garyrc

@JerseyMike Welcome to the Forum! It looks like you'll be O.K. as far as the front speakers are concerned -- you will be able to get THX's 105 dB peaks through them, unless you are in a huge room, or sit very far away. I really don't know, though, if by the time you add in surrounds and Atmos, it will be too demanding on your Anthem's power supply. You could buy with a return privilege, and crank 'em up with a couple of movies, and see if it will be enough. My guess is that it will be O.K.

See if your Library has a copy of Jeff Cooper's How to Build a Recording Studio. It deals with practically every issue. https://www.amazon.com/Building-Recording-Studio-Jeff-Cooper/dp/0916899004

Bose did not release the sensitivity ("efficiency") of the 901. As far as I can tell, the 901 needed approximately 20 times the power in watts as a Klipschorn to produce the same SPL at the same distance. So 25 watts --> Klipschorn (as loudly as I've ever dared play mine ~~~ 110 dB @ 13 feet in my room) = 500 watts into the Bose 901. Want to guarantee plenty of headroom? A modest power amplifier of 100 w.p.c. into a Klipschorn would equal 2,000 watts per channel into a 901. To properly power the Bose, you could get these: You would need all 6 units for 2 channel stereo. They can be yours for about $170,000. OR You could get this to power a couple of Khorns, for about $1,600:

I don't know the answer. Most people with stereo TV have a center channel (largely dialog) that can be turned up. Some TVs have a built in equalizer -- see manual. If yours does, and if it affects the optical output, turning up the treble, perhaps above about 3,000 Hz (above almost all fundamentals) might make the dialogue crisper and more intelligible.

The stock K-77 can handle the lower XO point with a steep enough XO slope. In the Klipschorn of the Middle Ages it crossed over at 6,000 Hz at 6 dB/octave. EV designed and used the T-35 (the K-77 was a selected and tested T-35) in their speakers for years with a 12 dB/octave XO of 3,500 Hz. I used this configuration in an undergraduate experiment to determine the relationship between frequency range and preferred sound pressure level, using the finale of Beethoven's 7th symphony. Of course, participants did not know the independent variable (frequency range as preset by the experimenter). One participant set the level to peak at 110 dB, full frequency range. The tweeters survived and are still being used in our bedroom for TV 45 years later. In the (more or less standard) exit interview, I asked this (and every) participant if there was anything he thought I should know about him. He said, "Yeah, I'm a mixer for Bill Graham." Starting somewhere in the AK series, at least by the AK4, the K-77 got a 4,500 Hz XO, higher than EV's but lower than Klipsch's old XO, and a tweeter saving 36 dB/octave slope.

I believe that Factory Khorns (AK4 and AK5) that use the K77 and cross it over at 4,500 Hz, use a 36 dB/octave roll off in the balancing network to protect the K77.

IIRC --- and this is memory retrieval from some 35 years ago, so may not be accurate --- there was a dip at the top of the K55/K400 range. About 1980/1982 that was temporarily fixed by altering the phase plug in the K55. That alteration was short lived. Lowering the range of the K77 down to 4,500Hz took the K55 dip out of the picture. EV had originally designed the T35 (K77s were selected, tested versions of the T35) to function down to 3,500Hz in their own speaker systems, with no problem. PWK originally used a 6 dB/ octave slope in the balancing network, and EV used a 12 dB/octave slope. In the 4,500 Hz version, Klipsch used a 36 dB/octave slope (!) to protect the tweeter. I think this started with the AK4 network. It sounds great. I hope I remembered all of this correctly! Others please chime in!

As everyone is saying, the La Scala midrange horn is longer. This may, or may not, produce lower distortion. As @USNRET said, the Bells do sound a little mellower in the high(er) frequencies. I noticed that back in the '80s, and mentioned it to a very well informed person at Pro Audio in Oakland (my favorite at the time). He said, "Yea, he [PWK] toned them down." If this is true, I surmise there might have been a change in EQ in the balancing network. Someone like @Chief bonehead (chief engineer Roy Delgado) or @jimhunter (historian) would know. Check back here to see if they have responded. If there is a real difference in response, I'd bet the midrange (450 to either 6Khz or 4.5KHz, depending on the vintage) has been turned down a bit on the Belle, rather than the tweeter level being changed. Unlike several others, I have never found the tweeter (K77 series, in Belle, La Scala, older Klipschorns, Cornwalls, Heresies) to be at all too bright, even when I had very young ears. The midrange horn I found a little too far forward in the La Scala I. I never heard both in the same room, so there is that to consider.

Got both pfizer shots; no side effects whatsoever. My wife had the same experience.

Corner placement should help. My flush mounted Belle Klipsch center channel (supposedly very close to the La Scala in response) actually has a small peak at 60 Hz, then drops like a rock below that. In the case of the La Scalas @Little Wolf is considering, the response at 60 Hz may perk up due to the LSs being in a corner. A subwoofer probably will be needed below 60 Hz. Little Wolf, be sure to push the La Scalas all the way into the corner, then put some absorption on the wall at the point at which a yardstick placed flat along the front of the La Scala's "top hat" will touch the wall. Have the absorber continue out into the room for two more feet, like this (as seen here with one of my Klipschorns): This idea came from Chris A's corner horn post on this forum, and it seems to work well. Paul Klipsch was fond of saying that, in the bass, corner placement would be like multiplying your amplifier power by 4 (compared to the out in the room, away from walls).

To the family, so sorry for your loss. I always enjoyed reading his posts. Prayers sent.

I like Marantz. Marantz and Denon are part of the same parent company now. Both good.

