Building Ambiance???

[HornEd]

The Klipsch WDST approach builds a bridge between program material that is "discrete" (in your face) and "ambiant" ('round about). Having used KLF 30's as discrete surround speakers in 5.1 and 6.1 configs, I have been spoiled by the timbre matching and sonic depth they provide for HT. If they have a failing, it is in the lack of extra horns aimed front and back (as in the WDST speakers).

So, would it be possible to order parts from Klipsch that could be assembled into a cabinet that could be placed atop the KLF 30's in the surround positions so they could have a WDST attribute?

It would seem that the strain on the amps would be minimal if only the mid-range horns were added. At least that sounds like a better alternative than having WDST surround speakers with a diminished direct radiating capacity when contrasted with KLF 30 mains.

Certainly, there have been many experts who recommend having the same speakers all around for the new standards in sound recording... all the sides need is some boost in the ambiance department.

How about it all you speaker builder/engineers... am I making any sense at all? HornEd

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"HornEd Herd"

Front Six Pack:

KLF 30's R&L + KLF C-7

KSW-15 Sub, SB-2 Effects

Side Surround:

KLF 30 on KSW-12 L/R

Rear Effects:

KLF 10 L/R

Rear Center:

KLF 10 atop KSW-12

Speaker Support Systems:

Mitsubishi RPHD1080i 65"

Yamaha RX-V3000 Receiver

... and counting!

[KGeist]

HornEd,

If I have interpreted your post correctly, then I don't think it's the speakers that are letting you down, but the quality of the source material. I'm sure I've probably raised some eyebrows, so let me explain...

Our WDST technology is merely a way to "artificially embellish" a stereo surround signal and still provide good direct sound. Di-poles are another example which attempts to do this, but the main difference is they really don't provide any direct sound at all. This made some sense when all we had was Pro Logic with its mono surround channel, because you can't generate a sense of spaciousness with just a mono signal and some way of artificially doing this was necessary. The same is true for stereo surrounds but to a much lessor extent, hence our WDST technique.

What's interesting though, is that as the number of surround channels increases, and as the the post production companies begin to utilize all available channels for creating the "surround effect", the need to "artificially embellish" the signal becomes unnecessary. In other words, in a 5.1, 6.1, or 10.2 system, all the speakers (minus the subs) can be used to create the proper surround effect, or they can all operate independantly in order to generate the correct discrete effect. It becomes the responsibility of production engineers to encode the proper effect into the signal itself. So...as multi-channel audio continues to evolve, the loudspeaker manufacturers at some point will probably begin to revert back to identical speakers at every location.

Kerry

[HornEd]

Kerry, thanks for the swift reply. I appologize for not being more clear in my post. Fortunately, I understand that the source material is the problem and that the WDST speakers are built to accomodate both the older "surround" effects encoding and the latest approach which provides for discrete sounds directed to multiple strategically placed speakers.

My concern is that the WDST speakers now available do not provide sufficient direct radiating sound for discretely recorded material in comparison to using KLF 30's for surround speakers. But, the KLF 30's lack the additional horn array it would take to cover a 180 degree "ambient" spectrum required to get the most out of program material recorded in the older format.

Thus, if an "ambiant booster" speaker containing two exponential horns aimed essentially front and back, as in the WDST type speakers, then the mid-range array would radiate as a surround speaker. The point was to continue to use the KLF 30's woofers to provide the timbre matching that the current implementation of WDST technology does not meet.

We may expect that the new RS-7 may come closer... but it is almost too much to hope that it can meet the quality and timbre of putting a KLF 30 in a side surround position.

Wouldn't it be wonderful if there was an appropriate binding post in a KLF 30 that would allow an additional "ambiant booster" to be plugged in at the right frequency range... piggy backing the mid-range horn.

Obviously, progress will, one day, make such extreme measures unneccessary... but, it sure would be nice to be able to enjoy my "Klipsch Herd" at their best on the distinctly different program materials that are available today. It looks like it will be awhile before amp and speaker manufacturers are in sync with each other and those who create the program material. Maybe a better approach would be to convert old style ambiant material to a multichannel discrete format. Whatever the solution, having all speakers as close to the same seems to provide the best potential for enjoyable sound... and speaker sales. HornEd