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Welcome to the Forum, Mitch. take Captainbeefheart's advice Then the next thing you need to do is get some 12 gauge speaker wire to ensure maximum power delivery from amp to speaker, especially if you have longer cable runs (ie: 40') Second, RP-600M are not going to "shake the house", regardless of how much power you put into them. If you want to shake up your neighbors get a quad of really good subwoofers (like four 2x15 with at least 500watts per). That's what I did. I was playing Tool. About 5 minutes later my neighbor rings the door bell. I open the door, "Hi Chris". She says "You know, it's really loud". And that's in single family homes

That is absolutely WONDERFUL!!!

We Made The Goal? W O W W e e W E M A D E I T !!!

YES. To tell you the truth I had no idea what Kickstarter is. And that this was actually about a very nice bound book, not just the Dope From Hope Newsletters complied sort of like my notebook bound copy. I finally got curious enough to look into this further and glad I did otherwise I would have missed the deadline.

It's not really about optimal room "size". It's about optimal room proportions. That being said, the larger the room volume, the less we have to be concerned about room modes - dimensions that are equal to, or some geometric series related to the wavelength of a sound frequency thereof (ie: 1/2, 1/4, 2x, etc). (40Hz = 28.25 foot wavelength) (400Hz = 2.825 feet) (10KHz = 0.113 feet = 1-3/8") Even then it mainly applies to rooms with parallel surfaces. As the room dimensions get larger, the modes affecting the lowest frequencies become less & less important. At higher frequencies the room modes are so closely spaced (because the sound frequency wavelengths are shorter) it doesn't matter anymore, and other acoustical properties become more important. Room dimensions equal to or some geometric interval thereof will cause cancellation of those frequencies depending on where you are listening in the room.

I'm In ☺️ Even though I have an original notebook bound copy given to me by Mrs. Belle Klipsch this is a very worthwhile addition to my library. Thank You for making this available!!!!

I bought my Khorns in 1976, and then a Belle in 1979 to solve exactly this problem. I made one of PWK's 2PH3 center channel boxes with a high precision (3 turns full on/off) potentiometer so the center channel volume could be dialed in a little better. I had the Khorns more than 28' apart. There's really no solving this problem with Khorns, or almost all other speakers. To overcome this, one really needs to use a true point source linear phase speaker system. (not sure I can mention other manufacturer names on here anymore but Claude J1 knows what I'm talking about) You won't need a center speaker. There will be no "hole in the middle". But stereo being what it is, the optimal listening area will probably also be more narrow. For me, I don't care. I'm the only ONE listening 99.99% of the time.

😇Actually, yes. But like I mentioned, I found a local "old time" electronics repair shop nearby so I may have him do it. Just finding/getting the right parts seems to be more than half the work with these kinds of projects. So this seems like an easy way out. I just hope it's the right parts. ARC quoted me $700 to $1000 a couple of years ago. That still might be the "right" way to go. What do you think?

That's very interesting Rich. I have absolutely no experience with EL84. But, just to be clear, my SE84UFO came with Russian 6P15P-EV (which I also have zero experience with), which apparently is a video tube. There is some discussion about substitution/equivalent between EL34 & 6P15P with Roger Modjeski who many of you audio veterans may recall, here, at the end: https://www.audiocircle.com/index.php?topic=70951.0

