garyrc

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About garyrc

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  • 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 hihat, 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 had in mind CHEAP headphones that come plastic wrapped on a piece of cardboard. I tried several my daughter and her friends had a few years ago, and they were all terrible. Maybe they have improved; hope so. BTW, how much did your Sonys cost?
  2. It's conceivable that is what is happening. I wish I could post the two curves, but they are on a crashed computer. But the Audyssey Flat curve was elevated by about 5 dB over the No Audyssey curve -- corresponding, perhaps to your final step of lifting up all of it. The frequencies below the dip were already raised up. The newly elevated part of the curve (after Audyssey) is pretty flat up to about 12K, where it begins to fall (my MLP, where I measured with REW, is slightly off-axis ... the path from the Khorn tweeters cross in front of the listeners). Audyssey also cut down peaks between 100 and 200, and at 8K..
  3. Some earbuds and some cheap headphones veil the details (high frequency roll off), and/or, through coloration, guild the lily. 256-320 may be very close to CD, but why create a format that is a step down, even if it is a tiny step?
  4. For tweeters, one contributor to the forum has often stated that clipping is not the cause, but sufficient term power beyond the tolerance of the tweeter is Maybe he will post here. Others, manufactures included, say that clipping alone can do it. Yes, when does the fur fly?
  5. Measured in my room (with REW & a calibrated mic) at the Main Listening Position, which is about 14 feet away and at ear height, my Left AK4 Klipschorn (didn't measure the right, but the room is symmetrical) has about a 5 dB dip centered at 350 Hz, compared to the nearby neighbors of 200 Hz and 500 Hz. With Audyssey Flat room correction, the 350 dip disappears, so I guess this means it is not a room null, or Audyssey wouldn't be able to fix it (?).
  6. I think Robin Williams at least repeated it, or may have originated it. Or David Crosby? Actually, I've heard rumors that it is quite well remembered, despite the weed and other substances.
  7. Someday, when you build a room especially to accommodate corner horns, you can put either Klipschorns or Klipsch Jubilees in there. For now, enjoy the La Scalas! From everything you've said about bass, I think if you ever get a subwoofer -- to go with any speakers -- you would want a horn loaded one, for clean, tight, precise bass..
  8. What does she feed it? Does it talk or sing?
  9. Hi muel. I'm not sure you're replying to my post (directly above yours), but of course my room has some peaks and nulls on the low end. I meant that the bass never was "excessive," IMO. "Excessive bass" was something the OP, heavyP, was worried about. Some other speakers are more "bass heavy,: and many are not as clear. At the Main Listening Position, the bass sounds tight, pure, effortless and very dynamic. Room proportions, room treatments and Audyssey further improve it. Hi heavyP. I once had only 6 feet between my Klipschorns, in a very small room, and they were fine, except there was only one small sweet spot for one person only. The imaging sucked for all other listeners, although it was tonally pretty good. They sound much better in my current room of over 4,000 cu. ft.! Is there a way to remove the table between the speakers (no matter what kind you get)? The art work can stay. Can you build your equipment into a closet or something, or put it at the rear of the room?
  10. My Klipschorns have never had excessive bass. They tend to sound crisper and more precise than other speakers.
  11. The window behind the curtains doesn't provide enough firmness (unless, maybe, it is very thick plate glass, and not too large), and there isn't supposed to be a gap between the Khorn and the wall(s). About all I can think of -- other than moving them to another room with good corners, which is probably best -- would be artificial corners, 3/4 inch plywood and studs, no floor, perhaps with hardwood veneer and a nice stain, minimum 48" out from the vertex. Some of these can look good, but generally have a low WAF. Someone else can discuss closing off the backs, BUT I suspect, in your case, this would be a compromise, because the side grills would be speaking out to that (probably flimsy) window glass. If you get them into good corners don't be shy about trying up to 6 to 8 dB bass boost (a boost of only bass control + 2 on my old McIntosh). Don't give up on the tuba -- do you play one? The fundamentals may range from about 50 to 400 Hz, with overtones up to about 2K.
