horonzak

Sorry for the misspelling. My fingers are moving faster than my brain.

I wonte accept them as Heritage but as basterds userping the throne of the original line. Storm the walls of KLIPSH LLC. Over throw them. Dont accept the Heretics.

Why would you want WIDER COVERAGE? you cant exceed 90 degrees in a corner.

I would suggest a K 33. Some of the early woofers outer surrounds were treated with DBP (DIBUTYLPHALATE) to lower compliance. Paul Klipsch Personally worked on Jensen, EV, Stephens, University units to lower Fe & compliance in 1948,49,50. etc. Im shure cones are pretty dry by now. Also shellack was used on cones to keep DBP from leaching down the cone.

What if you mated a CORNWALL with a RF 7 . WHAT would you get?

YOU WENT DEAF?

Im still waiting.

BOGUS

My wife says if we split she gets the KLIPSCHORNS. I guess ill wash the windows.

Do we call this a FOOD FIGHT?

I have a big black cat named LUCIFER. And he,s earned that name.

What ever happened to the JUBILLE? Will it have a wood or plastic resin HF horn. Or was it a flash in the pants teaser design that will not be prgduced?

Congrats... It shure is worth the hassle. Take your time in restoring the finish.

WARREN Did you ever consider useing JBL D-216 eight inch (16 ohm) units? IM thinking of going in this direction. First JBL Hartsfield did this. But instead of my dumping into a large horn. Just useing a mutch shorter horn on top of bass horn. I have 4 D-216 units. Yours as direct radiators may be a better way to go.

L-BRACKET. You can double up on both sides of horn neck with dual brackets. Or make a wood yolk. No top horn housing does not resonate.

Has any body thought of using four (4) KPT-KHJ-LF JUBILEE bass units? Two stacked per side? A mid system sandwitched in between?

Placing Dynamat on woofer basket spoaks & magnet is a waste of time It improved nothing. Did you check back reflection of spoaks? Back through paper cone? None of woofer mod is audible. Disconnect mid & tweeter & TEST, or listen. The skwaker mod is good but I would suggest a heavier L BRACKET supporting mid driver. Dynamat strip on bracket is still a weak approach. Looking inside is that a 6 x 13 opening throat? or 3 x 13. How old is this Horn?

Ilove it when you guys talk GOOD OL DAYS. I had a 75 year old house. What a money PIT. Now I got a 15 year old mony pit facing a beutiful lake with 4 excellent KLIPSCH corners. Its quiet here no drive by shootings, no BOOM BOX cars driving by. Dont have to pick up beer cans off the lawn the next morning. It might be built like a cracker box, But it,s paid off. Now I can enjoy my KLIPSCHORNS. Now if I only I could hear as good as I had at 16.

maxg Soundstage sondfild it seems that when you tilt or shift your speakers, orlean back into your chair the polar pattern from your speakers will change both horizontal & vertical. A shift of just 5 degrees can change mid & high frequincies conciderably. Mic polar patterns act the same way. Cardioid mics are most problematic. Also at some recording sessions all musicians are not playing at the same time. Rythem & bass come in one day keyboard & brass the next, and vocal on another track. Some times over telephone lines or sattelite. Than mixed. ( the Hobbit movie sound track was done that way) Ive seen where parts of a recording was done in one studo and the master taken across the street to another studio with different room size to lay down a vocal or chorus track. Soundstage begins at the studio IF ANY. Image large or small starts here too. Some Diva,s ego gets in the way & wants to be more prominent in the mix. Some speakers can exagurate or subdue this balance. Some will give good dynamics like horns. Planers give mutch less. Hell I can piss louder dynamics than planers.

Soundstaging - soundfield. Example- Belafonte at Carnegie Hall. Im shure every body's heard it. A good example of using 2 overhead stereo mics PLUS separet mics on EACH instrumet. Two mics on a pair of guitars & bass. mic on bongos. severl mics on 47 piece symphony orchestra. Plus Belafonte,s own hand held mic. Some times he puts mic on floor stand & walks a way with only over head stereo mic pick up pointing down at stage. His voice shifting left & right or fading out of range. BUT what is most interesting is the APPLAUSE from the audiance. Wide and deep. BUT the damn audiance applause is right up there ON STAGE with Belafonte & orchestra. Most annoying. This is a good example of MULTI MIC MONO + a stereo mix gone nuts. I have collected hundreds of photos from recording sessions studio & live. You would be shocked at where recording engineers stick that mic to give "you are there" image realisem. Ive recorded small groups to full symphony orchestras. Using various stereo mic placements. X Y, spaced arrey, Blumlein pair, middle-sides (M-S) Londen Tree. All polar patterns. Soundstage ? Its all in the art of the mix. IF your good the recording can sound great. BUT going from the MASTER to the final pressing thats an ART.

Soundstage Is a myth. allot of recordings are multi mic mastering. Mic on drums,(multible mics on drums) mic on bass, mic on keyboard mic on strings, mic on vocal etc etc. then mixed for balance & effect. On classical I have an RCA (BARTOK) that used 32 mics. Most of the mics were mounted on tall stands facing DOWN on the musicians. If you look at the photos of the recording sessions, that some times come with record albums (cd or lp) you can at times see mic placements. Floor reflections not hall reflections (back stage side stage, size of stage) When the mic is stuck down the throat of a SAX or at the lips of vocal not mutch soundstaging here. Take the recording of Miles Davis KIND OF BLUE you can hear the SPIT in the sax the mic was so close. No soundstage here. When some reviewer claims he hears the back wall of the stage, Its probably just the reflection off the top of the musicians balled head.

The last time I saw 40 was on a speedometer.

Correct.

You better do it to all 4 walls cieling & floor.

In the 8" v 10" question. it all depends on other design perimiters besides frequincy. Under hung or over hung voise coils' Voice coil dia. Flux density across gap. Mass of cone. Shorting rings. Copper or aluminum voice coils. Paper pulp type etc etc etc.