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This is just my opinion. The new Klipsch Jubilee, from what I've read here on the Forum, is supposed to retail for around $30K to $35K. I'm sorry, but at that price point, nowadays, I think people start to expect some "eye candy". This thing is just butt-ugly. It looks "unfinished". Kind of like a nice build somebody did in their garage. The original Jubilee with the rosewood horn - now that looked cool. Retro and modern at the same time. Surely the industrial design department at Klipsch can do better with the current version. It doesn't even look "finished", complete. It looks like an old juke box on steroids without the gaudy eye candy lights. For $35 grand it really needs to look much "prettier", more stunning. It needs to make a statement - that this is the future, not a DIY project from the past. Anyway, that's my penny's worth. Peace.

The above highlighted makes me laugh. I'm old enough that I had to call the radio station to find out what they played - there was no internet!!! Here's a funny true story - goes back to the mid 70's. I was listening to WFMT (the same classical station that is currently giving me a reception headache on much better equipment). I hear this piece of music. I couldn't quite catch the composer name the announcer said so I called WFMT (there was actually a live announcer/DJ back then). For lack of any better pronunciation, and because Sir George Solti was conductor of the Chicago Symphony Orchestra at the time and his name sort of reminded of whatever it was the announcer said, I sheepish told the announcer "It sounded something like Solti Colti". LONG pause. Finally the announcer asks "Do you mean Zoltan Kodaly?" Me: "Yah, that's it! Thanks! Of course I had never heard of Zoltan Kodaly at the time. But I never forgot his name! To this day I'm impressed by that announcer's intuitive ability to derive Zoltan Kodaly from Solti Colti. LMAO.

Hey Jimjimbo.........................thanks for your help. Much appreciated!!

What constitutes concert listening level?

Thanks! That's exactly what I'm looking for and what I want to do. I need to keep frequencies below 40Hz out of the mains, and increasing that to 80Hz or 100Hz and see what happens. With everything above 80Hz going to the mains it should give a flea powered tube amp a little (a lot?) more headroom so to speak since it won't have to deal with those more powerful lower frequencies. This is also about keeping the signal path as short and simple as possible. Tidal --> Bluesound Node | --> tube power amp |--> powered subwoofers I figure for about $1500 ($1000 for Super Zen Triode, $500 Bluesound NODE) I essentially have a second very different "system" so to speak. All I have to do is swap the speaker cables. Plus I'm really interested in hearing how the SH50, which are now dialed in really good, sound with Hi_res streaming using nothing but the streamer DAC and SET with the subs set as they are using the M32. And, if I don't like the Zen Triode (or any other tube amp I try for comparison with the M32) I can use the Bluesound Node elsewhere like in the model railroad room with the Khorns/old HK receiver and the Zen should be fairly easy to sell.

Thanks Rig!!! No problem with sub level. I send the sub output (currently from NAD M32) to a Behringer 24/96 UltraCurve as an (additional) subwoofer processor. From there I can use the stereo XLR outputs to the four subs. The subs are active and have their own crossover as well. Subs have their own volume control. However, I must admit I enjoy the convenience of being able to attenuate the mains or subs via remote right from my easy chair with the M32. The problem is the M32 only has one analog output that can be used either as a preamp out or sub out. Obviously I have to use it as a sub out, so that leaves me with no way to get a direct analog line level out from the M32 streaming via the BlueOS module to some tube amps for comparison. (got that bug again, you understand 😆). I still have my Luxman triodes but they haven't been turned on in years so I'm reluctant to use them. And with the caps being 45 years old I don't think it would be a fair comparison anyway. So that's why I'm looking at trying a Bluesound NODE to send a signal to the subs and a good tube amp so I can keep the subs in the mix with the same crossover and level I use with the M32 as much as possible.

I believe those same cartridge were made for Mark Levinson. About this same time Klipsch was showing up at trade shows using Levinson amplification. Related story: At a CES show I was in the Levinson room talking with Levinson's national sales rep. He asks what speakers I'm using and I sheepishly replied "Klipschorns". (Klipschorns were very un-audiophile at the time). The Rep smiles and says "Mark grew up listening to Klipschorns. His father had them." And then he says "The ML-2 was designed with two speakers in mind, Quad ESL and Klipschorns".

