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About garyrc

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  • Location
    The Milky Way
  • 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. New to Klipsch

    It took me 23 years to afford Klipschorns, but it was worth it. Now there is a contender, probably better, the Jubilee, available by special order from Klipsch, through Roy Delgado. Roy and Paul Klipsch designed it. It was originally called the Klipschorn Jubilee, because it was intended to be the successor to the Klipschorn.
  2. You might want to contact @LarryC -- I believe he had experience with both the AK4 and the AK5, and went back to the AK4, because the AK5 sounded a bit "hollow," to him, but there was something weird about his Khorns: I think the slot directly in front of the woofer (woof!) was the old size. The AK 5 assumes you have a tight seal with the wall, with both vertical and horizontal rubber seals (bark). The vertical ones go up both sides of the tail (wag) board, and the horizontal one is obvious. Pipe insulation will do. The AK 4 underwent a metamorphosis into the AK 5 because of the addition of the horizontal seal (bark) after having awakened as a bug.
  3. I'm confused, too, because my AK4 (supposedly identical to AK5, except for one resistor) came with a new dog house door with the network attached. No drilling. There was a gasket on the door that came with the crossover. Woof. Or, as we say in Berkeley, Steppenwoof [sic].
  4. Inherited klipsch

    IMO, when switching between two well designed speakers, you should gain something and lose something when hearing each speaker. The Klipschorns should have much more dynamic range, cleaner attack, and sound "bigger" with some program material. The Polks may go down a little deeper in the bass, but with a very good subwoofer crossing over at about 35 to 40 Hz for music, and 80 Hz for movies, the Klipschorns should be, generally, "better." How far apart are the corners? I'd turn the couch so it faces the Klipschorns (in their corners). Are the corners solid, i.e., firm? The Klipschorns need to be pushed all the way into the corners. The capacitors may need to be replaced, but play the Klipschhorns for a few weeks to a few months without doing so. Mine sounded fine for about 22 years with AA networks, and were still sounding fine when I replaced the networks to get the new design. The new networks are now 13 years old, and still going strong! As @rebuy says, there is a difference between direct radiators like the Polks and fully horn loaded speakers like the Klipschorns. The Khorns would have much lower modulation distortion, and a 100 watt amplifier into the Khorns would be as powerful, in Sound Pressure Level ("loudness"), as at least a 1,000 watt amplifier into the Polks (under ideal conditions, the Khorns with 100 watts would equal 3,200 watts into the Polks; the sensitivity of the Polks is 90dB at 1W at 1M, and the Khorns 105 dB at 1W at 1M if they are placed in good corners, providing plenty of boundary gain. As you may know, every 3 dB increase in sensitivity is like doubling the amplifier power). In my 4,000 cu.ft.+ room, I get a little more than movie Reference peaks (105 dB) from only one of the (front) Klipschorns running with 16 watts input. That's with the Khorns set for "small," which, counter-intuitively, is the correct setting for both the Khorns and the Polks, when using a good subwoofer.
  5. "Audyssey FAQ Linked Here" Here it is for you to try again. If you get a blank page again, try clicking on it, just for ducks, as we say in America. It takes about 10 seconds to load, over here.
  6. @Peter Welcome, Peter! Before you run Audyssey, read this: "Audyssey FAQ Linked Here" It helped me immensely, and my system has never sounded so good! Since the Audyssey you have in your new Denon is a very good one, it will smooth out the response curve greatly. That said, most people like a little smooth bass rise, so AFTER you run Audyssey, feel free to turn up your subwoofer by a few dB.
  7. Bogen was a respected brand, but ... ... I remember those days, and 12 watt amplifiers were usually mated with more sensitive speakers, believe it or not! A JBL D130, for instance, was a very popular choice, and had a sensitivity of 103 dB, 1 W, 1 M (or 54 dB EIA, the same sensitivity as a Klipschorn!). The ElectroVioce speakers were often something like 100 dB, 1W, 1M. There were only a few inefficient speakers in those days (e.g. the AR and KLH lines), and true, the RP-160s are very sensitive compared to them, or compared to many speakers of today, the typical speaker nowadays having a sensitivity of about 90 dB (generous). With the RP-160s, you would have 96 db, 1W (2.83 V into 8 ohms), 1M, which, with the Bogen, would be like driving an EV of 1958 with less than 6 watts, or a JBL D130 of those years with less than 3 watts. How big is your room? Is it relatively live or dead? How close to the speaker will you sit? If the Bogen is in good shape, with tubes and capacitors, etc., working correctly (unlikely at that age unless the owner -- or you -- or someone -- rejuvenates it) you could probably get 97 dB out of it and the RP-160 in a smallish (2,500 cu.ft.) room at about ~~~ 8 to 10 feet away, with room gain and boundary gain (speakers against a wall or in a corner) which would be fine until a big orchestral climax (105 dB to 115 dB for milliseconds) or a bit of rambunctious rock or metal (same level as an orchestral climax, but much, much longer, and therefore more dangerous to your equipment and your ears) came around. If the Bogen goes into clipping, your tweeters may overheat. A 25 watt or 30 watt (RMS) amp might be better suited. Someone else can give you a more informed answer.
  8. The Fifteen