That's the way I remember it, too. Understandable, with the PL around; Klipsch recommended fast blow, in-line, fuses then, and sent dealers info on the size of the fuses recommended. They also warned that some transients were faster than even the fast-blow fuses. A repair guy, in the 1960s, told me that most tweeters are blown by test signals, rewinding or fast forwarding reel to reel tape without turning the volume way down, plugging in or unplugging amps without turning them off and counting to twenty, or by Rock and Roll bands in large rooms. Bands and movie theaters playing movies with big scores (or Woodstock) used to carry extra diaphragms. I once had a JBL tweeter that I dropped on a concrete floor. JBL predicted a $16 fee to repair it (this was in the 1960s). So, I shipped it off to LA. A few days later a brand new tweeter was delivered to me with a note enclosed that read something like this, "Your tweeter would had been a pain to repair, so have a new one on us." It came with a new lifetime guarantee.

Hi, welcome to the forum! Your English is fine. Roy Delgado ... (Chief bonehead) @Chief bonehead is the co-designer of the early Jubilees with Paul W. Klipsch, and took over the design work when Paul died (at 98 years old). Roy designed the current Jubilee and, presumably the forthcoming new ones. Chris A @Chris A is very knowledgeable about Jubilees (he has a pair), and the use of bi-amping and EQ He wrote the following:An Unofficial KlipschJubilee Buyer's Guide We'll have to see what people say about the new Jubilees, but I'm betting that they will be great, if you can afford them. The present ones have received much praise.

Exactly! My first sentence was going to be, "All the way up????" Hopefully, your AVR was not going into clipping, which can damage tweeters. How many channels were you running at once? If you have a powered subwoofer, you don't normally have to count it. Your AVR is rated to do 125 watts per channel, without appreciable distortion with just 2 channels operating. As you add channels, each channel will put out fewer watts, because it puts a strain on the power supply. Too few watts for the desired loudness can produce horrendous distortion. If you had just two or three channels operating, you are probably O.K., since at 64 watts per channel, your system will put out about 106 dB at about 10 feet away in a large room. That is very loud. THX specifies very, very brief peaks of 100 dB in an average living room, and 105 dB in a commercial sized cinema (110 to 115 dB through powered subwoofers, but since they have their own amplifier in them, they don't tax your Denon 4500). Here are values Paul Klipsch and Don Keele, Jr came up with: Medium level 85 dB Loud Level 90 dB to 100 dB Very Loud Level 105 dB Too Damn Loud Level 115 dB ... And here is what federal OSHA says about protecting your ears:

But If you buy the current model Jubilees NOW, right away, before the price goes up, they cost about what Klipschorns would. Call Cory at Paducah Home Theater -- 270-556-8427 -- to see what is possible right away. This may be the audio opportunity of a lifetime.

La Scala IIs + your subs. Find the La Scala IIs 3 dB down point, and start the subs out crossing over there. Then run tests to find the best Xover point to preserve the tight bass of the La Scalas. Make sure the inevitable muddiness of the subs doesn't take away from the clean sound of the La Scalas -- unless you move in some horn loaded subs. The are some DIY plans out there.

A G D B C E F ? OR Don't use E & F ?????

Still, University of Oxford neuroscientist Victoria Bajo notes there was no control group in the trial. Why in the world not? Would it have been so hard to randomly assign tinnitus sufferers to two groups, one with the shocks, and one with some kind of control, like a paddle in the mouth that vibrates, but does not shock? Or an ANOVA (or other multivariate) design that had people randomly assigned to three groups, shocking, vibrating, or waiting list?

RCA will never die. I think it's been around more than 100 years. Sadly, though, it is now just a trademark, bought and sold by various others.

As a child, I remember hearing Korean war broadcasts over our Emerson. I was especially interested in the cannon [artillery] fire. Kids had plastic Bazookas that fired ping pong balls. The Emerson was open backed. When the HiFi craze started in about 1952 or so* I got my parent's permission to use the Emerson's (12"??) speaker and cabinet as the speaker as my fledgling HiFi speaker (I didn't have the real thing yet, which a few years later was a JBL D130). I moved that Emerson all around the living room. Can you guess where it sounded best? The corner. *pre-Stereo, solidly mono, except reel to reel tape, a crazy Cook double cartridge record playing system and certain movies in CinemaScope, 70mm Todd-AO, etc.

My parents had an Emerson console radio, c. 1937, that looked a little like this. I think it would look good perched on top of a Klipschorn.

Some people replace the glass (with double glazed, the pane that faces into the room) with thicker glass. I think our inner panes are 1/4" or more. It would be best (maybe) if the inner pane was flush with the wall, not set in, without trim that sticks out. That way, not only your realtor, but your contractor, will think you're a bit odd. We searched all over the SF Bay Area for Klipschorn ready homes, then, when we found we could no longer afford that locale, we looked around Oregon for good corners. Found them! We ended up replacing the walls of the Klipschorn room with firmer ones, anyway. This is just a guess, but I would think that obstructions along the walls with the Klipschorn corners for 4 to 6 feet out, would be more important than a little indentation of the windows.

Thus the efficacy of double blind tests. Also, the variable of "brain state" [concentrating on the sound to make a judgment v.s. letting the music wash over you when you are relaxed while listening the music for its own sake for a period of time (minutes to hours to weeks)] can be built in as an additional independent variable in a 2 way ANOVA or other design.

Starting in about 1957 my friends and I would use 14 gauge, copper, stranded zip cord from a hardware store. We were cautioned against using 18 gauge for anything except the shortest runs by audio magazines, sound stores, even Boys' Life (I think I remember). Just about when I was considering getting some 12 gauge (early '70s), Radio Shack introduced two lines of speaker connectors: 1) Something laughingly called "speaker wire" that was about as thin as you can imagine. perhaps 20 gauge or thinner 2) A relatively cheap imitation of Monster Cable. I ended up getting real Monster Cable, since replaced by something else the name of which I've repressed, but not expensive.