garyrc

I've seen that tetrad in full operation in business, music, the university I worked for, politics, "everywhere." If only we could use something other than dollars and power as our reinforcing tokens ...

What Klipsch speakers do you have? If several, what do you like best, and why?

Did the originals influence these? But of course ...

An old marketing trick. In the 1960s, one light meter company gave every cinematographer in Hollywood (broadly defined) an XYZ meter so they could advertise, "Every cinematographer in Hollywood owns an XYZ light meter." In the early 1970s, Wally Heider in San Fran used Altec coaxes, the 604E, I believe, as their main (real) monitors, installed above and in front of the mixers, about 8 feet away (my estimate). So did Swanson sound in Oakland. There were a lot of JBLs being used as "real" monitors. In Sausalito, The Record Plant used custom speakers with wood mid horns, but I think the drivers were JBLs. A rumor was that they also used Nitrous Oxide. Nothing but the best. The Different Fur Trading Company used the smallest "real" monitors I saw; they were JBL 4310 or 4211 or 4312 -- I don't remember which. In Europe, B & W (801F?) were popular. A studio in the South (memory again) used Klipsch, one even using Klipschorns, which their chief engineer considered to be the best for monitoring.. The LA outpost of The Record Plant used some Klipsch Professional. I said "real" monitors, because they used them critically, to mix to. In those days, the little (sometimes 6x9) *#~@#^/*# speakers, sitting on the board, used to guess at what the sound would be like through a very cheap *#~@#^/*# home or car speaker, were bought off the shelf at a place like Al Lasher's Electronics in Berkeley, or maybe Radio Shack --- no attempt was made to get a good speaker -- the question was, "Will the mix be articulate enough, revealing enough, full & rich enough through a truly bad speaker?" I don't recall these ever being called "monitors." That term was reserved for their good speakers. Some years later, when more expensive peanut speakers were set on the board, people -- and advertisers -- began to call some of them "monitors." Even though small, a few were designed to have "flat-ish" frequency response, but I would worry that the often seen, two way, direct radiator, small woofer varieties would have a ton of modulation distortion, so if low quality is desired, why not just use a 6x9 from Al Lasher? Some small "monitors" have jacked upper midrange at, say, 2K, tending to harshness, to alert mixers to any harshness creeping into the recording. In many cases, it is not working. By now, I wouldn't be surprised if there was a switchable one with either "flat" or "harshness detector." The BBC used to have just the opposite, with the "BBC DIp" providing a few dB of attenuation at about 2K. That is also true with one of the Audyssey options. Their dip is called "Midrange Compensation," and reduces the signal about 2 dB at 2K, perhaps handy if an engineer back at the studio was asleep at the board. In newer Audyssey equipped preamp processors and receivers, midrange compensation can be removed by the app.

When I went to elementary school, the only homework we got was to learn our spelling words and to practice whatever we were learning in math. When the teachers were real spellbinders, we learned a lot. When they were not, we didn't, but I don't think homework would have helped, and due to resentment, it may have hurt. I learned "carry the one" from a Donald Duck supplemental book. We had great history lessons taught in the form of stories, good educational record albums (78 rpm, at first), good movies, and field trips (nature preserves, a natural history museum, an art museum, the naval air station, a milk treatment and bottling factory, a photographic expedition, a downtown theater where we saw a marvelously colorful film of Queen Elizabeth's Coronation, a symphony concert, UC Berkeley, Mills College, where I bought a Fun with Chemistry age appropriate book, then anointed the high ceiling of our brand new school building with backing soda and vinegar in an experiment gone wrong. Some of this stuff was unforgettable -- and that's the point). I could cover jr. high and high school, but I don't have time. Suffice it to say that we didn't have significant homework until the 9th grade. I must mention Paul Goodman's determination that it would cost no more per student than it does in a conventional school (in NYC) to form teams of one master teacher, and two college student or grad school interns (for academic credit) for every 7 students, and use the city as a classroom. Home base would be donated storefronts, or even the occasional parent home. No building upkeep, etc. The group would spend time in the museums, libraries, laboratories, places of business, concert halls, parks, zoos, galleries, etc., and, most important, these 7 students and 3 articulate adults would hold an endless conversation, exposing the students to adult thought, adult examination of evidence, adult analysis and synthesis, etc., and the adults would inevitably learn, too. Goodman discussed this in many contexts, and, IIRC, in his double paperback, Compulsory Miseducation and the Community of Scholars.

Do you have a subwoofer? Back in the 1970s, one of the Audio magazines ran an article on firming up your floor to avoid resonating and bass loss. They recommended going into the crawl space and installing a 4 x 6 lintel atop some 4 x 4 posts & piers under, across and pushed up against the floor joists, immobilizing them. We did that in two houses in a row. The crawl spaces looked a bit like Stonehenge. Even with that reinforcement, the couch seems to move when we play certain movies, or the Crystal Clear Records version of Fanfare for the Common Man (big drums and Tam-Tam).

