Jump to content
The Klipsch Audio Community


  • Content Count

  • Joined

  • Last visited

Community Reputation

1323 Legendary

1 Follower

About garyrc

  • Rank
    Forum Ultra Veteran

Profile Information

  • 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).

Recent Profile Visitors

7900 profile views
  1. I had similar experiences with several of the same cartridges! Later, when I made some 15 ips 1/2 track tape recordings, I noticed no sibilance from very emphatic actors, using the following mics: U47fet, and an RCA 77 ribbon mike. Both had a rep for picking up sibilance, but we got none. We had our actors talk across the mics rather than straight into them. I wondered why the pros couldn't keep the sibilance out of their recordings a little more often. It makes sense to me that ill-advised EQ might have been the reason.
  2. I very, very rarely get objectional sibilance in Blu-ray movies or DVDs. My best guess is that the movie people actually care and take steps to minimize it at the microphone, or "in the mix." With entirely the same equipment, from player to speakers, I get it a little more frequently with CDs and SACDs. I don't play much pop or rock, so if that's where people are hearing it, it might be due to the mastering EQ habits @Chris A mentioned. Some sibilance is naturally occurring, of course. If you put your ear as close to someone's mouth as some microphones are, you would hear sibilance. I've heard it from some lecturers at several feet (like from the front row of a classroom), especially when voicing the sounds sip, zip, ship, and genre. IMO, if there were not some sibilance generated when those words were spoken, something would be wrong. @Randyh, the JBL acoustic lens you pictured may well have worked to counter sibilance. The 375 driver used with it took a nose dive at 11K. When they improved the Hartsfield by adding the supertweeter 075 (I think the Xover was at 7K -- at least it was on the Paragon), the sibilance came back. As a friend said, "Now you can hear the spit." Sometimes that's a good thing, sometimes not. It gives Satchmo a more interesting sound.
  3. 52 watts is not "too much" for any speaker, but adequate for efficient speakers, like your Heresies. Be careful, though, many bookshelf speakers are inefficient, and would require a bigger amp to reach concert level. For instance, I wouldn't get something with a sensitivity of 85 - 90 dB/2.83v/1m. Your Heresies are about 96 dB/2.83v/1m in a typical listening room, near a wall, or about 92 dB/2,83v/1m in an anechoic chamber. If you always play your music softly, ignore these caveats. I had an in-law with your Marantz, and it sounded very, very good.
  4. They are fine, if set up correctly. I used to have mine in a small room (9 x 12, with a high ceiling) and they were great (!) for the person in the center seat, a little less so for those in seets to either side of enter. Is that a small stage at the end of the room? What is its function? The Khorns need to be pressed into the corner, with no gap, unless you have the relatively new ones that have completely closed backs. If you took out the "stage," you would gain a few inches in ceiling height, but it's probably not worth it. You need to prevent the sound from the tweeter and midrange from bouncing off of the low ceiling and traveling directly to your ears, but some well placed absorbers on a small area of the ceiling would fix that. Sit in your listening chairs, one at a time, and have someone hold a mirror flat against the ceiling. Any mirror position on the ceiling that returns an image of the top, front part of your speakers ("the top hats") where the tweeter and midrange are to your eyes in any seat, should get an absorber. They come in many colors, including white. Don't over--deaden the room. If you decide to put something on the walls, diffusers might be better in a small room, to add a bit of reverberation. But use absorbers only on the ceiling, because it's so low. www.youtube.com › watch How to Make High Performance Sound Absorption ... - YouTube Home About Us Resources Project Gallery Products Contact & Support Sound Absorbers | These sound absorbing acoustical panels and soundproofing materials are used to eliminate sound reflections to improve speech intelligibility, reduce standing waves and prevent comb filtering. Typical materials are