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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. Some of each, some both. Of course, everyone is flawed, but that doesn't mean we can't improve the situation. Too often, minorities and protestors of any group, quite often justifiably feel "The peace they keep isn't our peace," (Goodman, Making Do). They need to know, and some need to be reminded, that their job is not to determine guilt or innocence, or to mete out punishment, but to bring those they have a legitimate reason to believe have committed a crime before the bar of justice -- even though it itself isn't always quite just. I'm open to the idea of decreasing the number of cops, and mightily increasing the quality, psychological screening, and training. And, yes, having undercover, highly trained operatives to root out agents provocateurs of any stripe. The use of community organizing, social workers, psychologists, and the rest should be tried, with various methods to be compared, in a great variety of socioeconomic and ethnic locations, with as much internal & external validity as possible, always with an eye to individual rights and our common humanity. I like the idea of cops who agree with demonstrators protesting and marching with them (with impunity).
  2. Yes, we have some allegedly 400 years old ones a short walk from our house.
  3. And let's give every penny we save on Social Security to the billionaires. (😖)
  4. We went from living in Oakland, working in San Francisco (few can afford to live there now) to retiring to Oregon. No Sales Tax -- so helpful in buying stuff. Weather not so bad, get to see snow a few days a year, fall colors. Beautiful sky and clouds, less pollution, thousands of migrating geese flying over, and (in a smallish city) deer dropping by to munch on our plants, as well as visitors of other kinds: many, many kinds of birds, squirrels, chipmunks, raccoons, wild turkeys holding up traffic while they delicately cross the street, snakes (who are grateful for the rats), spiders (some pretty large), carpenter ants, and one cougar. Everything is green, green, green, with more shades than we knew existed. Nice houses twice as big at half the price! State Income tax higher in percentage, but on a retirement income .... Property tax higher in percentage, but property valued at a much lower figure than would a newly purchased home in California. The Left coast (naturally) and a ways inland is modernly Liberal (except for places like Medford), and the East is more Conservative. But the full range is nearly everywhere. Unbelievably friendly people. No talk of "Californicating Oregon." We vote by mail, or by drop box if we missed the deadline, and have for years and years. Every religious group one can imagine, mainline liberal Protestants and Catholics, a few conservative Evangelicals, Russian orthodox, Mormons, Jews, Muslims, Buddhists, with what we call the Midnight Monks, who shop in saffron robes late at night at the local supermarket. Not as many cultural attractions as in the S.F. Bay Area, but where is there, outside of New York? We do have a little theater, another on campus, a symphony orchestra, artists and art fairs, old geezers in the demonstrations and on the picket lines, bookstores, etc., but little night life for young people. We talked with a neighbor, who had lived in Los Angeles, and we agreed that we rather miss the sound of gunfire at night.
  5. garyrc

    R.I.P. Carl Reiner

    R.I.P. He was a favorite.
  6. I would use a good subwoofer, with the Forte III probably crossed over at 40 Hz, where, according to the Stereophile, July 16, 2019 review, the Forte III has a peak of about 3.5 or 4 dB, according to my eyeballs, and has a pretty smooth peak, averaging 5 dB from about 41 Hz to 150Hz, which might make a nice, but not extreme, punch. By matching a good sub's level to the Forte III's at 40-ish Hz (+4 or +5 dB), you might produce a bass rise similar (but more subtle) to the Harmon Curve that many people prefer. "Fig.4 Klipsch Forte III, anechoic response on tweeter axis at 50", averaged across 30° horizontal window and corrected for microphone response, with the complex sum of the nearfield woofer and port responses plotted below 300Hz." -- John Atkinson, Stereophile Of course the "port" he refers to is a 15" passive radiator that works kind of like a port. I'm not suggesting relying on Stereophile. I'm still grumbling about them measuring the Klipschorn outside, in a driveway, perched up on a furniture dolly. Clearly, while the new one has closed backs that make it O.K. to toe in, or out, a bit, it would still benefit from, and probably require, both room gain and boundary gain. It's hard to say what was going on in their minds. But, the last comment in the measurement section is worth quoting: " I keep coming back to the Forte III's astonishingly high sensitivity, one of the highest I have encountered. At typical listening levels, the drive-unit diaphragms will hardly be moving, which implies low distortion."—John Atkinson [italics and bolding mine]
  7. Congrats! Just out of curiosity, why were you originally running it at 4 Ohms?
  8. "Harshness" may be between about 800Hz/900Hz and 3,500 Hz, to my ears, with very harsh recordings (often those made during the first year or two of the CD era. YMMV. There was a "BBC dip" in some BBC speakers in the '60s through the '80s to cut down on harshness. This may -- or may not -- have been at about 2,000 Hz -- people fight about where it was. I guess Klipsch stopped using a K55 midrange in the Heresy I after a while, and changed to a K52K ... except I thought it was a K-53-K. Not at all sure about compatibility, but the Klipschorn crossovers may try to send a 400 Hz or 450 Hz signal through the K52Ks or K53Ks -- whatever they are. I don't know where they are supposed to crossover in the Heresy. It would be a shame to damage the Heresy drivers you love so much. I would skip everything else, for now, and phone Bob Crites, and see what he would charge you to test the Klipschorn midrange drivers you have, & also the tweeters.
