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colterphoto1

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Posts posted by colterphoto1


  1. Help! I'm in a wonderful predicament! I'm the proud owner of 1975 Cornwalls, rebuilt within last 10 years. I dearly love the 'big box' sound of these speakers and they are the mains in my home theatre/hard rock sound system. I'm also using a newly installed RC7 and some Definitive Tech bipolar's for rear speakers in my 5.0 setup. Currently using a Yamaha 850, which is 80 x 3 + 30 x 2, underpowering the rears, although I plan on upgrading to a 3300 with equal 110 watts x 5 (7).

    I've stumbled upon an opportunity to purchase Klipsch speakers at substantial discount(30-50% below list), have about $2,000 to spend and wonder if anyone has any advice for me. As I see it, my main options would be to :

    1. replace (?) Cornwalls with slimmer, smoother response, better dispersion RF7, to match my RC7. what is the best price any one has found on these? Then what to do with the Corns, hook em up in garage or basement? what a shame.

    2. keep the Corns, but replace bipolars with more efficient RS-7 surrounds.

    3. I'm not a great believer in powered subs, but if option 1, should i invest in a RSW15 as well?

    3. I already own two pairs of KB1.1's for office and have another set of 4 with KSC C1 for a 'second room ' small theatre system, so I don't think I need any more 'little speakers' .

    Thanks for your help, this is kind of a 'dream list' of mine. I live in Indianapolis, and am taking the Klipsch facility tour next week ! WWWOOOOO HHHOOOOO !!

    Michael


  2. My .02 is that the designation of this 'sixth' channel would matter a great deal. If the sound engineer mixes this such that it is truly a center rear channel, ie a mono mix of both left and right rear channels, or a third discreet channel in the rear soundstage, it would be treated similarly to the front center channel and would thusly require a somewhat beamy upper mid and high end so that the sound could BE LOCALIZED BY THE HUMAN EAR, ie, you would want toknow what direction the sound came from because this information would be important to he soundstage. A RC7 or similar speaker would be called for.

    If on the other hand, this sixth channel is used as a discreet effects channel, it would by necessity require a speaker system whose dispersion pattern was very diffuse, so that the listen COULD NOT TELL EXACTLY where the sound was coming from. RS5 would be an appropriate design for this speaker.

    In the long run, engineers do not have a written set of rules they must follow, so the chances are that some soundtracks (and multi-channel audio discs) may be mixed in either of the examples above. Similar to the old debate of direct versus reflected sound (Klipsch vs yech Bose) or bipolar vs dipolar surrounds, the ultimate choice is probably that of the listener and their favorite source material, IMHO! Above all, just have FUN being an equipment junkie- Klipsch- collect em all- it's a set!

    Michael2.gif


  3. My system is evolving into a monster! I've got Cornwalls for my main fronts, and love my new RC7 which is extraordinary. Currently the RC7 is in a cabinet under my 27" set which will be replaced by a 35" direct view screen. I think for viewing height the TV will be on a stand about 22" high, with the RC7 ON TOP of it. This will place the RC7 considerably higher that the Cornwalls (or their possible replacements, RF7) .

    Question is this... Will a height differential across the front three speakers cause problems with this very critical portion of the sound stage? I also occasionally use a 100" pull-down screen and a Canon projector. Should I keep my RC7's near the floor, aimed up at the prime listening position, so they are not 'behind' the screen when it is pulled down? In this position, they would be only 1' off the floor, like they are now.

    Thanks,

    Michael


  4. Hey Dave,

    Congrats on your Cornwalls, I rescued a pair that lived through a home fire, damn things smelled like smoke for years, put played great after I got the woofers reconed!

    Regarding the 4 vs 8 ohm markings, the individual components may vary in ohmmage, but the OVERALL NOMINAL impedence of the speakers system is 8 ohms as advertised.

    Wait until you get a CD player and a reference CD to check your sound. Using old cassettes is a questionable test technique.

    Regarding moving tweeters forward, my Cornwalls have the squawker (old Klipsch term for midrange) and tweeter mounted to the rear/inside of the front panel of the cabinet. Wouldn't there be some benefit to moving them to the front of the cabinet face to reduce diffraction effects of the 3/4 plywood ?? Has anyone done this? Would this be in like with Klipsch engineering for the Cornwall II?

    Michael


  5. I also use Yamaha and Cornwalls and can address your problem. As mentioned, surround sound amps have lots of goodies that take away from the manufacturers $ to put high quality components in low-mid priced units. One problem is that your signal is being routed through the digital domain for the purpose of adding 'effects'. Both of these will add 'grain' and reverb (multiple sound sources) which will muddy your pure sound. Many HT receivers also have horrendous damping factors, like 50 or 80, whereas most audiophile recognize that values of 150-300 are much better. In laymans terms damping factor is the ability of the amp to stop the woofer from 'ringing' after the sound pulse has ended. This would be particularly important with a speaker system with large heavy woofers like the Cornwall. Lastly is the lack of good tone controls. My Yamaha 850 has main in/out jacks which I use to interconnect a good dual 10 band eq to account for oddities in the way my Cornwalls interact with my room acoustics.