Correct. But that doesn't necessarily mean that the NODE streamer/player supports a frequency adjustable (or fixed Hz default) low pass filter to the sub output along with a high pass filter to the mains. And that of course is what I'm looking for. I want to run the NODE streamer directly into some flea powered SET amp like the Decware Super Zen Triode. I want the subs to take some load off of the low powered SET amp so they can deliver more of their usable power into the main speakers without having to deal with the lower bass frequencies which typically require most of the power and because SET typically aren't very adept at.

Welcome to the Forum Steelguitars! Do you play steel guitar? Standel amplifiers were/are very popular with steel players. I have two Standels with JBL D140. Anyway, I’m surprised no one has responded to this yet. Klipsch Cornwall I were my first Klipsch speaker, brought new, 1973. Adding more power isn’t going to cure your “sounds fairly muffled at lower volumes” problem. Your Marantz is 75 watts/channel. Keep in mind that doubling the amplifier power will only give you an additional 3dB of output. Every additional 3dB results in doubling the power. Going from 75w to 150w = +3dB. 150w increased to 300w = another +3dB. And itt takes about +or-10dB to “sound” twice or half as loud. I don’t really see any of the other amplifiers/receivers as providing any significant benefits in your situation and even some loss of features. The Marantz is already good to go for using Hi_res streaming services like TIDAL. The Loudness Control on the Yamaha is a sorely missed item on most modern receivers/integrated amplifiers IMO. It’s really just another form of tone control but I found it handy back in the day. This will tend to boost the bass frequencies at low volumes. The highs may be boosted too but what you’re hearing as “muffled” is probably more in the midrange. There is probably an app available to control the Marantz NR1200. You might want to investigate the app to see if it has some sort of tone controls for the NR1200. It sounds like the speakers are somehow getting “bassier” at low volumes. These kinds of issue are often caused by speaker placement locations as well where you are listening – all being influenced by the room boundaries. You mention the room is an open floor plan. Are your speakers or listening position near any appliances such as a refrigerator or near a cold air return, etc? Ambient noise in the room can have detrimental effects on the sound, most certainly at the lowest volume levels. You also mention the speakers are located in the center of an open floor plan. This is probably a far from ideal location. Try moving the speakers around.

I didn't go over all the posts in detail so sorry if this is a repeat. 1. I didn't see any mention of what weighting scale is referenced in the SPL. "A" weighting is centered around 1KHz and rolls off the measured response below that. It's used primarily as a reference where our ears are most sensitive and does not reflect how much bass is present in the SPL. 2. "C" weighting provides a flatter response down into the bass range. Bass almost always contributes the most to higher SPL in music. Also keep in mind that as the sound gets louder (100dB) our hearing sensitivity becomes flatter. 3. "Z" weighting (not usually available on most SPL meters) provides the most linear (unweighted) SPL measurement. 4. Room Gain. Measuring SPL in an enclosed space will tilt (bias) the SPL measurements. In our acoustically small domestic rooms, even large ones (ie: 20'x30'x8'+) room gain typically makes things sound much louder at the same SPL than it would in a large concert hall or outdoors due to the closer proximity of walls/ceiling resulting closer and more sustained reflections, especially at lower frequencies. The room gain contribution is typically about 9dB (I round it out to 10dB for convenience). Using that as a guideline you can expect 100dB SPL in your listening room to be equivalent to 110dB in a large concert hall or outdoors. The lower the SPL the less effect room gain has. The higher the SPL the more room gain will contribute to the apparent loudness level. I always use the C weighting scale for measuring SPL in my room while listening. The loudest sounds I have recorded were at a drag strip. The top fuel dragsters registered peak SPL of 134.5dB approximately 250 feet away at the top of the seating stands (est. 40ft above ground). EDIT: When I said "recorded", I didn't mean just the SPL (being the highest I've "measured"). I mean I actually recorded this - on a hand held TASCAM DR-05 AT 24/96 134.5dB is r e a l l y ************* ****** ************ **** L O U D

After an extended phone conversation with a competent antenna contractor a few weeks ago - he suggested not even trying to find the best/strongest signal location for the antenna until fall. Apparently the hot humid weather (it's been unseasonably cool/low humidity the last few days) and the seasonal "solstice" also has something to do with this. But that doesn't really solve the problem - probably never will. I think the bottom line is the industry as a whole doesn't want us recording/copying anything and that's the main reason for going digital and continuing to let analog wither on the vine. What really started me on this revival adventure was hearing a live concert on WFMT with the SFSO playing some music that is not available for sale commercially. I can't buy it. So I want to record it like the "old days". But if the sound quality isn't there and it's full of noise there's no point.

