Search the Community

I had a Cinema 600 and found, at times, the sound was a bit muffled. I got a Cinema 800 as a replacement. The Dolby Atmos sound is fantastic in comparison. My only concern is product quality. I've only had it a few days and I'm already experiencing issues. 😞

Update using a flash drive: https://support.klipsch.com/hc/en-us/articles/4406163207316-Cinema-800-Firmware-Update

Really torn between getting the Cinema 600 or Cinema 800 Sound Bar. Is the 800 worth the $400+ extra? How is the quality of the "Virtual Dolby Atmos" ?

My cinema 800 unit is displaying the same text. It seems to still work though so I haven’t done any troubleshooting since that appears to risk bricking the sound bar. I did open a support ticket.

Bought a Klipsch Cinema 800 setup the other week. Sounds great. Real connectivity problem with a recently purchased Vizio M-Series TV that is giving me grief. Regardless or whether I plug my external devices (Apple TV, etc.) into the Cinema 800 and use the HDMI out to the TV, or plug the devices into the TV's HDMI inputs and use HDMI Arc out to the soundbar, the Klipsch remote's volume adjustment *always*, I mean every single time, causes the Vizio to switch inputs to the Smartcast input. Nothing I have tried or found online helps. Disabling the TV's CEC feature doesn't help, different arrangements with how everything is plugged in doesn't help, TV firmware fully up to date... Anybody else experiencing this? Really unfortunate because I'm probably going to return the Cinema 800 if I can't find a solution because it isn't worth the hassle.

I have the same problem with a Cinema 800 bar, including the constant "UPDATING" notice. I must be the second one with this problem. Contacted Klipsch today and tried to reflash and a do factory reset with the rep. No HDMI connectivity although bluetooth works fine. My condolences, but at least you got a replacement offer. My problem was kicked upstairs to a senior tech rep.

Well, all in my life was well until I woke up today and unexpectedly found my Cinema 800 with "UPDATING..." in its display. I found it quite weird that it had decided to update itself during the night with no intervention from me, but well. I let it sit there for over an hour and a half, and nothing ever happened, so I tried and the bar was responding to remote control commands. Probably a glich, I thought. Turned the bar off, but when it came back on, the "UPDATING..." notice came back. Left it there for a good while and it never went away. I then decided to do some research and ended up here. https://support.klipsch.com/hc/en-us/articles/4406163207316-Cinema-800-Firmware-Update There I saw my bar actually did not have the latest firmware, so I set out to update it. Followed the instructions there, and the update appeared to have gone well, coming back to a screen that showed the volume level. The world came crashing down when I turned the bar off and it never powered back on. I've tried everything. Followed the procedure for the BAR-48 seen here, nothing happened. Tried multiple flash drives, no cigar. The flashing procedure for the Cinema 800 begins with the bar turned on, so it's kinda expected. I've tried the factory reset sequence too, but that one too assumes the bar to be initially on, so that too is a no go. I contacted Klipsch and they seemed not to have any contingency for a failed firmware update whatsoever, going straight to offering a replacement, which is kinda worrying. Unfortunately, I live in South America and now I cannot get the bar into my country without paying a fortune in customs taxes and duties. Not happy at all. So there. Congratulations to me for being the first one I guess. Suggestions and condolences are welcome.

The Cinema 800 has two HDMI ports plus the HDMI ARC port. It supports passthrough, Dolby Digital Plus, Dolby Atmos, and more. It sounds as if this might have been a better choice? CINEMA 800 SOUND BAR

Welcome I know nothing about the cinema 800. sorry But it does kind of sound like it's doing what should be, there may be a way to asdjust it. But I will say every HT I have set up here including the present one is somewhat the same, and it is very capable speakers, that is not the problem. You set a volume to hear normal dialog and when something loud happens in the movie it's loud, even just someone slaming a door. I know these sounds are louder in real life but it kind of scares you if your not expecting it. Might be the point ? I use a db meter and the receiver tones to balance the 6.1, to the listening spot. (sofa) So it is set evenly so what I hear is balanced and mixes are whatever comes off the disc. Other media, TV or streaming is the same way. I always wondered why don't they raise the voices slightly when they mix it, leave other sounds alone so they still sound louder than voice, just don't have as much of a difference ?