open cell polyurethane foam, cellular melamine, fiberglass, fluffy fabrics and other porous materials. A wide variety of materials can be applied to walls and ceilings depending on your application and environment. These materials vary in thickness and in shape to achieve different absorption ratings depending on the specific sound requirements Acoustical Foam Panels These acoustical foams are used in a wide variety of applications ranging from Recording and Broadcast Studios to Commercial and Industrial Facilities. Available in Polyurethane or in a Class 1 Fire Rated foam. These products can be applied directly to walls, hung as baffles or used as freestanding absorbers. Acoustical Foam Panels » Tone Tile® White Paintable Acoustical Wall Panels This panel system is a quick and easy acoustical solution for any space. These uniquely sized panels can be painted on site to match or complement any color scheme. More on the Tone Tile® Paintable Acoustical System » SONEX: SONEX One $209.00 – $503.00 Select options SONEX Valueline $175.00 – $406.00 Select options SONEX Classic $232.00 – $629.00 Select options SONEX Mini $175.00 – $451.00 Select options SONEX Junior $79.00 – $98.00 Select options SONEX WHISPERWAVE Wall Panel $261.00 – $470.00 Select options SONEX Pyramid $269.00 – $607.00 Select options SONEX WILLTEC Flat Sheet Natural GREY $35.00 – $1,350.00
  5. I had exactly the same opinion as @JJkizak for about the first two years I had my Home Theater with Klipschorns, and I ran the Khorns "LARGE." I didn't want to loose the bass cleanness of attack of the Khorns. I tried subwoofer low pass filter at 40 Hz, 60 Hz and 80 Hz. It was a crap shoot as to which was best. Person after person on various forums -- some of them reputed experts -- urged me to set the Khorns "SMALL," to avoid multipath distortion/comb filtering, just plain phase cancellation, to save headroom in the amps (hardly necessary, since the Khorns were putting out 107 dB --- 2 dB more than Dolby/THX/SMPTE standards for the loudest peaks --- at the listening position, at an expenditure of just 16 watts), etc. They all pointed out that the terms "SMALL" and "LARGE" were misnomers, and had nothing to do with the size of the speakers ( I pointed out that there was a correlation between size and bass response, and they pointed out it was not a high correlation, and some smaller speakers have more full bodied and extended bass than the Khorn, etc.). Soooo, I decided to run exhaustive tests. The end result, after another several months of tests, was that there seemed to be a little added bass clarity with almost all music, and especially, movies with the Khorns set to begin rolling off at 80 Hz, set on "SMALL." This was a huge surprise to me! They still were 'in charge of big bass peaks at 100 Hz, 125 Hz 150 hz, etc -- their forte -- and they were delivering substantial bass down at 50 Hz, 30 Hz below he crossover. With a few movies, where clean bass attack impact is more important than tonality, multipath, etc., like Ben-Hur (1959 version), for example, I still run the Khorns "LARGE;" otherwise, "SMALL." The subwoofer won't work on regular "bass management bass -- music" if you use the "LARGE" option UNLESS you set the system for LARGE LFE + MAIN, which means that any bass being sent to the main speakers is ALSO sent to the subwoofer. With my pre/pro, the true, sound effects only, LFE gets sent to the sub at all times if the sub is set to"YES" in the pre/pro.
  6. Yes, you need to verify you have enough power to drive all of your speakers to the levels you want. Use this calculator: https://myhometheater.homestead.com/splcalculator.html Get the speaker sensitivity off of the spec sheet of the speaker. It will be listed as __(dB) per 2.83v per 1 meter. Some speaker manufacturers will list in terms of watts, not volts, (2.83v = 1 watt into 8 Ohms). In that case, put the dBs at 1 watt into the calculator. The "power handling capacity" is largely irrelevant, contrary to what the Big Box stores sales people will tell you. If the receiver you are considering is specified at continuous watts per channel, all channels operating, 20 to 20,000 Hz, 8 ohms, at a lowish distortion level (0.1 or less), fine -- plug that figure into the calculator. If it is listed at only 2 channels operating, or at a narrower frequency range (sometimes, laughably, at 1K Hz) or