Anybody here using a Bluesound Node? (Node, Node2 or Node2i) I need to verify something because I've gotten conflicting info from Bluesound support and dealer Crutchfield.com. Bluesound documentation on this product is poor. If you have any one of these Bluesound Node in your possession, could you please check for the following: On the Bluesound player app that controls the Node from your cell phone or tablet (please state which you are using and whether it's android or apple) there is supposed to be a way to control the subwoofer output. The problem is Bluesound is rather vague as to which "Node" products actually support subwoofer crossover settings. I suspect it may only be the Bluesound PowerNode that supports this because it's also an amplifier that can drive speakers. The Node, Node2 and Node2i do not. From Bluesound support: Thank you for contacting the BluOS Support Crew. Please note that you can set a Crossover within the BluOS App when using Sub Woofers. Subwoofer ON: apply a high pass filter to the RCA and Speaker Out (where applicable) based on the crossover set. OFF: send full range out of the RCA and Speaker Outs. Note that the SUBW OUT output will not be affected by this nor will it set a filter on the digital outputs (applicable to NODE and VAULT only) Crossover Adjust the crossover between 40Hz and 200Hz; by default is set to 80Hz. Anything below your set crossover will be sent out of the SUBW OUT of your player. If the Subwoofer switch is set to ON (as mentioned above), everything above this crossover will be filtered out and sent to the RCA and Speaker Outputs

Wonders never cease. Yesterday I was testing the digital connectivity output options from my NAD M32 to my recording decks that have digital inputs. In the testing process I had the NAD C446 AM/FM/Digital Media Tuner digital outputs connected directly to the TASCSAM and Sony digital decks. WFMT FM was still set on the tuner. Low and behold, WFMT was now coming in clear as a bell. A week ago I couldn't get a decent signal even with a brand new RG11 6' coax cable connected directly from the outdoor omni antenna to the tuner. Today it's back to 50' of the old RG6 + a splitter in between it works fine. Go figure.

I've been recording chorale and orchestral music live-in-concert for 30+ years. I have to disagree with a close up sound for this kind of music. You have to use multiple microphones all at different distances/locations and there's really no way to control the sound from one group/area of instruments bleeding to another without experiencing a lot of phase interference between the microphones. The phase interference causes all kinds of stridency problems, as well as messing with the low-end response. Mixing all those extra fill-in mics with the main stereo pickup mics becomes a nightmare IMO. And it also tends to destroy any semblance of "space" - the sound of the hall - the sense of space and place. And of course once you do that, the recording cannot possibly "take you there". So yes, your preference for "up close sound" is likely due to your short audiophile life. The close mic/multi-mic techniques tend to work better for studio recordings like pop and rock which are typically more of a cut and paste, assembly-like process, not a recording of a "live performance".

I think a lot of people believe that when they go to hear an orchestra in a concert hall (for instance), and see some kind of speakers/sound system installed that the facility is using the sound system to reinforce the live sound of the performers. However, this is usually not the case. The "PA" system is usually only used for announcements. There are exceptions of course. For many years I had to do my recordings of the Glen Ellyn - Wheaton Chorale live-in-concert. Most of the members are not "professionals". Consequently in live performance vocal soloists are not strong enough to belt it out above the chorale and orchestra so they need a mic and some reinforcement. Fortunately as the years past the musical director finally got my drift as to how this was affecting the quality of the recording and we started recording at rehearsals prior to concert, and that eliminated the annoyance of my mics picking up sound from the PA.

What Chris really means is he used tone control in a way that is repeatable for the recording and himself. There is no such thing as "demastering" without access to the original recording masters. And even then, that is what is called "remastered" (not always a good thing).