I just set up my cinema 800 5.1 system and the volume is all over the place. It will go from being near quite in scenes with dialogue to extremely loud when the action picks up. Is there any way to set a volume check/limit to stop this problem? Also I noticed in the owners manual that the LED display will say what is being decoded (5.1, atmos, etc). However I don’t see any functionality on the remote to show this and the manual doesn’t say.

Lets get some chat going about the Cinema 800! I have been using this as a daily driver for a few weeks now and I am enjoying it quite a bit. I need to add the surround speakers to the mix (I have the 3.1 system) but so far so good. This is matched to a 50" TV and the sizing is quite nice. 55" is probably the perfect mate. Anyone have any thoughts on the surrounds? These are my impressions so far: https://youtu.be/bPEhFRcAewA

I'm on a similar boat as you, waiting for the Cinema 800. Crutchfield lists the 800 as releasing on May 28 and the 1200 on June 1, but then Amazon has the 800 listed as releasing on August 30 and the 1200 on July 1. I just came to know about this ongoing postponement trend and I was really hyped for the 800 but now I'm having second thoughts.

Both the BAR series and the Cinema series require an HDMI-ARC (Audio Return Channel) connection. Connecting these soundbars to a device having an HDMI connector will not produce any audio output unless the device supports the ARC feature. The soundbar has only a single HDMI connector so there is no way to connect a receiver to the soundbar and then connect the soundbar to a TV so there cannot be any pass through capability. Even though the soundbar has an HDMI connection and HDMI does support video, the soundbar only can process the audio stream. Update (2022-01-12): The Cinema 800 and Cinema 1200 do support 4K video passthrough. They had not been announced when this post was originally created.

I recently purchased a pair of RP600M's, RP500C (center) and an SVS PC2000 for my front stage. I had some left over Def Tech Pro Cinema 800's for surrounds. I'm running them with an Onkyo TX NR646 and it sounds great to my ears. My conundrum is that I recently came across a pair of Heresy HBR's that badly needed fixing. Well, I decided to go the full route with them, replacing caps on the drivers, replacing diaphragms, re-Vaneering the cabs, etc. Now that I'm into them this deep, I want to keep them and make them my front stage. I guess this means either moving the RP600M's to the surround position (getting rid of the Def Techs) or just stacking them in the front with the Heresy's.I LOVE the heresy's sounds for Music but haven't tried them for HT. Has anyone done this before? I guess if I do it, I'll just set them up and run calibration again with them in place?

This brings up some important questions. First, are you actually going to make this a 'Rave Cave' and have people dancing in the room or are you just setting up a nice system to sit on the couch and listen to electronic music? Next, what is your budget and what speakers do you currently have? Third, how handy are you in regards to woodworking and electronics? If you really want to get into it. Most electronic dance music venues now run FunktionONE speaker sets which have horn loaded sub woofers. Luckily, you can build your own home version: http://www.avsforum.com/forum/155-diy-speakers-subs/1329971-lilmike-s-cinema-f-20-a.html More realistically, Derrick hit the nail on the head earlier with the dual 18'' flat packs with an INuke amp. Even a Single 15'' Reference HO sub with 800 Watts will drop the floor out of that room for about $400 if you get the flat pack. You will never get near a true dance club feel with 10'' or 12'' subs. I personally recommend sealed as you dont need them to dig quite a deep and you really dont want chuffing noise. You will never be able to replicate a festival sound in a room. Those systems run tens of thousands of watts into free, open space which is something that you can only get by being outside. However, you can model your room off the gold standard for EDM clubs which is Beta Nightclub in Denver which many top DJs agree is their favorite place to play due to the sound system and setup. As you can see, it is based on high efficiency fully horn loaded speakers. Luckily, this can be achieved at home with a nice set of LaScalas and some good subs. Here is a photo of @Youthman's home theater system which fairly closely replicates the sound system and given your room size will actually be fairly comparable. If you cant budget the $1,200 or so for used LaScalas, the KG 5.5's usually run about $300 and are great for EDM and mesh really well with direct radiating subs. So if you can pony up about $800 then get some KG 5.5s or similar, and a flat pack 15'' sub with an INuke 1000 you will be pretty well set for a decent system. The point here is you can achieve a pretty unreal system at home to rival some of the best clubs in the world but we really need to know what your budget is and how far you are willing to do down the rabbit hole to achieve this. This forum is a great place and we are more than happy to walk you through each step of getting gear and setting up your room. Also, dont post Dropbox links, it looks sketchy and if you want to show songs just paste a youtube link and it integrates into the forum:

John, Welcome and congrats! That room is WAY TOO BIG for just one pair of LaScalas Now that you are "hooked," may I suggest adding some Klipsch Professional Cinema speakers I just got a pair of KPT-904's - pretty cheap; $800 - and those would add nicely to your setup (NO; NOT selling them ) Cheers, Emile

So it's time to upgrade my baby HTIB. Thought about this a year and a half ago, and let the wife talk me off the ledge. NOW, I'm calling the shots. I think. LOL! I'm undecided though on if I should go with the 260 system of the 280? My living room size is 11'x 17'. I KNOW I could get away with the 260 system, but in another year, don't want to be thinking, man I shoulda just went with the 280's. I've also thought about basically the 280 system with the 260 towers since the specs are virtually identical, but had a guy at Nebraska Furniture Mart tell me the 260 won't blend right with the 450C . But was wondering if he was just trying to up sell me the 280's. Also thought about just 2 12" subs with the 280 system too, although seems like everyone here is always "go for the 15's!" They are just SO HUGE. But with the special Klipsch has right now with free subs, I could tie up a little money and get with entire RP-280 System with 2 R-115SW's for about $2,800.00. Whereas pieced out it would be $4,493.00. This will also be some what temporary until we move and I dedicate a room to a home cinema. Then THAT will be balls to the wall.

From list: Klipsch LaScala speakers - $600 (Sicklerville, NJ) https://southjersey.craigslist.org/ele/6171924185.html La Scala -$800 - (pahrump, NV) https://lasvegas.craigslist.org/msg/6161786022.html Klipsch KPT 1260H pro cinema - $1000 (orlando, FL) https://orlando.craigslist.org/ele/6120296943.html

you're absolutely right and it's not necessarily what the graph says as much as how your ears perceive how the sound is reproduced. the b&w 800 series virtually across the board sounds wonderful and i do agree the khorns are brighter...substantially so. i had a pair of heresy 2's for awhile and just could never get into their sound. could be the amps, could be the music i listen to. could be the hardwood floors. i thought about this after my last post and it's not so much that i want a tweeter to ramp up. it's more of how that tweeter reproduces the sound. i like klipsch with most cinema. it can sound good with early rock music, often paired with a high quality tube amp. i've noticed most klipsch speakers. ones worth buying anyway like the reference v or now reference premier and up are very particular with room setup and the amps you feed them with. modern music on the other hand. B&W all the way. if you're playing rap, beats or dance/trance B&W really come to life. you also can have two speakers that look the same on paper but sound completely different to your ear. i learned this the hard way years ago buying speakers that measured similar to a pair i loved. the sound they made was not even close to the same