    If you like Yamaha features, perhaps try a higher grade stereo amp, which will give you the damping factor you need. Also 2300 and 3300 HT units are better, with the 3300 allowing you to hook up auxilary equipment like EQ's. Both units have 'direct' modes, which allow you to take a stereo sound source and bypass all the DIGITAL processing, rendering a purer sound. You also get PHONO inputs on these units, unlike many other mid-priced HT receivers.

    Hope this helps!

    Michael


  6. Steve,

    thanks for your thoughts on rear center channel speakers. I'm currently using only Dolby Pro Logic with my Yamaha 850. Looking to buy the 2300 or 3300 so I'll be either 6.1 or 8.1 (with Yamaha front effects, which I probably won't use.)

    In my last post, I was speaking entirely theoretically, since I've never wired a 5.1 or 6.1 system. I know that the rear channels are 'full' spectrum frequency response, therefore the attempt to match the fronts both in terms of efficiency and timbre are critical. I don't know how much information is contained in DVD's or SACD's in terms of discrete rear channel information, and how much separation is in those recorded channels. I would think that if the information contained in these 3 channels is intended to be localized for the listener in the prime location, that direct-radiating speakers would be best for ALL THREE REAR speakers. If the sounds are intended to be diffuse, then again, bi-polar or some type of diffuse-radiating speakers would be called for in ALL THREE REAR speakers. I cannot imagine (speaking theoretically here again, trying to put myself in the recording engineers shoes) how you could possibly need diffuse sound in the L/R rears, but require localized sound in the center channel, unless the mix was VERY specialized with respect to sound moving from front center to rear center.

    Not trying to 'flame' here, just interested in your thoughts and YOUR EXPERIENCES with sounds from different sources. Q- Is the sound mix drastically different with SACD's than DVD's, such that the purchaser should determine his 'main' listening source and arrance speakers in accordance with this? (i.e. is a principally SACD music setup vastly different from a principally DVD setup)

    Thanks for your input


  7. Thanks for a reasonable explanation of bi-wiring.

    If I purchase the specialized cables for lo-freq and hi-freq and wire the things backwards, will I get a frequency response of 100hz-1Khz?

    Are we SURE this isn't snake oil to sell more $$$ cables??


  8. WOW- that ?? generated a load of responses. I can't believe that a company like Klipsch would engineer such a 'benefit' and then not explain better how to use and the audible benefits. Their 'tapered array' in the RC-7's is a magnificent concept and well explained, but I still don't get the bi-wiring concept. Unless the runs from amp to speaker are extraordinarliy long, I can't see how bi-wiring would have much advantage over using a high-quality wire like Monster Cable.

    I will contact Klipsch directly (I live in Indianapolis and know Steve and Paul Klipsch personally) and see if they can route me to an engineer who can help us.

    Michael


  9. try projectorpeople.com, they have most brands and good discount pricing.

    Myself, i went with a Canon 7105 obtained at a local photo store. It's XGA quality and works great with my computer for client presentations (I'm a photographer), but it has plugs for everything S-vid and component video for your HT setup. It's only drawback is 800 lumens, but it's only $3600 for awesome detial! I use it in a light controlled room on a 100" diag. screen and it's fantastic!


  10. Thanks Russ,

    This article would lead one to believe that the benefits of bi-wiring are negligible, as I suspected. Apparently, you must use different wire types, each optimized for a particular driver within the cabinet. The article points out that this configuration can cause problems as well.

    Think I'll just stick to normal wiring.

    Michael


  11. I'm an ex sound-engineer, so I understand all the technical stuff about bi- and tri-amping speakers systems for concert sound for better efficiency, driver protection, less distortion.

    I cannot understant Klipsch's concept of 'bi-wiring'! Two sets of leads coming from the same amplifier posts to speaker posts wired in parallel should have no effect but to double the amount of copper used to pass the signal. I have not found an answer in product literature of this site.

    Can someone explain how this works to me?

    BTW, the RC7 'tapered array' is one of the best ideas I have heard in years. It avoids the timing difference between two similar drivers in the critical vocal range if the listener is off-axis of the speaker. (common in home theatre installations- there is commonly only one 'sweet spot')

    Michael


  12. Some acoustical treatment might help you avoid listening fatigue. Even with upholstered furniture and carpeting, your cabinets are dangerously close to major reflective surfaces, ruining any possible sound stage you are trying to create. You might try some sound absorbing foam or tapestry wrapped over building ductwork insulation (hard yellow stuff 3/4 thick) placed on the sloped ceilings above the mains and toward the listening position.