  9. Done. May God bless you both and give both of you healing and peace.
  10. The small rubber washer that is between the midrange driver and the mid horn in both the Khorns and the Heresy I may be partially deteriorated. They may fall apart or crumble a little when switching drivers. Ask Bob Crites where to get new ones (you'll need 4). He may have a supply. P.S., I had Khorns in a room with a floor plan of only 9' x 11' 4" but with a high ceiling. They sounded wonderful from the one, narrow, sweet spot. The room was very diffuse and also had a thick rug and a big slab of 4" anechoic wedge Sonex behind my head (that was only about 7" from the wall). Of course, they sound better now, in my current big room.
  11. Wow, it's still a mystery to me! I agree, a lack of bass balance can make mids and treble sound over emphasized. Sealing the Khorns into the corners may well help. Although it depends very heavily on the room, Klipschorns often show a dip at 60 Hz or 70 Hz, but recovers by the time it gets down to 48 Hz. I often run mine with the bass control at + 6 dB. I, too, listen mostly to classical music, and, occasionally jazz, and played in several orchestras. I get a lot of detail, and love what the mid and high frequency response does with orchestra bells, triangles that float in space, the purity of the treble end of the piano, brass, etc. To borrow from J Gordon Holt, the Khorns do, indeed, trigger my musical gestalt. As to violins, they sound just right about 60% of the time, close to correct about another 20%, and too "steely" about 20% of the time. My Pagannini set sounds incredibly good except for a single selection, V1, #1. Did they fix whatever was wrong after the first selection? Many times the gutty string sound is very detailed and very near what I used to hear in the orchestras (~~ 15' to 25' away), and also much like the sound of a violinist who performed for us in the room our sound system is in. They always have been difficult to record; Leo De Gar Kulka thought so to the degree that when he finally heard them right (using the Colossus recording system) he had to yell out in the control room, "The strings! The strings! Placing a highly absorbent pad where a yardstick placed flat on the front grille would touch the side wall, and reaching two feet farther into the room is recommended by some (see the post "Corner Horn Imaging" by @Chris A on this forum).
  12. With many bookshelf speakers (especially inexpensive or midpriced ones) turning up bass controls, "would necessarily muddy up the sound," partly by straining the speakers (especially if the volume was high), partly by mid-priced amplifiers beginning to clip when loudly feeding acoustic suspension speakers that were 20 times less sensitive than my JBLs at the time (of course, in bassy passages, a bass boost of 6 dB would increase the power needed by 4 times, and, to begin with, to replicate the 107 dB at the main listening position the JBLs would produce with 16 watts in my big room, would take 250 watts into a "normal" speaker, and about 700 watts into, say, a B & W 801 F ), and, finally, partly because of extra woofer excursion caused by turning up the bass control, increasing frequency modulation distortion. If the bass control reached up into the midrange, the distortion would be increased there, as well. So, bass controls used with inadequate speakers did tend to muddy things up. With my big, horn loaded, JBLs, they did not. With my friend's medium sized EVs, with horn loaded ports, they posed no problem. With my Klipschorns, no hint of muddiness, with the Luxman 150 Hz turnover bass turned up, in addition to the Luxman Low Boost 70 Hz "on." At the time, Gary Gillum told me, "You won't need "Low Boost." Well I sure didn't need it, but I enjoyed using it, especially with Fanfare for the Common Man, which shook the whole house. But I did hear low frequency muddyness on turning up the bass with my friends' EMI, KLH, ADC, Infinity, AR, Wharfedale, etc., etc. During the '60s and '70s, most of my friends, adjusting by ear, ended up with a typical tone control setting of about "Bass +2," which would be anywhere between a 6 dB boost on the average, and an average boost of 8 dB (McIntosh C28), depending on the preamp. We were surprised at the consistency of this finding.
  13. Welcome to the forum! "What's up with this?" Eliminating bass and treble controls is most definitely a step backwards, IMO. It was based on a misconception, namely that if the listener imposes no EQ on a recording, the music will sound both more natural and more like the mixers in the booth heard it, thereby preserving their artistic intentions. Also eliminating tone controls would eliminate some phase problems that can be generated by using tone controls. Well, tone controls with a neutral or flat position (straight up) that takes the tone control out of the circuit provides a true choice: no tone controls with no problem, or EQ if that sounds better to you than flat with a particular recording. As to sounding more like the mixers in the booth herd it, your speakers are different than theirs, your room is different than theirs, your electronics are different than theirs, your player is different than their playback equipment, your SPL is different than theirs, your ears are different than theirs, and I'll bet your preferences are different than theirs. Also, there are demonic pressures within record companies, on the part of the "suits," to tailor frequency response to what they think will sell best, as part of "the loudness wars." This often takes the form of cutting the bass, and often pushing up the midrange, sometimes causing harshness. See Chris A's many posts on fixing these recordings by "demastering," starting with The Missing Octave. You probably won't find an amp with a midrange tone control, but you probably won't need one because careful adjustment of bass and treble will probably suffice. Back when midrange controls were sometimes called "presence controls," Paul Klipsch, with his usual humor, suggested an "absence control." A marvelous integrated amp, the Luxman L580, is the best solid state amp I've ever had, and while it doesn't have a midrange control, it has bass and treble, with three different slopes each, plus a "low boost" 3 position switch, and many other choices. If you could get a used and tested one of these ... and rosewood, with a silver front ...
  14. Well, not as much as you can, but: Thick Carpet Absorption at the first reflection points along the wall & on the ceiling https://www.gikacoustics.com/early-reflection-points/
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