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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. @PrestonTom I've long appreciated your posts, BTW. Was that low test-retest reliability with the same part of the same program material? Do you have info on inter-rater reliability? In the olden days, when my friends and I were shopping for speakers, we (informally) found that our design/brand preferences tended to be associated with where we sat in the orchestra. Brass players and those who sat in front of the brass, liked horn loaded midrange/treble. Percussionists liked fully horn loaded speakers. Violinists liked Bozak 3way all cone type speakers. Most of us appreciated the ample bass and small size of the AR-3A acoustic suspension speaker, but all but one of us couldn't stand the muddy, un-dynamic, slow nature of the bass. The AR3A was reputed to be the flattest, "smoothest" of them all, but that didn't make up for the lack of natural, exciting dynamics and subjectively judged transient response. I find it very disturbing that classically trained musicians were screened out of Toole's tests. The aforementioned orchestra friends and I had a great deal of experience with huge a JBL C55 rear loaded horn enclosure, equipped with 2 - 15 inch 154 woofers and a 375 compression midrange driver with 537-509 horn-lens (golden and wavy!). Our favorite record store (mostly classical) used these to demo records, believe-it-or-not. So, we heard these speakers about 3 times a month for about 6 years, through long afternoons. Once in a while we even bought something! Although these speakers had hardly any deep bass (probably almost nothing below about 50 Hz, best guess), the mid/treble range had incredible, clean but explosive dynamics, and sounded a lot like the orchestra we played in every week-day morning. If I had to choose between flat frequency response and realistic dynamics, I'd choose the dynamics every time.
  2. Consumer lines only: Best Jubilee preferrably bi-amped and EQd-- see Chris A's posts Klipschorn AK 4, AK5, (AK6?). La Scala II, III (II and III probably better?) or Belle Klipsch (all need a subwoofer -- in my room, below 60 Hz). Consider a horn loaded subwoofer to preserve tight, clean bass. Forte III Heresy III, IV, probably IV is best, with a subwoofer Top of the Reference or Reference Premiere line. Worst (but still good) All have clear, low distortion midrange and treble, high dynamic range, sensitivity ranging from high to extremely high. Those with horn loaded bass (Jubilee, Klipschorn, La Scala II and III, and Belle Klipsch) also have clean, low distortion bass. There is nothing as clean in the bass as well designed horn loading. All could probably use some EQ, especially a slight midrange cut and some judicious bass boost. In general, they are noted for clarity, openness, high dynamic range as well as good microdynamics, excellent brass and percussion. They may not be as smooth ("flat") in frequency response as some (usually more expensive) "audiophile" speakers, but those same "audiophile" speakers sometimes sound veiled by comparison. Your own ears, in your own room, should be your final judge. Listen with a great variety of program material. Buy with a return privilege.
  3. I can't answer your question, but are your present crossovers Klipsch stock models that were used in the AK4 and the AK5? I thought they had crossovers of 450 and 4500, and very steep ones. Just curious.
  4. Used K-horns would be my choice, if you have corners, or can build artificial corners. If you seal up the backs (research it) they still benefit, and probably need, to be very near, or in, a corner, but can be toed in. With a 1800 cu ft room (yours with an 8 foot ceiling), 50 watts should get you something like 112 dB very clean, unclipped, instantaneous (50 ms to 500 ms) peaks and a good, powerful, average level with Klipschorns, according to http://myhometheater.homestead.com/splcalculator.html. That's when rating the Klipschorn very, very conservatively at a sensitivity of 101 dB/1w/1m; the 105 dB/1w/1m would be in a room, speakers in a corner --- but, essentially, that's how you will listen, so you might have about 4 dB more headroom. Somebody may say that your room is too small for K-horns, but I used to have mine in an even smaller room, and they were great! You need a carpet. With any speaker you might have a problem with a perfectly square room, but you an reduce one dimension by putting a well filled set of bookshelves behind the listeners. Screw it to wall studs. If necessary, build a tuned bass trap for any standing wave you get -- but I think you will be O.K. without it. You will probably have to get the crossovers re-capped. If you are not up to it, Bob Crites (BEC on this forum) does it. Be sure to test the tweeters to make sure they are working. Place an old paper towel or TP roll (without the paper) gently up in front of the tweeter, to separate its sound from the (dominant) midrange horn, and listen through it. Play something with lots of treble (but don't turn up the treble or the overall volume much!). Cymbals, triangle, or orchestra bells are good. IMHO, La Scalas would need a subwoofer below about 60 Hz. If you play vinyl, make sure your C28's refurbisher checks the phono section; the Achilles' Heel of the C28 was one channel dropping out on phono (only), usually the right channel, for some reason. Otherwise, it was a wonderful preamp. Khorns, in my room, would respond well to having the subtle Bass Trim turned up, and the separate Bass Control used for bass-shy CDs. Oh, and welcome!
