colterphoto1

Problem is - you can't 'reverse Y' two inputs together at the loudspeaker. Won't work. Need something with mono output.

are you in the truck yet?

I've done plenty of damage there, taken my share of photos. Happy to enjoy it at home, this time for the first time in my life - LIVE on the telly!

'Beauty Panel' - the term I coined when Roy, Trey and Iwere getting requests from you guys for a way to prettify the Jubilee LF cabinet. I understand that this has been available for quite some time and that several of the Forum guys own such magnificent beauties.

ribbon mahogany and cane grilles.

I'll never forget the shocked look on Larry's face when several of us long hairs erupted into applause after just the first movement. Hey we're rock-concert going hippies, we didn't realize you were supposed to wait until the entire piece of music was completed. Got some curious looks from a few lasses in the harp section as I recall. We sat on our hands the rest of the show until we saw Larry applaud. It was an amazing show!

Look in the Pro/PA section of this Forum. I've rebuilt several pairs and posted quite a few pictures about the process.

WOW with the logo placard still in bag stapled to the cabinet. Those have a wonderful vintage utilitarian look and I'm sure sound fantastic in your room. Congratulations on the purchase!

Most likely all the performers had in ear monitors IEM, giving them isolation from room sounds and acoustic sounds on stage, and perfect stereo mixes in their heads. Guitar amps are housed in little cabinet back stage with internal microphones. I worked a recent Broadway show where they set up the drums in a dressing room instead of having him taking up valuable space and creating unwanted volume for the audience by being in the orchestra pit. It's VERY high-tech these days. I could show you photos that would blow your minds of racks of wireless mic and transmitter for IEM setups at shows.

DWI in discussing Meyer Sound has illuminated an important development, that is Cardiod Sub Arrays. it is possible, using delay, to stack sub cabinets in what might seem bizarre configurations, and literally steer the sound with predictive software. Our small local sound company does this with standard EV QX218 bins, stacking them facing forward, backward, then the top cabinet forward again. It really works, propels the bass forwards and away from the stage, so the performers don't feel like they're being liquified on stage.

for this listener, 90 dbA slow weighted on a decent meter is ideal. That's what I shoot for at my FOH (mix) position in clubs, theaters etc. Yes it will be louder on the dance floor of a club, that's what you want. But 90 is generally powerful enough yet comfortable. I use a little iPhone app called RTA by StudioSixDigital for measuring levels and checking EQ. It has a nice 31 band real time analyzer in even the simple version. You can get an entire suite of audio tools for a reasonable price from this same company. The more complicated $10 version of the program has pink noise generators, frequency sweep tone generators, and host of other goodies. NOSHA states that workplace noise should not exceed 85dbA for more than 8 hours. The exposure time is to be halved for every 3 db over that limit. At 94 dbA, the limit would therefore be only 1 hour. My custom in-ears reduce 15 db, so I can sit in festivals of 100dbA for 8 hours if necessary without much fear of hearing loss.

I don't know quite where to begin. Not sure if the OP is complaining about the mix (the blend of the various instruments), the overall amplitude of the sound at his location, or distortion in the sound system. Modern sound systems in concert halls are complex. Really complex. There are generally several systems in place. Mains, outfills, infills, delay speakers - each designed to integrate into the whole, and to provide satisfactory sound mix from anywhere in the hall. Most rooms will have areas that are not covered by the main sound system 'hang' so these other ancillary systems are in place to fill in. In my experience, sometimes the seats up front don't get enough attention from the front fills, so the stage noise (drumming and guitar amps) are still heard overly loudly over the vocals. Front fill mixes should be a separate mix to contain instruments not providing already ear-bleeding levels on stage (acoustic guitars, keyboards, voices etc). As to overall volumes, this has been addressed somewhat by the introduction of line array speakers. These are the vertically long systems of similar shaped boxes that act together, but also are 'steerable' by use of electronic digital signal processing. Each speaker box has it's own amp(s) with built in DSP to control volume, eq, even phase, which can all be utilized to give very similar volume/eq to any seat in the house. Used to be that the patrons up front were bludgeoned to death so the folks in the back could have decent sound levels. Not so much any more, we've conquered that. However sometimes it's too loud for me, so I take my custom -15 db earplugs to ALL shows, and wear them probably better than 50% of the time. Our auditory sense is a funny thing, and the brain can make up for a lot of shortcomings, I highly recommend wearing good quality ear protection at shows, after a song or two you won't notice anything different in the mix because your brain has 'made up' the missing frequencies. A reasonably priced set of non-foamy types are the Etymotic brand. They don't mess with the high frequencies as much as foam EAR type plugs, but not as expensive as custom molded. I know some guys who love the fit of their Klipsch Image in-ears that they just wear them, not hooked up to any source, as an alternate means of hearing protection. Sound guys DO care, they have a lot to do in a little time. Generally I've seen them with multiple microphones through the hall prior to a sound check, running pink noise through the systems to get a good balance and check frequencies for room nodes, feedback etc. They then usually run a few favorite and familiar songs through the system and walk the room/hall. I've done what you've done in commenting to them from time to time during intermission, sometimes to good effect. Take into account that you must get to the dude while he's at the desk, NOT actively mixing, and they take breaks at intermission too, so usually the dude you see there at break isn't the mix engineer at all.