This is from their cinema series but I've seen it used in pro sound as well - both touring and installations. I had it in my home theater. Back when I was single I could really rock out watching movies. But now with kids I rarely have a chance to really get it breathing. I am going to be moving as well so I don't have room for it at the new house. EDIT - I already moved and I've had these sitting in storage for over a year. They need a home. Local pickup in the Dallas area only. There's no way I'm going to even try to ship this thing. $400 OBO each cash only. Low Frequency Drivers: (2) 2226H Frequency Range: 30 Hz - 1.8 kHz (-10 dB) Power Capacity (Continuous Pink Noise): 1200 Watts Power Capacity (Continuous Program): 2400 Watts Sensitivity: 100 dB SPL (1W, 1m, 3.3ft.) Crossover Frequency: 500 to 800 Hz recommended Nominal Impedance: 4 Ohms Dimensions (HxWxD): 991 x 648 x 451 mm (39 x 25 1/2 x 17 3/4 in) Net Weight: 42.7 kg (94 lb) The JBL 4648A low frequency system is designed for general reinforcement and motion picture theater use where high power output with smooth power response and low distortion are essential. The 4648A system covers the frequency range from 35 Hz to 500 or 800 Hz, depending upon application. The 4648A 4 ohm system uses two 2226H 380 mm (15 in) patented Vented Gap Cooling TM transducers for high power handling and reduced power compression. The transducers feature 100 mm (4 in) voice coils operating in a large symmetrical field geometry (SFG) magnet structure to reduce a second harmonic distortion to inconsequential levels. The total linear excursion capability of each transducer is 10 mm (0.4 in), peak to peak, and total harmonic distortion (THD) is less than 2.5% from 40 to 800 Hz with sine wave input of 100 watts. The enclosure is constructed of dense stock and is extensively braced on all panels. Net internal volume is 225 l (8 cu ft), and the enclosure is tuned to 40 Hz. Port area is large, ensuring minimum turbulence at full power input at low frequencies. 4645B Single 460 mm (18”) Subwoofer System COMPONENTS: JBL Model 2242H 460 mm (18 in) Low Frequency Transducer SYSTEM: Rated Impedance: 8 ohms Minimum Impedance: 8.0 ohms POWER HANDLING CAPABILITY: Continuous Pink Noise: 800 Watts Continuous Program: 1600 Watts Peak Power: 3200 Watts OUTPUT CAPABILITY: Axial Sensitivity: 50 Hz to 500 Hz: 99 dB @ 1W, 1m 40 Hz to 100 Hz: 97 dB @ 1W, 1m Maximum Power Compression: At -10 dB power (80 W): 0.6 dB At -3 dB power (400 W): 2.0 dB At rated power (800 W): 3.3 dB FREQUENCY RESPONSE : Lower Frequency limits (no EQ): -10 dB: 18 Hz -3 dB: 35 Hz Lower Frequency limits (with EQ): -10 dB: 20 Hz -3 dB: 22 Hz Recommended Crossover Frequencies: High-Pass: 20 Hz. 24 dB/octave Low-Pass: 80 Hz to 120 Hz. 12 to 24 dB/octave ENCLOSURE: Materials and Finish: 19 mm (3/4 in) particle board with 25 mm (1 in) baffle and back panel. Extensive bracing on all panels. Enclosure Tuning Frequency: 25 Hz Net Internal Volume: 225 liters (8 cu. ft.) Dimensions: 1010 mm x 674 mm x 450 mm H x W x D 39 3/4 in x 26 1/2 in x 17 3/4 in Shipping Weight: 65 kg (151 lbs) Note - the left port came loose while I was moving it and I haven't put it back on yet. It just needs some glue. You can see the port in the picture.

You are probably right. I do remember the 300Hz crossover being discussed by guys wit the exotic conicals. Honestly, just sound-wise, that would be too low for me. I didn't like 400, and Roy sent me Klispch cinema specs for 800 at one point. I have been very happy with 600 and have left it there for a few years now.

That's a lot easier to answer, IMHO. La Scalas go for about $800-$1200 a pair in good condition (when all is said and done, i.e., this isn't the buyer's typical asking price). Expected value of your remaining funds: $3000. A pair of K-402s (which are big) (American Cinema Equipment [Cinequip]) would be either $600 (horns only), or $2400 (horns with adjustable bases and K-69-A drivers). I recommend horns only if using a K-402 to save a lot of money. I assume that you can fabricate a base to hold onto the throat of the horn That leaves you $2400. A pair of K-510s (much, much smaller) are about $400-$500, or even less (American Cinema Equipment [Cinequip] - ask for Spencer Chao). You'll have to pay a little attention to the ceiling and floor bounce of the K-510 below about 1200 Hz down to 600 Hz. That leaves you $2500 or more. A pair of BMS4592-ND drivers with analog crossovers would be about $1500. You can use the remaining $1K to buy a really good crossover of your choice. Since the compression driver will take you from 300-20,000 Hz, you don't have to do much to time align - just push the K-402s to the back of the La Scala cabinets. Voila! Done. If you are using K-510s, then you'd cross over to the bass bins at ~600 Hz. Remaining budget: about $1K. You'll need a good crossover - you can use passive, active-analog, or active-digital. All have their advantages and disadvantages. You'll have to do EQing since the K-510 and the K-402 are "constant coverage" horns. Passives are usually the price leader, and the choice for the "old school" crowd and those that can't bring themselves to bi-amp, Active-analogs for those that don't need digital delay or digital EQ, requiring bi-amping, and Active-digital for those that can say "yes" to the 21st century (i.e., can transcend their anti-digital bias) which will achieve fully bi-amped transparent sound. I recommend Xilica or other unit that has 24/96 internal sampling depth/rate (but forget anything from Behringer or miniDSP). Okay, so you really, really don't want horn-loaded bass bins, then I'd recommend the Crites Cornscala cabinets, which are a bit nicer sounding than Cornwall bass bins. Bob would probably make you a deal on those. If you play your cards right - for $4k total budget, you might be able to afford TAD TD-4002 drivers with all the other stuff. Or you can buy or make good subs, if you don't already have one or two. That's what I'd do given today's marketplace. Perhaps others will chime in with their opinions. Chris.