Last night I listened to: WDCB.org “The Real Deal” with Orbert Davis (jazz) streaming radio (MP3 44.1Khz/128mbps). Tidal hi-res streaming Dr. John ~ “Gris Gris Gumbo Ya Ya/Mama Roux/I Walk on Gilded Splinters” from The Night Tripper Gris Gris. ATCO Sonny Rollins ~ “I’m an Old Cowhand” & “Solitude” from Way Out West. Contemporary Records Miles Davis ~ “So What” from Kind of Blue. Columbia Blind Faith ~ “Had To Cry Today” & Sea of Joy” from Blind Faith. Polydor Again, pretty much a repeat of my initial impressions. This is a very well balanced sounding amplifier. Nothing is poking me in the eye so to speak. All of the above were very pleasurable to listen to. There seem to be certain inner details of instruments and the ambience of spaces the music was recorded in that comes through with more delineation. I’m not making direct back & forth comparisons with my usual setup right now, just from memory. For now these are all long term listening tests. I’ll switch back in several weeks or maybe even a month or two. The bass on these amps is much better than the 2A3, 300B & EL34 SET amps I’ve used. Firm, full, deep, nothing bloated or ill defined. The midrange comes so very close to that 300B “magic” but not quite equaling it. OTOH it’s overall sound is much more revealing from top to bottom and nothing is popping out as “better” or worse (like 300B big but bloated bass in exchange for a narrow band of midrange glory). I was kind of surprised I didn’t run into any headroom issues on the Blind Faith album. I wasn’t playing it ear splitting loud (94dB). Nothing got harsh or edgy. The low end didn’t need any bump or cut. Everything took on that sort of “organic” quality. However, I haven’t put this through the acid tests yet. For that I will be using Roger Waters ~ “Amused to Death”, Peter Gabriel ~ “Up”, Kodo ~ Heartbeat Drummers. Sheffield Lab, Dafos ~ Reference Recordings. Insane Clown Possie anyone? The low synthbass is “insane” on this one. The subs will handle most of that but the main speakers/SE84UFO will still be running full range. But, that’s why I bought two of these. Bridging the two channels together supposed yields about 6 watts (instead of 2x2=4). Regardless, two bridged SE83UFO at least doubles the power and provides two separate power supplies which should take some strain off compared to a single SE84 driving both channels. All in all, I don’t think you’ll be disappointed in this amp unless it’s a need for more power. Like I said, I haven’t really pushed this thing against the wall yet, but I didn’t buy for head banging. It has a lot of finesse, transparency, transparency without becoming edgy or glassy. I can’t yet say that it has the resolving power of my NAD M32. It sort of does, but I’ve made no direct comparison yet. The good news is I have no compelling reason to change anything or go back to my regular setup. Tonight & probably tomorrow I’ll just be streaming some Blues radio programs from WDCB as I occasionally get motivated enough to turn the system bass down and play along for a few tunes (sort of a personalized jam session. LOL)

It's just one. I may have another but I'd have to look. It's brand new never used.

Here's an example of how messy it can get regarding wondering what version of a particular recording (remastered, remixed, or not) that you are listening to from a streaming service like Tidal or Qobuz. 348 versions of The Who ~ Tommy Which one did they use? https://www.discogs.com/master/68455-The-Who-Tommy

Thanks Mike. Made me smile.....actually IMHO it's much closer to "REAL".

DECWARE SE84UFO (INITIAL) REVIEW (EDIT: Just for reference my SE84UFO have the Level 2 copper foil 25th Anniversary upgrade) After a 1.5 YEAR wait, I finally received my SE84UFO (AND, a free “Decware One Year Club T-Shirt!!!!). Actually. I bought two with the intention of using them as mono blocks for increased headroom. Initially I’m just using one SE84UFO as a stereo amp. The amp was warmed up for 1.5 hours before listening. The initial listening session was 1.5 hours. My initial impressions are very good. This is a very listenable amplifier. The bass integrates with my subs much better than other SET amps I have used. It also seems to be exposing some details in the transients, and ambience I hadn’t noticed before. For instance, the initial sound of a percussion mallet hitting a large drum, and then the way the sound of the instrument decays, separately from the ambience of the hall. Tingling Triangles and wood blocks are right there in space, very present – same thing – how the initial transient sounds from the space around it. And certain “inner” articulation on voices I’m not sure I’ve heard before. I have no idea if these amps need a so-called “break-in period”. Personally, I’m not a purveyor of that but like to keep an open mind. I’ll be posting more on this as the listening sessions move on. Recordings used, all streaming hi-res from Tidal: Sophia Gubaidulina ~ Lahti Chamber Ensemble, Concerto for Bassoon and Low Strings. BIS 636 Sophia Gubaidulina ~ Glorious Percussion, Lucerne Symphony Orchestra. BIS 1752 John Cage ~ Three Constructions, The Donald Knaack Percussion Ensemble. Tomato 2696172

Generally speaking, personally, I don't like using multi-channel AV receivers for music. They always seem to be adding some sort of processing to the signal path and the so-called "pure audio" (if the receiver has it) almost never is as good as a regular 2-channel amp. Think about it. There's so much "stuff" on these modern receivers. And at the price point these products shoot for, there's going to be compromises, especially when it comes to just music. FWIW I never listen to music on the HT system, other than FM or streaming radio as background music.