    1) Why was it withdrawn? 2) Just out of curiosity, what midrange driver did it use?
  9. Moving Klipschorns

    I would cover the front of the grille on the top hat with something very clean and dust free to keep contaminants out of the tweeter and midrange. Don't let the wind blow into the top hat grille. I don't know whether these drivers have much of a stray magnetic field, but I have seen many other speakers with the outline of the speakers on the grille cloth, because of the magnetic field gathering iron containing dust. The top hats can be delicate. Don't turn the whole Khorn upside down. 4 hands or 6 Don't let anyone wear a toolbelt, or carry tools, or have exposed belt buckles to scratch the veneer or rip the grille cloth. Clean freight blankets, for sure!
  10. Spec'd to Small, Fact or Fiction?

    I would never go by the manufacturer's spec. Too much depends on the room, positioning, etc. Audyssey measures the F3 of each speaker in its position, and sends that info to the AVR. The AVR then uses that info to set crossovers using whatever algorithm the manufacturer has decided to use. Often, the F3 of the speaker is rounded up to a figure ending in 0, because crossover points ending in 0 are available on most AVRs and pre/pros. So, 38 becomes 40, 44 becomes 50, etc. The screen will show the rounded up figure, and the AVR will set your crossover for that speaker there. The user can reset the crossovers to taste. A common recommendation is to change any figure below 80 to 80, to let the subs do the heavy lifting. In the example I gave in my earlier post, an AVS member's screen showed F3 = 40 for each of the mains, and 110 for each of the surrounds. It seems to me that setting all crossovers to 110 would be a waste, and setting them all to 40 would invite a big response dip, and perhaps gross distortion, from the surrounds, which might be prone to what speaker evaluators used to call "doubling."
  11. new La Scala's, serial numbers 1 and 2

    Do you have Khorns set up in your store? Would you be allowed to have Jubs, or are they strictly direct from the factory items? I think it's tragic that there are so few places customers can hear Heritage. In the early '80s, I think I counted 8 stores with demo Klipschorns in the S.F. Bay Area.
  12. Spec'd to Small, Fact or Fiction?

    What if the F3 of a surround is 110 Hz, and the F3 of a main front speaker is 40 Hz? Would you want to set both x-overs to the same frequency? I didn't just pull those numbers out of a hat, they are based on existing cases on the "Official Audyssey" forum on AVS. I also wonder about inadequate bass speakers that are not crossed over high enough producing too much modulation distortion.
  13. Spec'd to Small, Fact or Fiction?

    Try all possible configurations, and go with what sounds best in each situation. I've used both LARGE and SMALL at various times. I now use SMALL and a 80 Hz crossover for almost all movies, because I can hear slightly clearer, less boomy, results. But, for a few movies from the era of magnetic soundtracks, I use LARGE because I need a little more bass impact, and LARGE gives me that. Since setting speakers to LARGE tells some sound systems, "Don't use the subwoofer," to get the subwoofer with a LARGE setting, it may be necessary to set for LFE + MAIN. Below is (I hope) an REW graph of my doctored-for-mag-soundtracks in-room response with the sub turned way up and the front (Klipschorns) set for LARGE. I hear more impactive bass with LARGE, and I can detect no phase cancellation by ear or by REW. I believe that the part of the graph that shows the K-horns and sub adding nicely is the part between 100 and 200 Hz, because that bridge isn't there with the fronts set to SMALL. Don't ask me why it occurs at 100 - 200 rather than around 80, since the x-over ws set at 80, because I haven't the foggiest notion. But it "fattens up" those magnetic tracks, and makes them sound more like they did in the theater. Examples of films improved by this are Lawrence of Arabia, and Ben-Hur (1959). Lawrence can be helped by a little treble cut, due to outrageous brass. I also was convinced by Roger Dressler (formerly at Dolby) in a technical note at "Audyssey FAQ Linked Here" to try changing the LPF for LFE to 80 Hz (down from the 120 Hz that is the standard, and what filmmakers expect), while leaving the regular bass management crossover at its normal setting (also 80 Hz) on the grounds that LFE in the 100-120 Hz zone is lot of boominess that can cloud the deeper bass. Setting the LFE filter to 80 Hz can help clean that up. So far, I've run 7 movies that way, including Star Wars: The Last Jedi and Dunkirk, and they certainly were not lacking in deep bass, and sounded very crisp. Also, music disks that use 5.1 are "not well disciplined in their use of LFE", leading to muddiness, acording to Roger, therefore can be helped by lowering the LPF to 80. Most of my SACD multichannel music discs are 5.0 rather than 5.1, and the few 5.1s seem fairly well disciplined, so I can't vouch for that part.
  14. Klipschorn and...

    See my signature, below. I am very happy with the sound of Khorns, modified Belle center, 4,000 cu. ft. + room, and Audyssey.