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garyrc

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About garyrc

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  • Location
    The Milky Way
  • Interests
    Music, audio, film, psychology, psychology of film, philosophy, religion, history, mythology, audio electromechanical mythology.
  • My System
    Main room: 2- 1982 Klipschorns with K-401 fiberglass mid horn upgrade (1987), and AK-4 Klipschorn stock upgrade (2006), Modified Belle Klipsch (2005) center channel with K401 horn in an enlarged hi hat, flush mounted, behind AT wall fabric, buried in the wall between flanking Khorns, 2 NAD C- 272 ss 150 wpc stereo power amps, Marantz AV7005 AV preamp/processor, Heresy II surround speakers driven by 1/2 NAD C-272 and a Yamaha 135 wt amp, NAD C-542 CD player, OPPO BDP-93 CD/SACD/DVD/Blu-ray player, Klipsch RSW-15 subwoofer, for movies only, Panasonic projector, 130" true width 2.35:1 projection screen (141.3" diagonal).

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  1. I spent many happy hours at Joe Minor's Berkeley Custom Electronics, first as a high school student, and for the next 18 years or so. Everyone who worked there was an engineer, as was Joe. Outstanding ones were Don Helmholtz, who later helped start Pro-Audio Electronics in Oakland, then held forth at Resistance Repair in Berkeley (resistance having a double meaning -- consider the locale), and John Curl, later the wizard of Parasound. Joe Minor had the utmost respect for PWK, and believed that recording studios might have been making better recordings than they knew, because Klipschorns tended to revel more quality in a given recording than the speakers the studios used.
  2. Movie audiences got to hear stereo (4 channels, but over 90 sound locations in the theater, with movement around the theater, and up and down the main aisles) in Disney's Fantasia in 1940 (see Scientific American, Jan 1941, Peck) They heard it again in 1952 (7 channels, magnetic) in This is Cinerama. From 1953 on, virtually all CinemaScope movies were in 4 channel magnetic stereo, until Fox dropped the ball a few years later. All 70mm Todd-AO films were in 6 channel magnetic stereo. The recording of Around the World in 80 Days (1956) in Todd-AO was one of the best, most dynamic, orchestral recordings I've ever heard. It is not quite as good on the Blu-ray, and is atrocious on both the mono and stereo Lp soundtrack versions. Both Todd-AO and Cinerama recorded the original music elements on a separate 35mm magnetic film, at 30 ips (at first). And the beat went on. By the time Stereo vinyl Lp records came out in 1958, people had long been wondering why there was a hold-up. RCA, Mercury, Bel Canto and some other labels had started recording on reel to reel tape in stereo (2 and 3 channels) a few years before, and brought forward their old tapes and transferred them to vinyl.
  3. Isn't the second one parallel by series? Or series by parallel?
  4. I used to have them in a room just under 12 feet wide. They sounded great from the sweet spot 9 feet from the intertweeter line, but that sweet spot was only one person wide. Three people could be there, cheek by jowl, and get excellent sound in all respects except imaging, which was good only for the center person. My current room is 16.75 feet wide, and they are great in all respects.
  5. Does Klipsch have actual engineers available by phone (when warranted) nowadays? When Trey Cannon was available (the early 2000s) it was nice. I called once in the '80s and was connected with Roy Delgado. Another time I talked with Gary Gillum. In the '70s I asked my dealer (an engineer) a question he couldn't answer. He evidently contacted Klipsch, and I got a letter back from PWK!
  6. If you are going to twist wires, make sure you twist them clockwise. Also make sure the left channel is connected to the left speaker, and right to right. It doesn't make too much difference in rock music ("close enough for rock 'n roll") but with a classical orchestra, if you don't have left -> left, and right -> right everything in the center will be twisted. Nothing is worse than twisted violins!
  7. Klipschorns don't have the "false bass" that some juiced up speakers have. Break-in could conceivably help. Make sure you don't have any sources set for "small," if your electronics have that option, i.e., set for "large." If you have a rumble filter (vanishingly rare nowadays) make sure it is "off." If your Khorns don't fit tightly in the corner due to wall irregularities, use pipe insulation to make the seal. Spotify has a mixed rep for fidelity -- I don't know, because I don't use it. One problem with not having tone controls is that many disks have attenuated bass -- see Chris A's threads on "demastering" and "The Missing Octave" on this forum.
  8. I thought your link was going to lead to a joke, at first. This is ironic, given that it was McIntosh who published some of the first research debunking the effects of speaker wire, at least for relatively short runs. How the Great have Fallen!