While I somewhat agree with your analysis & perception, and most certainly with what usually goes on in the remastering process, it's a bit more complicated than that. First of all, *most* remastering is done, not necessarily to make anything "sound better" in audiophile quality terms. It's more often done to make the recording sound "louder" for air play - radio, car radio/players especially. That's where most people, do most of their listening. It's a well known marketing fact that people tend to stop and listen to the station/channel that sounds the loudest. I agree the number of choices of the same recording in Tidal (or whatever) can become bewildering at times. And the fact that these services search engines really suck make it even worse. If you use ROON, and have a CD (and even LP) collection ripped to a PC or somewhere on your LAN it might make it easier to access & compare the tracks you like best. Beware though, ROON's search capabilities are only marginally better than Tidal. ROON will consolidate all your fav streaming radio stations, local music and streaming services in one place. AND the ROON player sounds better IMO.

I have a brand new one, but it's black/gold.

Yeah, if you like that classic vintage tube coloration, the ARC SP6B is certainly right up there with the best. I had an ARC SP6 & SP6A prior to the 6B. Quite frankly I wish I had the original SP6 back. It really made the Khorns sing! The subsequent models (A, B, etc) became increasingly "cleaner", less "sweet".

Thanks guys! Reilly - yes, the SP6B is in excellent physical condition (I'm the original owner). I haven't powered it up in a couple years anticipating cap replacement but the last time I fired it up it worked well. Just a little noisy. I'm sure it doesn't sound as good as it could after 40 years. I would like to get it back to it's original "colored sound" which always worked well with vinyl. I only use it as a phono stage.

HiFiAudio.com? He's seems to mostly be selling restoration kits for many vintage products, especially tube gear. I'm looking to do a capacitor rehab on my Audio Research SP6B. I still might send it to ARC to "get it done right" (hopefully). I also found a competent local electronics repair guy who could probably do the work for me but getting the right parts has been a problem. I figure if this eBay seller has the right parts it saves me some time & trouble. The SP6B has a 2x1500uF 50v electrolytic in the power supply that is no longer made.

Just curious. What did you use to "roll" the dice? Was it your hands? Or was it a cup or something like they use at a Casino? There's a reason they don't let you "roll" the dice from your hand. Some people (like myself) apparently hold or throw the dice a certain way (this can be a very natural thing - unpracticed). I am one of those people. A long time ago my best friend said I couldn't roll doubles more than 2x in a row. I promptly proved him wrong, and did it way more then 2x. Also, I seem to have a knack for doing the same thing with my heart meds. When taking them out of the container and "drop" them on the counter very frequently they land/stand on edge. Kind of pisses me off actually. Because then they tend to roll away & I have to catch them before they hit the floor so my dog doesn't get them. OTOH, IF I deliberately tried to drop them on edge it seems to never work. LOL Go figure.

If you haven't already, I suggest you read this. It kind of explains why I don't rely on measurements to make the room sound good. Yes, measuring is important. But I tend to use it more as a confirmation tool rather than something to guide me along my way.

Absolutely Correct. Fortunately, for me, I was exposed to this early on. I had bought Cornwalls (1973) and was so pleased after the 3 month wait that I wrote Klipsch a letter. Mrs. Belle Klipsch wrote back and sent me a complete notebook bound copy of the Klipsch Audio Papers (Which I posted here somewhere as well as sent copies to select individuals on this Forum years ago). It was those Klipsch Audio Papers that opened my eyes to the importance of room acoustics. Took many years and many reads to understand it all but I knew from that point on that when I eventually would buy my Khorns that I would need an adequately sized space with proper room proportions to get the best out of the Khorns. And so the journey began. Khorns in 1976. Room built 1982. Currently in its 4th acoustical incarnation.

I don't mean to start an argument, but, I am quite sure what I said is true. May I ask how much recording experience you have? What kind of music? Where? (studio, live on location, acoustic/electric, etc) And how much professional (or semi-pro) playing/singing/recording experience you have? It doesn't matter what the big studio (or small studio) budget is. EVERYTHING, and ANYTHING, the recording engineer does (or doesn't do) directly affects the recording, and what we will eventually hear through our audio systems. Low budget does not necessarily translate to a low(er) quality recording.

I've been saying that here for the last 20 years. Actually, the recording engineer has you by the balls. Recording engineer is king (as former Forum member Dave Mallett used to say). After that, the room/space/place has the most influence on what we hear. IMHO trying to "tune" an audio system by using various audio components is a fool's game. You will never hear its potential without first consideration to the room it's in. Unfortunately, because this is a learning process, the priorities are usually the other way around for most people most of the time.