In my original post I was somewhat generalized in my question about “Is analog FM Radio Dead?” The reason for this is I wanted as much unbiased comment as possible. I’m in the NW Chicago suburbs. I am getting very poor reception from WFMT (classical music). It’s a very long and frustrating story as to how I arrived at this point. I’ve investigated literally every detail to find the source of the problem which I originally thought was caused by the RG6 coax antenna cable that goes through the outside wall which may have been damaged when the siding was replaced several years ago. As a last resort – to bypass everything as much as possible, I took one of my tuners (NAD C446) and a Crown D60 (for headphones) out on the deck and connected it to a Magnum DynaLab ST-2 omni directional antenna with a brand new 6’ RG11 cable and got exactly the same very poor results. Low signal level, signal cutting out, background hiss. Sometimes the only way to hear anything was in mono. I’ve had someone walk the roof and around the yard with the antenna - all with the same mediocre results. In fact on the roof, I actually got worse reception. Other tuners involved are Onkyo TX-NR838 receiver and McIntosh MX130 with their MR7083 tuner module. I even bought a Magnum DynaLab Signal Sleuth tunable FM amplifier which certainly improved the level of the signal but also raised the noise level as well. (no surprise, but I had to try). Apparently one of the issues that has occurred in analog FM radio transmission is that about 20 years ago the FCC made some changes to FM broadcast regulations allowing stations to sell/lease broadcast on sideband (side channel or sub carrier) frequencies. These are used to broadcast additional “stations” at lower power for other purposes. I came across an article in the Chicago Tribune where WFMT chief engineer Gordon Carter stated he was strongly against this as it could cause broadcast quality issues for some listeners. https://www.chicagotribune.com/news/ct-xpm-2002-10-01-0210010144-story.html WFMT broadcasts at 98.8Mhz. That is the center frequency that we tune to. However, in the U.S. FM stations are actually licensed for a 600Khz bandwidth. Apparently they can now broadcast something else on side band frequencies within that 600Khz bandwidth to smaller targeted audiences closer to the transmitter for additional revenue. So, it seems that there’s a lot more contributing to the degradation of analog FM broadcast than just all the post processing and the loudness wars game. I’ve compared streaming WFMT to over-the-air against the three mentioned receivers and streaming wins hands down. Over-the air there is persistent background noise (hiss) which is particularly annoying with a classical music station like WFMT. It’s a real shame. WFMT used to be renowned for the quality of their broadcast signal. I used to enjoy recording some of the live concerts, especially when the concert is of music that has never been available – actually, that’s what triggered this last round of “hey, I need to look into doing this again”. I’m interested in hearing what others in the have to say about their WFMT radio reception, compared to streaming if you have it, and particularly from those of you in the Chicago area. Link to original post: https://community.klipsch.com/index.php?/topic/202259-fm-analog-radio-dead/

Really Really sorry to hear this. But as Dean said........... And my father, a real military Master Sargent type, expert sharp shooter told me. Rule #1 is THE GUN IS ALWAYS LOADED. Rule #2: Never point the gun at anyone.

(speeling entended) 🙃 It's "fill-in the blanks" question. Found this on the soundstagehifi forum. A picture of PWK meeting Dave Wilson & wife (Wilson Audio). Looks to be from an audio show around the time the "original" Klipsch Jubilee was introduced. What do YOU think PWK was thinking?

Yes, at home, serious listening, not mobile.

Here's another 18 stringer.

Kathy Valentine - from The Go-Go's. This girl knows how to GROOVE. Tal Wilkenfeld and Esperanza Spalding are at the top of my list. Actually, I think Esperanza is a lot more technical (?) or more versatile/well-rounded. But they typically play in different genre so not really comparable IMO (as a fellow bass player).

Uhm....... They don't stop at 6 strings, either. How about 18 strings?

Who amongst us still uses analog FM radio instead of streaming? (EDIT: At home, in your best system for serious listening) If you don't have good internet speed. can't afford it, etc. I get it. I was there once. However, for those who have a choice, are you still using radio instead of streaming? If so why? Please include the relevant things like location and station(s), distance, antenna, tuner/receiver used, etc I've just concluded an long term (informal) "experiment". I don't want to reveal my conclusions until I hear some of your experiences. Thanks!!!!

ditto DITTO and DITTO