at an impedance lower than 8 ohms, or at distortion higher than 0.1% (very common cop-outs), know that you may get only between 50% to 80% of its rated power in watts out of it on a continuous, all channel basis. THX, Dolby, SMPTE, and others wants you to have a system that will produce 105 dB peaks at the listening position, and 115 dB through the subwoofer (which should have its own power). If you always play it at less than theater level you don't need quite that much, but some movies have outrageous peaks. The reflective nature of most home living rooms also work to slightly lessen the power needed, but, eventually you may want a treated room, which will need what the calculator tells you.
  7. Yes, at low volume, the two hypothetical amps should sound the same, providing they are equal in other ways. Amplifier power is not the salient variable at low volume. A conservative guess is that your 95 watts per channel AVR should push your main (right front and left front) speakers to about 107 dB peak at about 12-13 feet away in a typical room. Since the standard peak of peaks ("full scale") that Dolby, THX, SMPTE, AES, and the other royalty of the cinema world expect you to provide to your main speakers is 105 dB, you are probably O.K. ... BUT, if you have all of your channels, including surrounds, pumping away at full tilt, your AVR probably cannot deliver 95 watts to each of your channels. Few, if any, manufacturers specify their AVRs with all channels operating, which they really should do. IMO, though, you should be able to squeak by, since you have a couple of dB to spare. Your canter channel speaker may or may not need more power, because it may or may not be of lower sensitivity. SVS rates it at a sensitivity of 86 dB/2.83v/1meter in "full space." AES assumes they rate it 1/2 space (backed against a large flat surface) so I'm guessing that would provide another 3 dB of sensitivity, making it really 89dB/2.83v/1m. Klipsch rates your main speakers at 98 db/2.83v/1m in a typical listening room, which translates to 94 dB/2.83v/1m in 1/2 space (according to a Klipsch engineer). That's the figure I used to calculate your available Sound Pressure Level (SPL or volume). If your listening room is neither dead nor live acoustically, that probably provides you with a fudge factor of 4 dB. Your subwoofer is another matter -- do you have one? You really should. Almost all of them (name brands) are self powered with an appropriate sized amplifier built in. The overlords of cinema feel that your sub should be able to hit 115 dB SPL. Run all of your main speakers as "SMALL" to avoid multipath distortion; this will also give you more "headroom" -- spare power from your AVR -- since there won't be a demand put on it for deep bass, which is power hungry. A speaker's "power rating" (in your case, 150 RMS for RF 82 IIs) is not very useful. The idea that your amp should be more powerful than the "power rating" of your speakers is just a rule of the thumb (not quite as hideous as the origin of that term). Paul Klipsch was once asked what it meant; he replied, "Probably not much."
  8. Welcome to the forum! Try it and trust your ears. Your room looks acoustically "live," so I predict you'll want an area rug on the floor in front of them, and perhaps some wall hangings on the left wall, and the right, too if it's nearby. Get the wall hanging of your choice, and if it's not thick, hang a thicker one behind it. Since the second one won't be seen, it can be ugly. The glass looks thick, which is good. Good Luck!
  9. I have 5.1. Ordinary CDs: Pro Logic II Music derives "hidden" information (due to phase phenomena) from normal 2 channel CDs, and pumps it through surround channels, while sending a mix of L and R channels to the center, and feeds the L & R with the normal 2 channels Subwoofer is also used via "Bass Management." Produces a better 5.1 channel simulation than I thought possible. For 5.1 Movies DTS-HD Master Audio, or Dolby TrueHD For the rare 2 channel movies, there is Pro Logic II Movie. For true stereo 2 channel movies, one gets the whole 5.1 simulation. For mono movies with two identical channels, one gets a strong center image, instead of spooky field wide voices. Multichannel SACDs: Multichannel In. 5 channels of music, often with hall ambience in the rear, sometimes with stuff happening all around, as with the QUAD version of Pink Floyd - Dark Side of the Moon. For Parties: either All Channel Stereo (Multi-Channel Stereo), or Pro Logic II Music. All sound good with good program material.