    In terms of surrounds, as close as you are seated to the surround speakers, the efficiency of these may not be a problem, so I'd try the bipolar designs. You might also benefit from getting a real center channel speaker. I could not believe the difference when I added a RC7 to my Cornwalls (also 1976- open walnet style). i was using a Altec 7 12" three way design and the imaging was funny. the RC7 is amazing!

    Michael


  13. Great start on a system! Your is almost identical to mine!

    Yamaha RXV850

    Klipsch Cornwall mains

    Klipsch RC7 center

    Definitive BP2 bipolar rears

    There is a huge problem with our systems in that the receiver is an 'old style' dolby pro-logic, not even 5.1. The rear channels are designed for limited bandwidth and only carry 30 watts compared to 80 for the front three. Therefore, you need super efficient surround speakers to keep up with your Klipsch mains.

    I just got the RC7 after using an old Altec model 7 (12" three way) for years- THE IMAGING AND SMOOTH FREQUENCY RESPONSE of the RC7 is amazing! The best $$$ I have ever spent on my theatre! The centre channel sound is SOOO critical you should spend top $$ on this speaker! You might find that it is almost too efficient though, so maybe a smaller Klipsch center would be in order!

    I'm upgrading to the Yamaha 3300 soon! 6.1 surround, with 100 watts all around, the same rec out/zone 2 that you're used to on the 850, and bunches more surround modes. It still has phono input and something I use on the 850 which are pre out/ins, which I use for a 10 band EQ to flatten the response of my mains to my room acoustics. The 2300 does not have this.


  14. I'm trying to help a friend with the same problem. Wife insists viewing across the short (15') dimension of the listening room. 53" set is 2' of depth, sofa on opposing wall is 3' of depth, leaving 10 feet viewing distance. Room is 20 feet wide, so frontal speaker placement is no problem.

    However, what do you do with rear speakers when listening position is on rear wall? I told him to experiment with rears on stands 1 foot above seated head height, pointed OUTWARDS, so the sound diffuses off the rear and side walls. Any other suggestions, other than rear speakers in the ceiling?

    Michael


  15. Welcome to the Family! You will find that you can get by with very little amplifier power, thanks to the efficiency of your new Klipsch speakers.

    I favor Yamaha receivers and surround sound processors. The surround modes seem more lifelike than with other brands, and Yamaha lets you vary the amount and timing of reverb. Be careful, though, many of the newer 6.1 theatre receivers DO NOT have inputs for phonograph, if you still play records. If you're not using this setup for surround, they have some kicking stereo receivers, with full complement of inputs, including phonograph and much better damping factors ( the way the amp controls the speaker cones- related to the 'quality first watt' theory mentioned 3/5/03.

    Hope this helps! Don't forget to get Klipsch surrounds when the time comes, any other speaker will not be as efficient so you won't hear the proper sound mix.

    Michael - Cornwall mains, RC7 center, YAMAHA 3300 receiver, Definitive BP2 surrounds


  16. I use Klipsch Cornwalls for my main stereo/theatre speakers and finally purchased a center channel speaker that can keep up- RC7 kicks butt! I actually have to turn it down slightly at my Yamaha receiver. My problem is that my 27" tv and RC7 reside in a cabinet. i have the RC7 mounted on a sloped shelf just below the TV, aimed at the main listening position. This leaves some space behind the speaker, and about 10" clear under it for the port sound to 'escape'.

    I wonder if I'm adding a 'boominess' frequency by housing the RC7 inside a cabinet. Would it be best to rethink my furniture so that the ports fire into an empty space along the wall behind the components?

    Currently own a pair of Definitive BP2 bipolar surrounds that are not keeping up at all! Guess Klipsch surrounds are next in line!

    Michael


  17. If the general theory for home theatre sound states to have direct, localized sound for the front speakers and to have diffuse sound for the surrounds (witness the design of Klipsch surrounds), it makes no sense at all to utilize a beamy, costly, centre channel-type cabinet design for the rear center. I believe that using three similar speakers across the rear will aid in de-localizing the sounds from each rear area.

    Michael- Klipsch fan for 20 years- cornwall mains, KC7 centre, KSB1.1 all over the house


  18. ----------------

    On 11/1/2002 1:14:28 PM Stu Pidass wrote:

    Definitely use your best speakers for mains. Surrounds provide mostly ambient sound anyway.

    ----------------

    Stu,

    I am also using old Cornwalls for theatre mains. My question is - since these were designed for wide diffusion pattern in theaters, do they not function well in todays home theatre environment where narrow pattern across the front channels is necessary for a proper soundstage? I just listened to the RS/RC7 system when I bought my new center channel Klipsch speaker and you could definitely tell exactly where the director wanted the sound to come from.

    thanks,

    Michael

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