  9. @FocusR Don't give up on Audyssey. Yes, most people ask "where has my bass gone?" Most people are used to bass peaks due to room modes, and miss them when Audyssey removes them. The solution, after Audyssey takes the kinks out (essential), is to turn up the bass, setting it by ear. 1) Turn up the subwoofer 3 to about 6 dB -- that will boost the bass below crossover. For maximum clarity, don't use DEQ (unless you really love it). With DEQ off, the bass control becomes usable (look for "tone" on the menu). If you turn it up about 6 B, the mid/high bass above crossover will rise to match the sub's bass. Since you mentioned "somewhat louder," I inferred that you like it loud. That's good because you won't need DEQ if you play loud, since the loudness itself overcomes the Fletcher-Munson roll-off. Don't blow your speakers, though. Setting your mains to small lets the sub do the heavy lifting, and gives the mains some protection (indirectly). Set all speakers (except the subwoofer) small, for clarity and protection as advised by nearly everyone (except your local dealer). In most cases, setting them on large will cause phasing problems and comb filtering, due to too much overlap with the sub. Also, in your case, your Denon provides only 80 honest watts per channel into 8 ohms with only two channels operating. With more than two channels operating, each channel will get less. This doesn't mean your AVR is bad; almost all AVR manufacturers have misleading specs. When the same companies provide separate power amplifiers (at much higher prices), their specs tend to be much more honest. To help guard against underpowering (which can cause clipping and speaker damage), definitely set your mains to small, and use a crossover of 80 Hz or higher to provide more headroom for your main channels. If at any point you hear distortion, turn it down. Audyssey will measure the 3 dB down point of all your speakers and send that info to your AVR. Even if your 3 dB down point is as low as 40 Hz or 60 Hz, don't set the crossover there; set it at 80 Hz, as THX recommends. But, if the 3 dB down point is higher than 80, set the X over where it tells you, or you will be both losing bass and stressing your mains. The 3 dB down point (also known as the F3) depends not only on your speakers' capability but the amount of boundary gain you get from the location of the speakers in the room. Against a wall or near or in a corner generally provides the most bass. There are two crossover-like adjustments to make. One is a true crossover from your main channels to the sub. Set that as discussed above. The other one is LPF for LFE (Low Pass Filter for Low Frequency Effects). The movie people create a special effects track that starts out life as a totally independent source, full of deep bass booms, thunder, etc. It contains frequencies from 120 Hz down to 20 Hz, usually, and in a few films as low as 5 Hz. The usual advice is to set that one for 120 Hz to reproduce all of the frequencies the filmmakers include. A minority suggest that for cleaner results, the LPF should be set for 80 Hz. After the LPF filters the effects channel, and the X-over crosses over the soundtrack music, dialogue, etc., to the main channels or the sub, as appropriate, your AVR mixes the two together, and shoots the combined signal out of the subwoofer output jack in the AVR, and off to the sub. Here is an excellent link I strongly recommend reading before setting up Audyssey the next time. Setting up Audyseey correctly is painstaking but rewarding task. IMO, no one should give up on Audyssey until reading this link. Audyssey, plus bass boost, has made my Klipschorns, Belle center and surrounds sound better and clearer than ever. "Audyssey FAQ Linked Here" Here is the curve Harmon found that most people prefer. I more or less agree, but I wouldn't cut the treble. Don't use the virtual sliders to EQ by hand; they limit your control to those few virtual sliders, whereas Audyssey has hundreds of automatic compensation points.
  10. Welcome to the forum! Because you posted in the 2 channel section, and have the RP15M, I'm wondering if you have a 2 channel music system only and the TV is there by coincidence, or if you might have a 2 or 2.1 channel TV system. The module with the control center (the big one) can be on either side of the TV or computer screen. The right channel signal, however, should be on the right side. Therefore, if you have reversed the speakers, the little RCA type inputs from your phono or line should also be reversed, i.e., the red male plug should go into the female input that is NOT red, and vice versa. To some people, particularly for music only, even this would not matter. WHATEVER YOU DO, DON'T PLUG IN OR UNPLUG THE PHONO/LINE RCA TYPE PLUGS WITHOUT TURNING THE POWER OFF and counting to 10 (OCD lesson #1), or you might create a buzz/pop at high volume that could damage your speakers.
  11. Welcome to the forum! What may be going on: If the foam extends out in front of the speakers a bit, the foam may absorb some of the treble that would otherwise hit any shelf (or other surface) below and in front of the speakers, and bounce off, interfering with the speakers' original sound. The foam may absorb any rattle or vibration between the speaker bottom and whatever it is sitting on. You might possibly have some over-persnickety neighbors.
  12. What you call cornballs really have some similarities (above about 500 Hz) to Heresies. Therefore, my cat calls them hairballs.