  10. Well, in our first house we built a room for our Klipschorns. While building the room, the Klipschorns held forth at the head of our bed. When the room was complete, I took my infant daughter in there to hear Chopin. She grew up to be marvelously musically literate, and plays several instruments. When we moved into our next house we built a room for our Klipschorns ...
  11. Room proportions. May as well get it the best shape possible, although some people don't believe in "Magic Proportions," others do! 26 x 13.5 might be too nearly 2:1 in proportion. Paul Klipsch created a Dope from Hope on room proportions. See the second page with Dr. Bolt's proportion deciding contour. It takes ceiling ht into account, too. Try this link. http://assets.klipsch.com/file/Dope_680201_v9n1.pdf?_ga=2.47855328.633975349.1577944979-1885359904.1548711589 If it doesn’t work, google Dope from Hope vol 9, No. 1, 1 February 1968 There are more modern approaches, so dig around on google. Diffusers are practically a must, IMO There are several people on the forum who know a lot about acoustics. Two of them are Artto and Chris A. @schwock5 , @artto , @Chris A
  12. On the British TV show Repair Shop, they rebuilt an old, wind up, gramophone that had a large horn. They said the acceptable way to make it less loud was to stuff cloth into the horn. They said that was the origin of, "Put a sock in it!"
  13. https://www.amazon.com/Building-Recording-Studio-Jeff-Cooper/dp/0916899004 At you local library, or used for about $25. The new price is ridiculous ... This book is oriented toward building a home studio. Same principles for a listening room. We used it to build a smallish listening room in our old home. We had floating floor, etc, but the deep loud bass from Klipschorns went through anyway. In our newer home, we used a simpler build. I recommend a combination of absorption and diffusion. Don't over-deaden.
  14. My guess is that Klipsch, knowing that speakers are listened to in a room, rather than In an anechoic chamber, publishes their sensitivity as it would be in a room. There is a tiny number in superscript next to their ratings, that leads the reader to the footnote, "Sensitivity in an average listening room." The AES speaker positioning of any of the Heritage speakers would be inappropriate for listening. A Klipsch engineer on this forum said the difference is about 4 dB. I understand this is convenient for Klipsch, and may have come from the PR department, but it also is reality based, in a way. Klipsch's sensitivity ratings pre-dated the current standards. For instance, they used to spec the Klipschorn at "104 dB at 4 feet at 1 w," or 54 dB using an EIA rating. The slow constellations wheeled on. In modern times, moving from 4 feet to 1m, (3.28 feet), about 8.6" closer -- therefore louder -- probably increases SPL by an amount that rounds off to 1 dB, so they were rated at 105 dB at 1m at 1w (2.83v into 8 ohms). Actual measurements were probably taken at a much more distant spot, to let the speakers integrate, then they did the math. In those days, Paul Klipsch recommended that all speakers be placed in, or very near, a corner. That amounted to "Manufacturer's Instructions," which is where the speakers should be placed and measured. Moving a speaker from out in a room into a corner produces an increase of 6 dB or more. [Certainly, an older K-horn, without a sealed back should be measured in 1/8 space, i.e. sealed (with rubber, or the like) in a trihedral corner. It is recommended that even the new K-horns, with their factory sealed backs, still be placed in the close proximity of a corner, but now can be toed toward the listeners. This didn't stop Stereophile from -- impertinently, both meanings intended -- measuring them outside, not in a corner, raised off a driveway on a furniture dolly. Even then, they got 101 dB, 1m, 2.83v, exactly 4 dB below Klipsch's in-room result.] The entire (original) Heritage line all may benefit from being in a corner, providing that a few absorbers are placed to prevent nearfield reflections of the midrange from the side walls. See @Chris A, "Corner horn imaging" on this forum.
  • Create New...