from being mathematically related your room dimensions are to each other, the less issue you should have with room modes. The 'Golden Ratio' dimensions are pretty good at achieving this. There are a few other sets of 'pretty good' ratios out there with some searching. In our situation, we had a 16' x 16' x 8' room (1/2 of a cube) with a suspended ceiling. It was Gawd-Awful for attempting to record music. Then I remembered some tricks from practicing tuba in small rooms with suspended ceilings: Open up some of the ceiling tiles. We pulled tiles out of the corners, and a few in the center. Somehow, that got the volume in the ceiling above the tiles resonating out-of-phase with the main room and cleared up a LOT of the mud. Buddy had his head in a mix, trying to make it better, when I pulled the first corner tile out. He almost broke his neck, that head snapped around so fast "WHAT DID YOU DO!??!?" , it made that big of a difference. something for the forum to file away in their collective memory banks.
  5. What's the driver arrangement in those bookshelves? WTW type can get a bit 'beamy' on their sides and are better mounted vertically.
  6. My question is how would the AmbiSonic mic be better than an Omni-Directional mic? Once you're spherical, aren't you spherical?
  7. "If it measures good, and sounds good, it is good. If it measures good, but sounds bad, you've measured the wrong thing." H.H. Scott.
  8. What I would like to see, more than anything, is the whole recording and reproduction industry getting together and agreeing that all recordings will be full-range and not manipulated, and playback devices engineered to protect themselves if need be. If it could be agreed on for overall compression, loudness, dynamic range, and frequency response, and then the devices can add whatever emphasis they want, great. Home A/V receivers with room compensation routines & microphones can get most people close enough. And then there's "us"...
  9. 16 bit = 65.536 24 bit = 16,777,215 These are the available positions in a single sample. 24 bit has vastly more resolution than a 16 bit sample has. Bit Rate: Yes, someone mentioned that you need 2x sample rate of your highest audio frequency. The problem there is that digital sound forms a brickwall filter at that maximum audio frequency; sound just SHUTS OFF above that frequency. This is something that is abhorrent to nature, and the first octave or so below that brickwall filter has some pretty severe artifacts as far as phase response and frequency response go. I've played around with the variations between the sample depths above, and 48khz vs 96KHz in the recording studio. Every time we went up in either of those numbers, quality was noticibly better. 24 bit definitely sounded better than 16, but 24bit/48K still sounded like it was behind a scratchy wool blanket. 24b/96K was very very nice. I don't think we had the capability of going farther at the time... Metaphor, it's like going to Black-n-white at 12 frames/second to iMax HD at 60 frames/second. Big difference in quality. Now, can your ears hear it?
  10. Had you run a frequency sweep on your speakers before you started? Sometimes that can help narrow down problems. There's a few good ones on YouTube if you have that capability in your H/T setup. My standard advice applies; dont feed ported speakers any frequencies below their design low cut-off point. Run a sub and use a crossover to the mains.
  11. Yes, the capacitance has its fundamental roll-off breakpoint, but below that point it drops off at 6dB per octave. 400hz break? 200Hz is at -6db from that point. Even more fun, that break-point is at -3db already. Crossover capacitors are such a hot topic because of what happens above the breakpoint, and how the capacitor handles that. Like any other component in the audio chain, they have their own imprefections and distortions that will be colored over the top of the sound signals. The higher into the audible frequency band you go, the more important this seems to be, and the more difficult it is for some capacitors to pass. And the more subjective it all becomes. Ultimately, "Opinions and A$$holes".
  12. MN Athiest society are pretty big sponsors of the St. Paul Saints, so that kinda explains some of that.
  13. Just because the computer thinks the woofers are able to dig 10Hz deeper, I wouldn't recommend going down there with crossovers if you can help it. Glad you're enjoying the new hardware! If you get bored, pop one of the old plastic diaphragms into one tweeter and compare with the new titanium one. The difference won't be as subtle as you've said.
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