MechEngVic

If both soldering tabs still have that little piece of wire soldered to them, you could use those little pieces to zip tie the tabs back onto the masonite tab as a temporary fix to keep anything worse from happening. But I'm pretty sure you'll have to buy a pair of 15's, regardless of that tab. If you really just want to get them running, zip tie those tabs, remount that speaker and buy yourself the cheapest 15 you can find. You can always buy better woofers when resources permit, and you can move onto all the other stages of the project, plus you'll be able to use them. These are around 30 bucks. 4 OHM: https://www.ebay.com/itm/15-Raw-DJ-Pro-Audio-Subwoofer-4-Ohm-Sub-Woofer-2-5-KSV-High-Power-voice-coil/303234358532?hash=item469a2d1d04:g:Cp4AAOSwPCFeU-0A 8 OHM: https://www.ebay.com/itm/400-Watt-15-Raw-DJ-Pro-Audio-Replacement-Subwoofer-Sub-Woofer-8-Ohm/392363991768?epid=17022511745&hash=item5b5ab762d8:g:5K0AAOSwmbRd51X4 A 4 ohm driver usually measures around 3 ohms (4 ohms is the impedance (A/C resistance), you're measuring the D/C resistance), and an 8 ohm driver can measure around 6 ohms. If your midranges are measuring 8 ohms, they might be very efficient 8 ohms drivers, or very non-efficient 16 ohm drivers.

I got a laugh out of this thread so thanks for bringing back from the dead. Only after many tube rolls and dollars spent do we slow down enough to find out why a well made tube amp is designed the way it is: The circuit is designed AROUND a specific tube. If you're system sounds better with a variant tube in place, this is usually an indicator of a problem elsewhere in your system. At some point I installed a 6BL8 in my Dynaco in place of the 6GH8A it was designed around. It sounded better. When I finally fixed the excessive high frequency roll-off in my speakers, the 6GH8A sounded better again. That's just one example of several that reinforced this idea for me. Better made tubes adhere more faithfully to their design specs. That's why a Blackburn Mullard 12AX7 sound better than a new production 12AX7. The reason new production tubes aren't made better, even though they could be, is simple supply and demand. In the 50's and 60's they were making tens of millions of tubes for all industries. They had the headroom to build in quality. Today they make thousands exclusively for audio. There's not enough meat on the bone.

Nevermind, I just re-read your post and I probably got this from you.

Another member posted this recently and I downloaded it. I haven't verified any of it but it look reasonable.

I agree 100%, it's not just about sound levels, it's about how much air is being displaced.

I just calibrated my mic and did an SPL measurement in REW, with a test tone the loudest I can stand is about 90db, with music it's about 80db. Granted, I sit 2-3 feet away from the speakers...

Yeah, you're the second one to say "in the 80's" isn't loud. Maybe I'm the one confused, but 85db is pretty loud as far as I'm concerned. I consider myself a decibel junkie but anything above 85db is just pain. I guess I'm not as big a junkie as I thought.

In some of the upper-upper crust, high society audiophile forums, I read them discussing the perils of high volume listening. I'll have to keep my ears open around here more. IMO, a really good system doesn't get louder with volume, it gets bigger.

I figgered, we're all decibel fiends here.

Uuuuuuhhhh... You guys know this is the Klipsch forum? The Bose forum is just a couple of pages over, make sure you take your warm milk with you.😆

I re-read your first post in this thread, and have been listening and marveling at how eerily accurate your measurements and insights are turning out. I have also independently discovered the effect of low frequencies on high frequencies (to oversimplify). I spent a lot of time trying to tame highs before figuring out that I was actually missing low frequency information. But how difficult is is to increase bass without it getting boomy?! And now we're finding that they are actually taking it away from us?!?!!?!? It's like struggling to climb the mountain just to find the summit littered with trash...

Agreed, the 4 ohm tap tends to emphasize bass and the 8 ohm tap sounds brighter and more spacious. Salem, you should try both ways and report results.