The JBL Paragon sounded very effortless, very analytical. The speakers are a bit below ear level with most seating. Some people put them up on something, at the risk of losing a little bass. The midrange drivers, the 375, were some of the cleanest, clearest, ever. They were used in some theaters that did not use Altec, including the original 70mm Todd-AO theaters set up by Ampex; they sounded great! I believe the Paragons started out using 154C woofers, and later substituted LE 15As or one of the other "Linear Efficiency" woofers. I don't know which one was better. Compared to the Klipschorn, they sounded equally undistorted (both are fully horn loaded), but the Klipschorn had a bit more bass and bass extension. I don't know what the bass specs were for the Paragon. The Khorns -- in my room -- are "smooth" to about 35 Hz and really do have (attenuated)bass extension down to 25 Hz. Mine are way, way down at 24 Hz. The demo music both JBL (at Hi Fi Fairs) and the dealers tended to use with the Paragon didn't have a lot of ultra deep bass. Stereo magazine for fall 1970 had a ranking by Norman Eisenberg in which both the Paragon and the Klipschorn were both tagged as "One of the very best available," with the Khorn "smooth" to 23 Hz (but surely way below the F3) and the Paragon "smooth" to 26 Hz (but surely way below the F3).

Welcome to the forum! If you can get a nice "fast" subwoofer, or two, to add to the La Scalas, that might be better. The Forte IIIs are probably as good as a speaker with direct radiator woofers can be, but with La Scalas crossing over to a sub, at, say 80 Hz you will have horn loaded, low distortion sound down to that region, and a sub below. But then again, who knows? It would be good to hear your La Scalas and a good sub cheek by jowl with some Forte III.

RIP. In 1960, I saw a true, audience opinion card sneak preview of Spartacus in Oakland CA. Kirk Douglas had made an extraordinary emotional and economic investment in the success of the film, and this was one of its first public showings. Douglas was there, sitting with Tony Curtis and Janet Leigh, and probably Stanley Kubrick (I didn't know what Kubrick looked like, then). Before the film started, Douglas kept laughing, joking, and flashing his bright white teeth. My companion said, "He looks like he's three sheets to the wind!" Wouldn't you be? It didn't seem to shorten his lifespan. A good liberal who put his money where his mouth was, he used to like to dance with Nancy Reagan at events. They got along fine, political disagreements aside, until his son, visiting one of the Reagan kids, yelled "Boo, Goldwater!" when he saw a Goldwater bumper sticker on one of the Reagan cars. I don't know if the incident permanently damaged their relationship. Thanks, Kirk, for giving Dalton Trumbo an on-screen writing credit before anyone else would, thanks for Lonely Are the Brave, Spartacus, 7 Days in May, 20,000 Leagues Under the Sea, and William Wyler's Detective Story, one of the first films to deal with violence on the part of a police officer.

Welcome to the forum! The volume dropping off is weird, but I had that happen with a little mic/line mixer once. A solution was never found, and it was out of warranty. Have you checked your amplifier or receiver to make sure there is not a strand of wire shorting out the output terminals? Have you tried your old speakers again to rule out something having happened to the amp/receiver? If someone here doesn't have a solution, call Klipsch before the warranty runs out.

Optical soundtracks had poor HF response, and a good deal of distortion. Magnetic sound tracks were usually quite good in both those respects. Theaters showing 70 mm before Dolby entered the cinema sound business had a black box (actually, it was blue, and usually had the word Ampex on it) that provided custom EQ. 70mm soundtracks moved at 22.5 ips, and had extremely good HF response.

Oh! Sorry. I scanned the article quickly; I had read it before, but did not retain that detail. So people won't be misinformed I will remove my incorrect guess. Wow, 16 dB down at 8 kHz is really extreme!

The consensus I've seen is that the X curve is inappropriate in commercial cinemas and horrendously inappropriate in home theater. In some of the articles I've read, it sounds like serious attention to soundtracks and theatrical acoustics started in the 1970s; earlier magnetic tracks without Dolby, with 4 and 6 channel "acoustovoiced" theaters are largely ignored. In the article Bruce provided for us, it says, "Even though a few films were being released with magnetic stripe, both 35mm and more rarely 70mm, the ubiquitous format in the late 60s and early 70s was 35mm with a mono optical ..." In those days San Francisco had 8 theaters equipped for 70 mm. Almost all medium or big budget films at least had magnetic tracks, and many were 70 mm. Theaters that featured magnetic sound were pretty much standard in the big cities and we would phone ahead to make sure the actual print received was "mag." Any theater (except Art Houses) that was not equipped for "mag" was on our s**t list. Magnetic soundtracks really sparkled. That's with ears that were then young and unabused. On a few occasions, I saw a given film in optical one time and in magnetic another, and there was a huge difference. It is true that some of the theater speaker systems had response that dropped like a rock at 11KHz. I think, during the magnetic era, on magnetic tracks, the response was boosted above 11KHz, either in the A or B chains, to make up for the roll-off.

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.

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.

Forte III

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.

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

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.

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.

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."

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!

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.

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 ...

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