Mentioned this in "What I got today" a couple of weeks back, but when I initially hooked them up I pulled a dumb ***. Starting slowing raising the volume, as I knew nothing of their technology or what might be wrong inside. Barely got to audible and the amp went silent. Quick look and I found the other speaker lead had slipped loose and was conveniently laying on top of the other one. Fooie. I was pretty sure I hadn't blown the amp as there was no sound of distress nor evidence of a release of the magic smoke...but nonetheless worrisome as I waited on the delivery of the not so easy to run to Radio Shack for anymore 250V 8 amp ceramic fuses. Got the Friday, and installed the fuse today. Still a bit apprehensive as, in spite of my rather "all the same" attitude towards SS the Soundcraftsmen PCR-800 I have is a classic and by far the most powerful thing in the house at 400w. From hearing about these things over the decades I knew I'd need most of it. So, they came from my parish thrift shop, where the PAW has them on the watch for speakers, amps, stuff with tubes, etc. These huge, weird, heavy panels they really simply wanted us to pick up, but settled for 20.00. While I wanted to try them I knew they were old, didn't know what they looked like, and didn't know whether they might be blown to hell. So, put the panels in from of my Klipschorns and put on the Telarc organ recording that happened to be on the TT. I'd set the Cinema F-20 (remember, Maggies are mid/tweet only) to 120hz, twice as high as the Klipschorn setting. Turned out to be pretty right but I had to turn down the volume by a third...not sure why. First impression: Wall to wall soundstage. I suppose it is the six feet or so of tweeter panel that provides that. It's really something. Incredible imageing. The sub point didn't take too much more adjustment and I had far more impressive sound than I expected. The amp had to be cranked over half way to achieve 90db. At that point, my Klipschorns would be rendering anyone present deaf in a few minutes, but these guys soaked it up. Immediately started to think about what a violation of one of the six cardinal points that was...then realized that it wasn't. PWK was referring to dynamic speakers. These are closer to being the inverse of a ribbon microphone. Yes, takes massive power to move something that size, but the movement is miniscule compare to creating the equivalent SPL either via a horn or paper, etc. cone speaker...so it doesn't violate anything. More on where that went in a moment... So, time for an imaging test and as I've mentioned in the past that's a mono source thing for me. Put on the incredible "Sing, Sing, Sing" Benny Goodman/Gene Krupa record graciously passed to me at Hope by Pat (WPS) and was further amazed. Pinpoint phantom center source. You'd swear the sound source was the LCD TV on the wall, except bigger. Detail and punch was beyond what any phonograph naysayer would be able to believe. Next, DSOTM, original pressing. Would go into everything, but a wonderful stage with the highpoint being the clock audio montage which was every bit as clean and in your face as the 'horns but wider. Finally, at least up until now, Sheffield Labs recording of "Ride of the Valkyries." It sounded a bit thin. Slight increase on the sub volume fleshed out the tympani's and basses and another concert wide stage. All in all, certainly 20 bucks worth. Now, here is what hit me: K'horn base been with this technology for mids and highs. Heresy? Don't think so. Doesn't violate the six cardinal points as explained above and you have a full range system for others who may not be horn lovers. Honestly, I suspect there is a small, but solid market for such a beast. Dave

I love my Sunfire Cinema Grand, older version to the your TGA-5200. $800 is an excellent price. Delicious Heritage here, too! Bump for gooooood stuff.