Damon Payne from these Forums made some nice wide-frequency LF bass traps the following way. Get a big box of the Roxul mineral wool (you could use the OC products just as easily). Ok, a 2x4' piece can be cut in two yielding two 2x2 squares. Now divide those diagonally. You now have 4x triangles that are 2' across on two sides. Stack these in a corner. One box of 3x 6" panels would yield a 6' tower of the stuff that varies from nil depth to nearly 17". The long side would end up being about 22" across.

EthanWiner.com

The main thing is to have the front three timbre match. As sound moves across the sound field, you want it to be faithfully reproduced in the same manner. In this regard, having similar speakers, from the same brand/line yields the most satisfactory experience of causing the speakers to 'disappear' and cause the illusion you want in home theater.

question - how many cubic feet is your listening space? THX standard for which all these are designed is 3000 ft3. More air means more power if you want a true THX experience.

The Klipsch THX sub system is amazing! They keep up with my LS/CW setup just fine and that's a big order!

I had a pair like that for a bit, they are a very nice little speaker, I found them remarkably even tempered. GLWS and I respect the 'no shipping option'.

Need one that properly ages and 'grows' the trees and plant so one can visualize future scale of the plantings. Too often smaller trees are planted too close together in a landscape.

Normal. Huh...alright. Cool! That's the auto former, its supposed to look like that. Re foam, I've put some convoluted foam inside H cabinets just enough to cover one side and one end (like a Cornwall might have) . All you're trying to do it dampen any internal cabinet resonances. Resist the urge to stuff the entire cavity with fiberglass, that changes the 'effective' internal volume by making the air seem denser to the drivers.

check all the driver/horn mounting screws. They are just wood screws, there are usually just 4 on the woofer and they can loosen in time. Give em all a good tweak with a #3 phillips head (BIG), and consider drilling/driving another 4 for the woofer. Place ring of tape around drill bit as depth gauge. #10x 3/4 round head wood screws are what is used. Occasionally some of the wood cleats may vibrate loose, sometimes one is found where there is a slight rub between end grain, side of the cleats, but Klipsch cut them short a it on purpose to reduce the chance of this. Every time I've worked on any Heritage, I've put a new gasket in the mid driver, and added Parts Express type closed cell foam seal before shutting the cabinet up. That is another opportunity for air leak/rattle, if some of the rear hatch screw holes have enlarged with age. Cure for that is a round toothpick or two dipped in wood glue, secured in hole, let dry, trim off excess and reinsert screw.

OMG those are fabulous! Did you guys ever hear the story about the sheets of veneer being laid out across the Hope factory floor and someone with very keen eye being able to pick those that would become matched pairs of Khorns (without benefit of stain or oil on the veneer - just the raw wood). Kind of a like a gigantic game of Go Fish. That's why some of the more vintage pairs look so cool.

Jim, now you know what yours are worth (smacks myself in forehead)

blue... no yellow..... Boiiinnnnggggg

From a post last August: People often figure that when bi-amping, they need a big amp for the bass, but only a little amp, like maybe their favourite sweet-sounding tube amp, for the treble. If they're tri-amping, that may be the case, but when bi-amping, the mid/hi driver is carrying a lot of the load, depending on the crossover frequency, as shown in this chart found in the site provided by djk on a previous page ( http://sound.westhost.com/bi-amp.htm ): X-over Frequency (Hz) Power to Bass (%) Power to Mid+High (%) 250 40 60 350 50 50 500 60 40 1,200 65 35 3,000 85 15 5,000 90 10 With the Jubilee and JubScala crossing over a bit under 500Hz, you can see why it makes sense to use a pair of matching amps, one for bass and one for treble. To put it another way, when the crossover is at 500Hz or a bit below, the bass amp is powering the bottom 5 octaves of the audio range and the treble amp is powering the top 5 octaves. That means the load on both amps is comparable, so the treble amp should be roughly as powerful as the bass amp. Really bass-heavy music may change things a bit, but the chart should give good guidance in most cases. Using matching amps also simplifies level matching between the bass drivers and the treble drivers, plus you're likely to get a better timbre match between the bass and treble drivers, since it removes one element of dissimilarity, even if the drivers are two different types, typically a cone woofer and a compression mid/tweeter. As you can see, it would be wrong to say it has nothing to do with power. Power is not the only factor, but it is an important one. We are saying the same thing---you are saying power can be an issue--- I am saying since power can be an issue you should completely take it out of the equation by testing the crossover with amplifiers which are overspecified. Also I hate to tell you that simplistic chart is a bit misleading. Its just meant as a guideline. Under the dynamic conditions of a high end hifi system you need more power up top. Please understand my perspective --- Every time I have gotten active to work and work extremely well it has been with very similar amps where each amp was capable of running the entire system passively by itself. I think if you go to any of the better mastering studios where they run PMC BB5's you'll see that the tweets are running 300 watt plus monoblocks --- this is probably 10X overkill but it does produce marginally better sound and paradoxically your tweeters dont blow out... If bi-amping, remember that the portions of the signal that pass through the internal Khorn crossover are being tapered off in terms of output so that nullifies the need for a smaller amp for the mid/high. If you are entirely bypassing the internal speaker crossover, it might reasonably be expected that you might want larger amp for LF, mid sized for MF, smaller yet for HF. It's all about balance. I can tell you stories of how much wattage is used in large PA installations that would blow your minds.