  5. I heard 4311s at the studio of the Different Fur Trading Company in San Francisco, hooked up to a synthesizer (a Moog, I think), in about 1975 (?) ... I was amazed at the SPL they could get out of them, for a speaker of only moderate sensitivity and relatively low power handling capacity. Later, I was reading one of those "build your own recording studio" articles, which advocated using 4311s, or other similarly sized speakers, which said something like, "Ignore the power handling capacity; good manufacturers are quite conservative in the phc rating." It was about that time that somebody asked PWK what the phc meant, and he said, "Probably not much." I guess it depends in part whether the peaks are 50ms or 500ms. Still ...
  6. I would guess that the JBL would be a little "sweeter," and would never give offense. BUT I would guess the Klipsch would be clearer, more detailed, more dynamic, and with really good recordings would sound more real. AlSO For the same Sound Pressure Level you would get from 100 watts into a Forte III, you would likely need about 300 watts into the L100, and the L100 could conceivably overload, because it is rated for a max of 200 watts. I don't think it would, since, at that level we are talking about very brief peaks. These calculations use a sensitivity rating for the Forte III that is 4 dB lower than the manufacturer's rating, which is about what Stereophile got.
  7. Back when I used reel to reel, I found that some alcohol leaves a residue. I think it depends on what the other 1% with 99% or the other 5% with 95% is. You can compare various brands by putting some drops on a clean piece of glass and letting it dry, then looking for a residue. Swan has some 99% isopropyl. I haven't tested it for residue. I would definitely use 99%, or stronger. There are other tape head cleaners, but some are quite toxic and bad for you and the environment.
  8. I'm disappointed and embarrassed for them. Has McIntosh been sold to some fresh squeezed serpentes syndicate?
  9. Like the time we came home to Oakland after the Bay Area's Loma Prieta earthquake and found that 3/4 of a tall 70 gallon aquarium had emptied itself on the floor. It hadn't fallen over, just sloshed about 55 gallons of water on the floor. The fish were all huddled at the bottom, keeping a low profile. The carpet was soaked, and a subwoofer was wet (not our "good" one). The place smelled like fish water for few days. Luckily, the main speakers in that room were not floor standing, and the Khorns were in another room, far away from fish tanks. The Monster Cable interconnects I had cursed because they were so tight that they could hardly be pushed in came in handy. An expensive Luxman and an expensive Lexicon were hanging from them.
  10. I remember seeing pictures of your place in Mexico (I think), but there is one thing I don't remember. Is the curved ceiling concave or convex? I'd consider some kind of hemispheric diffusion (probably convex, diffusing in several directions, like mushroom heads aimed into the room) on the walls between the 13 foot high level and the 33 foot ceiling, perhaps just some poly-cylindricals orientated in several directions different than the orientation of those below 13 feet, some made of hardwood, some of something harder (more reflective). I really don't know if random directions of a snaggletooth diffuser would be better or worse than mathematically designed ones. A room the size of yours should sound big, IMO. Mushroom diffusers (no psilocybin involved, but magic nonetheless) OR The Human Condition series of sculptures by Lawrence Sheraton -- so your diffusers will be talked about.
  11. Saw him in an indoor concert in Berkeley in the early '70s. There were a few people standing in the aisles because every seat was taken. The fire marshal arrived and said they would have to go. Cohen said, "Oh they can come up on stage with me." People began to do that, and the fire marshal freaked, indicating that they had to leave, and couldn't lay one foot on stage (which had a huge floor area). Cohen calmly tried to reason with this individual, but reason was evidently not his strong suit. "Stop the concert, or we'll turn off your microphone!" He didn't, and they did. He said, "I don't need that," and sang without it. So, they turned off the lights. Someone, I don't remember who, persuaded us that being totally in the dark was hazardous, in case we had to evacuate suddenly (earthquake?), so the auditorium drained. It was all so Berkeley.
  12. Thanks. I am actually using an AVP, but hadn't thought of using it for reverb. I have now tried increasing the delay on the two surrounds, and this works for both music and movies. For music only, I'm trying adding panorama to the increased delay in the surrounds. It seems o help, too. I'll have to listen for several days and see if I still like it, while watching out for novelty effect. Do you know of any additional things I could try with an AVP?
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