  13. Compared to what? That is a useful question to ask in almost any circumstances (it even got a friend out of jury duty). I have Klipschorns as my front left and right channels, Heresy IIs as surround speakers, and, elsewhere in the house, some 2 way Yamahas and a Klipsch Promedia 2.1 (two 2 way modules, and a very small subwoofer). When I first had them, I made many comparisons. Unsurprisingly, the Heresy IIs are generally worse than the Klipschorns, and better than the others. In one way, though, the Heresy IIs are better than the Khorns; within their range, the Heresy IIs are smoother. In our home theater we can make all the speakers equally smooth, each within it's range (i.e., above its 3 dB down point), by using Audyssey, so the Heresy II's advantage disappeared. For anyone without a room/speaker optimizer, though, the Heresy II's maintain that one advantage. As with all direct radiators, the bass end of the Heresy II is a little less tight and a little more distorted than a horn might be, but it is not too noticeable. The available dynamic range is great for a speaker that size, but still not near that of Khorns, La Scala, Belle, or Jubilee. But since it is about 6 dB more sensitive than a typical speaker, it's potential dynamic range is about that much greater with a small amplifier.
  14. The seller should give us a break. Of course, it may depend on the definition of the word "monitor" he is using. In the '50s, '60s and, to a degree, the '70s, a monitor meant a large purportedly excellent loudspeaker system used by engineers ("mixers," "recordists," etc.) in the booth, or, later, out on the floor, to hear, as accurately as possible, the sound as captured by the mics "live" and/or what had been recorded on the tape. Some of those monitors were JBL, some were Altec, a few (then) were Klipsch (one studio, in the South somewhere, used Klipschorns!). Almost all had horn midrange/treble, and a few were fully horn loaded. Almost all were customized by the studio. The Record Plant in Marin, I think, was one of the ones that used custom fully horn loaded monitors. In their L.A. studios, I heard they used some big Klipsch. Wally Heider (San Francisco) used 2 way Altec 604 (Es, I think), with coaxial horn mid/tweet at least in the control room I was in. They had 4 of them across the front; they sounded great! The Airplane, the Dead, and so many others recorded there. At about $120/hour (!) [for perspective, the minimum wage was $1.65/ Hr. back then, and I could fill my 18 gallon gas tank for $5], they could afford to come in and lounge around with wine and cheese, then re-acquaint themselves with the room sound, riffing, refining and polishing. Leo de Gar Kulka actually had some Altec A7 VOTT units out on the floor in his studio. There were also some small, cheap speakers that would often sit on a ledge on the console just above the mixing board to provide approximately what a non-audiophile might hear over a moderately bad home "phonograph" or a car radio of the time, "just to check." These were sometimes assembled using Low-Fi 8" speakers from an electronic supply store. These had various names, sometimes "junk speakers," and unfortunately, "junk monitors." Behold! A new definition of "monitor" was born! As more pro companies started selling higher priced versions of these small "monitors" to studios, they were too good, if anything, to simulate poor home phonos. But, consumers would buy speakers labeled "Studio Monitor" that no studio would use as a main monitor, in the old sense. As small studios (often "home studios") sprang up, JBL, and others, some compact, affordable, monitors designed for nearfield monitoring. As long as one sat close to them, some weren't bad. These included the JBL 4310, 4311, and 4312. They were even O.K. in the classical room of Tower Records, as long as you were playing Minuet in G, rather than a Beethoven symphony. I was surprised when they showed up to play the Moog synthesizer through at The Different Fur Trading Company. In that application, they sounded good. Of course, at Different Fur, the 4310s were fed by excellent electronics. For the home studio, magazines started recommending using 400 watts per channel amplifiers. No surprise, given that the 4310 needed 10 times the power needed by a La Scala, Khorn, or old JBL giant monitors (maybe a 375 driver, the typical horn lens, a pair of 154 15" woofers and a custom horn loaded enclosure, or maybe a C55), to produce the same SPL. The JBL 4320 may have started life as a competitor to squash the popular Altec 604 series. They had a good rep and a horn mid/high, as did the Altec. They both were 2 way, rather than the 3 way of 4310, 4311and 4312, but they needed only 4 times the power of the Khorn. There is no way the speakers pictured were one of JBL's finest monitors. Here is what was probably JBL's finest "real" monitor of the time, also needing only 4 times the power as La Scala, Khorn, etc.
  15. You and I may be the only ones with wives that would make such a request! I realize that you don't have room for either of these, but, the new Klipschorn AK 6 is pretty contemporary -- it's been out for a few months. It has a new tweeter, crossover, and the cabinet may have more modular parts. The Jubilee is also pretty contemporary, in that it has been tweaked a few times. Just say'n. I haven't heard the two speakers you list, and the specs are uninformative, since they are nearly identical on the spec sheets. I can't help but think that two 8" woofers wouldn't be as good in the bass as two 10" woofers would be. Yet, with newer engineering ...? With a newer mid/high horn ... If you can't hear them cheek by jowl, you might as well go with your gut. In short, who knows? Unlike some, I love Audyssey, and believe it reduces the differences between speakers and rooms. Setting it up takes time, several trials, close reading and the infinite taking of pains. If you have Audyssey XT or XT32 (better) and like it, fine. If not, see this: "Audyssey FAQ Linked Here" If the two speakers are similar sounding and correctly positioned, it may be worth a shot. Audyssey is currently offered by Marantz and Denon in some of their Preamp-processors, and in some of their AVRs. Good Luck!
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