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Refurbished Klipsch CP-1s


MarkKrochuck

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Hey everyone, just wanted to let you know that I recently bought a pair of Klipsch CP-1 (Cornwall Pros). I have done the following to refurbish them:

 

- added stiffening strips

- two coats of black duratex everywhere except the faces

- new binding posts

- new Crites titanium diaphragms

- deadening materials on the horns

- new foam gaskets for all drivers, handles, terminal cups

-new wheel casters

 

Im going to get them positioned properly this weekend and give them a better listen.

6800AFB8-0603-46C5-ADA1-7FD232D42288.jpeg

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21 minutes ago, geoff. said:

@MarkKrochuck, well...?

 

Did they kick the RF7s to the curb?

 

Or just start the ball rolling?

 

Nonetheless, way to save a classic pair of speakers!


not entirely sure yet. The Cornwalls sound more live/realistic but the RF7s may have slightly fuller bass, and an airy’er/more detailed mids/highs. 
 

My room must be a bass killer because the RF7s and Cornwalls did not impress me in that department. But my sub sounds great. Wondering if I have a preamp issue at this point.

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Without exception, the ONLY time I have ever heard a system that sounded full WITHOUT tone controls was using a Canary Audio 300b, I think it was around 30 watts per channel, pushing a pair of PMC PB1i transmission line speakers.

 

Keep in mind, the entry fee for this kind of performance is more than I have spent on a new vehicle...

 

Audiophiles equalize their system with tube rolling, cables, fuses and power cords.

 

The rest of compensate for the sound engineer’s “mastering” with tone controls.

 

The reality is that unless you have exactly the same gear used in the studio, you are not hearing it exactly as the sound engineer did anyway, so how much onion do you really need to peel?

 

Every speaker is a compromise.

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12 hours ago, geoff. said:

Without exception, the ONLY time I have ever heard a system that sounded full WITHOUT tone controls was using a Canary Audio 300b, I think it was around 30 watts per channel, pushing a pair of PMC PB1i transmission line speakers.

 

Keep in mind, the entry fee for this kind of performance is more than I have spent on a new vehicle...

 

Audiophiles equalize their system with tube rolling, cables, fuses and power cords.

 

The rest of compensate for the sound engineer’s “mastering” with tone controls.

 

The reality is that unless you have exactly the same gear used in the studio, you are not hearing it exactly as the sound engineer did anyway, so how much onion do you really need to peel?

 

Every speaker is a compromise.


I understand what you’re saying but I feel like the bass is an order of magnitude off from what it should be

 

11 hours ago, Randyh said:

get yourself  digital console mixer , plug it through your current preamp to add tone controls or use it as a preamp  and you will have many -many tone controls -

 

some of these mixer consoles also have DSP ,  compressors , limiters , equalisers , and tons of ways to tailor the sound    -    

 
Thank you for the information!! Could you recommend an affordable digital console mixer?

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I feel your pain in the bass.

 

I gave up wholesale on the notion I should be able to achieve the bass I thought I deserved from two or three-way speakers alone a couple of years ago.

 

I had a pair of CerwinVega CLSC 215s in the front corners and a pair of CerwinVega HP 215s in the back corners of my 12 x 20’ living room, arranged along the narrow walls. That is EIGHT 15” woofers powered by three NAD C372 amps, the two amps up front bridged for 300 watts a side and the back two speakers off a single amp for a meagre 150 watts each.

 

900 watts (rms) and eight 15” woofers didn’t give me what I was looking for. They could do it, but they had to be too loud to enjoy in order to get the “punch” I was after.

 

We are all slowly sliding towards pro audio on this forum, and I’m okay with that. Active crossovers, calibrated mics and response curve graphs... 

 

Fully horn loaded speakers punch hard at sane listening levels.

 

But some serious subs are in order to accomplish the fill missing from CLEAN sounding highly efficient speakers. 

 

Funny thing is, the one pair of Cornwalls (of the three I have owned) that I thought sounded the worst in my listening room, sounded REALLY solid on the AVR receiver of the guy I bought them from. No doubt his AVR receiver had Audyssey EQ.

 

 

 

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On 1/24/2020 at 7:59 PM, MarkKrochuck said:

I have done the following to refurbish them: ...

 

Quite a bit beyond "refurbish"ment, but congrats.

 

If a room kills bass the room needs fixed, tone controls or e.q. won't make it right, at least not everywhere.

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On 1/27/2020 at 7:24 PM, geoff. said:

I feel your pain in the bass.

Ditto. Source has a lot to do with it also. I can think of only one artist who's bass might be over-recorded (Jack Johnson). The rest is under-recorded. 

So we try to compensate. We shove our speakers into the corners, then the bass gets boomy. Crank up the subwoofer, then we get upper bass cancelation. Low frequency comb filtering is not your friend. Room boundaries filter low frequencies, not just subs. 

Maybe a reason horn loaded bass reinforcement sounds better is because the horn's length creates enough phase shift to cancel comb filtering of the mains. No idea if or how room nodes are affected though. 

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