  12. Here is the abstract. Bolding is mine. I think the paper is in the Audio Papers that may still be available from Klipsch. Abstract: Following the teaching of the early Bell Telephone Laboratories' experiments in auditory perspective, wide speaker spacing is needed to realize accuracy of geometry. This results in substantially random phase, so that polarity is relatively unimportant. This is supported by Lissajous figures of two-channel stereo signals. It is still good practice, however, to observe polarities, if for no other reason than to permit monophonic reproduction over a stereophonic array. Where the stereo signals contain a strong monophonic component, correct system polarity is better than random polarity. In some stereo situations, bass is improved by correct polarities. Published in: IRE Transactions on Audio ( Volume: 9, Issue: 1, January-February 1961 )
  13. I doubt if the problem is that your Onko has a "meager 110 wpc." AVRs tend to produce about 80% of their rated power when all channels are operating, about 88 wpc for an AVR rated at 110 wpc, but 88 watts is plenty for a Khorn, unless you have a huge room. Some electronic components do sound more dynamic than others, but the reasons are mysterious (at least to me). This might be another one of those instances in which the measurements and specs don't tell the whole story. I assume you have the Khorns pressed into the corners, with some gasket material (pipe insulation or the like) and no obstructions 4 feet out from both corners. With my Marantz pre/pro, NAD 150 wpc power amp, the Khorns are dynamic as all get-out. If you have tone controls, have you tried boosting the bass a little?
  14. As I'm sure you know, "the best sounding speaker in the world" would still sound bad in some rooms, with some recordings. According to PWK, the best speaker in the world would be one with very low distortion, including modulation distortion. That would probably require horn loading throughout the range. High efficiency would be a welcome side effect. The "perfect graph," as measured in an anechoic chamber would not be a straight line in our listening rooms, as long as the rooms we put the speakers in are imperfect. According to Harman inc, and other researchers, the best sounding sound system and room combination would, from the main listening position, have a frequency response curve that starts rather elevated in the bass, and smoothly descends as the frequency gets higher, until it reaches 9 or 10 dB lower at 20KHz than it was at 20 Hz. That would be a proposed ideal, and I don't know anyone who has achieved it in a home or Home Theater. I have managed that general shape in my Klipschorn system (31.5 Hz to 15KHz), and it usually sounds very good. There are plenty of odd recordings that call for individual EQ, though. Rumor has it that sometimes recordings are made very un-flat and compressed because the record companies think they will appeal more to the average user that way, and also help them win the "Loudness Wars." Given all of the above, a straight line may be the last thing we want. See J. Gordon Holt's article, "Down with Flat," in the archives of Stereophile, findable through Google (for those who don't know, Holt started Stereophile, and edited it for years). Although he was not a great fan of Klipschorns, he hypothesized that the reason musicians liked them so much was that they triggered their "musical Gestalts." I would add that in those days, musicians often had 15 i.p.s. 1/2 track reel to reel tapes of their own performances that hadn't been monkeyed around with. I'm hoping (and betting) you are getting your musical Gestalt triggered by your Klipschorns, regardless of how old they may be..
  15. A local "medium end" audio store habitually would ask MP3 fans to bring in a favorite and compare it to a CD, SACD, DVD-A, if the store happened to have the same recording on one of those formats. They played them back on a system that used Paradigm speakers, NAD electronics, OPPO disc player, and whatever MP3 front end the store had (I didn't notice). The MP3 fans were often surprised at how much better the other formats sounded, particularly in the high frequencies. This was in about 2010 -- 2011. I remember in the Klipsch Promedia 2.1 manual of about 2003 there being a warning that MP3 files may not deliver as high a quality as other formats -- this in a very modest, inexpensive, but respectable, Medium Fi device!