The company was built on the back of the original Klipschorn. It is the icon Klipsch speaker. The Jube may very well be the full realization of the concept but it didn't build the company. I know that might not be what the OP was asking but the K-horn IMO deserves top billing.

Klipsch is the Klipschorn.

Just the RP-600m's, I decent Chinese made integrated tube amp, and a music streaming setup would be sweet and reasonable (laptop to DAC, chromecast audio, etc.). https://www.ebay.com/itm/1set-AUDIO-AMPLIFIER-Class-A-Single-End-EL34-Vintage-Vacuum-Tube-Integrated-AMP/201689576499?hash=item2ef5a2b433:g:HwoAAOSwDJFdT2xL

THIS.

There is a very fine line between a bright speaker that resolves well-recorded music well but shrills out bad recordings, and the same speaker with a bit of tuning and a component upgrade or two, that fills in the shrillness with warmth. It's taken me a while with the KLF-10's but I'm finally at the point where they are bright enough to fill the room with sparkle, and not too bright that bad recordings sound shrill. I seem to remember you saying that you were done with all the tweeking so maybe a nice warm tube amp...?

If I'm at home all day, there's a good chance I'll be listening for many hours. I go back and forth between loud and moderate and tend not to get ear fatigue. I also change seating positions for variations of soundstage and imaging. The fact that you can sit outside of the sweet spot and still get great stereo is another of the countless reasons why Klipsch speakers float my boat.

I'm at 45 degrees toed in. Then I just halve the distance between them for the sweet spot. But really, anywhere in front of them and close up gives you good imaging. Sometimes I'll sit closer to one speaker and face the other speaker for an interesting effect while still getting good stereo.

True. It's actually a lot like speaker making, or most of anything that is produced by humans. Even today, the two biggest limiting factors are technology and the human influence (costs, timing, and certainly ego). I've worked in a studio, never behind the board, but I was pretty good at setting up spaces and mic placement (my brother-in-law owned a studio for many years). Most of the music that came out of there never got mastered, and even though the bass is a bit boomy, or there are some uneven levels, I like listening to it because it isn't smashed together.

Chris, Tell us how you really feel 😉. Actually I think I know where you're coming from. For most of us on this forum, we know how much time and effort you've put into analyzing both the sound that comes out of our systems as well as the sound we put in. I say "our" because I know you helped many, including myself. I even think I remember you've devised your own system for undoing some of the damage made by the life-squeezing techniques of the studio. Feel free to carry on with your righteous indignation.

A lot of great music is coming out of home-made studios now-a-days. It sounds better to me because it is probably processed a lot less than music coming out of corporate studios. I think it's for the exact reasons danalog02 mentions. There are no "corporate" mixing/mastering decisions being made, no customer that has to be made happy, no mastering being done that squashes all the life out of good mixes. I don't mind a creaking chair, or a musician coughing, or instruments that come in at higher or lower volumes. What I can't stand is the compression done at music peaks where multiple instruments/voices are playing, making soaring music sound like shrill noise. With all the home-made recording done now, it's getting easier to tell the difference. I'm listening to a song right now that sounds so squashed I feel embarrassed for the band.

I don't think you have to worry about running multiple taps on that amp, it's solid state, and Mac amps have circuit protection built in.

I use my KLF-10's in a near-field set-up. They are on either side of my desk, 7 feet apart, 45 degrees toed in, flush with the seat-side of the desk.. At this angle, the 90 degree horizontal dispersion of the tweeter gives me good stereo imaging sitting right at the desk, my ears about half a foot back of the plane of the speaker fronts. At 3.5 feet back (I just roll my chair back) I'm in the sweet spot. I don't have to worry about high frequency room reflections because I'm so close, but I still get a room-full of bass. It's like listening to headphones only better because you still get all the visceral impact of the woofers which is what's missing in headphones. It's kind of addictive.

I actually think you're onto something with your placement. If those MWM's were straight up instead of slanted back (maybe legs on the back to prop them up) you could mount the horns to the middle flats and have a pair of 3-way CF's on steroids!