Klipsch press release: https://2d73e25b29782b6d6766-9c8af5c...9608308000.pdf CONTACT: (snip) Klipsch Debuts Flagship Reference Premiere Speakers at CES 2015 INDIANAPOLIS (January 5, 2015) — Klipsch, a leading global speaker and headphone manufacturer, announces today the debut of its Reference Premier series at CES 2015. The ten new passive loudspeakers serve as the company’s flagship Reference speaker line and bring the latest in advanced acoustic engineering and industrial design to the legendary Reference name. The Reference Premiere series consists of three floorstanding speakers (RP-280F, RP-260F and RP-250F), two monitors (RP-160M and RP-150M), three center channel speakers (RP-450C, RP-440C and RP-250C), and two surrounds (RP-250S and RP-240S). All Reference Premiere loudspeakers feature proprietary 90°x90° Hybrid Tractrix® Horn technology coupled with Linear Travel Suspension (LTS) titanium tweeters to produce the most effective release of sound waves for clean, natural listening experiences. The LTS tweeters have been a hallmark in the previous Reference generations and ensure minimized distortion for enhanced, detailed performance. Reference Premiere speakers fully embody the ideals of Klipsch design philosophy: low distortion, high efficiency, flat frequency response, broad dynamic range and controlled directivity. Providing remarkable low-frequency response with minimal cone breakup or distortion are the speakers’ Cerametallic™ Woofers. The redesigned woofers are coupled with, ceramic motor structures—a design that when paired with Tractrix Horn-loaded LTS tweeters combines for speaker efficiency that is highest in its class. Unique materials have been applied in the ongoing pursuit of ultra-low distortion design. The horn’s outer layer is silicon-based rubber, which eliminates resonance of the horn housing, improving detail and resolution. Each model, with exception of the surrounds, is available in ebony or cherry wood grain polymer finish with a brushed black polymer veneered baffle and spun copper woofers. The surrounds are available in the brushed black polymer veneer finish only. Removable cloth-woven grilles attach magnetically for an elegant transition from powerful showstopper to discrete performance piece. “We have a singular mission for the Reference Premiere series, which is to blow the doors off the expectations of our loyal following,” said Mark Casavant, senior vice president of product development for Klipsch. “This new lineup delivers the ultimate realism and intimacy associated with the live music experience. It’s an outstanding new experience that will stun audiophiles and music lovers alike.” Reference Premiere speakers cover U.S. MSRP price points ranging from $800 to $1,350 for a pair of floorstanding speakers, $500 to $600 for a pair of monitors, $450 to $650 for a center channel, and $325 to $450 each for surrounds. Klipsch is demonstrating two concept Reference Premiere 5.1 systems at CES—one that supports playback of Dolby Atmos ® soundtracks incorporating overhead object bases audio and a second with WiSA ™ technology. Dolby Atmos makes sound come alive from all directions, including overhead, to fill the home theater with astonishing clarity, power, detail, and depth. Klipsch speakers have been preferred by many movie theatre installations supporting Dolby Atmos given their high- efficiency, low distortion and controlled directivity. Klipsch is bringing this ground-breaking achievement and its advanced cinema expertise to the home theater environment. The WiSA-enabled Reference Premiere system showcases a wireless high resolution, interoperable, multi-channel audio system, which eliminates the need for a traditional A/V receiver. As a WiSA member, Klipsch supports the association in promoting the broad adoption of WiSA product interoperability. The Reference Premiere series is available for demo at Klipsch’s CES booth in the Las Vegas Convention Center’s Central Hall at booth 10428 and will be available for purchase through authorized retailers and Klipsch.com in January 2015. For more information about Klipsch at CES, please visit http://CES.Klipsch.com. For more on the brand and its products, visit www.klipsch.com. ### About the WiSA Association (snip)