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Quality speakers for classical music with high output/volume

cavedriver

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Making it a habit to return speakers just means 1) you're directly hurting the retailer, possibly the manufacturer, and in a VERY tiny way, maybe Amazon and 2) pushing up the cost of speakers in general over time.
Buying speakers without being able to listen to them hurts us as consumers. If there were a brick and mortar store we could go there and the speakers would be more expensive because of the cost of maintaining the store. We have replaced the cost of the brick and mortar store with the cost of handling returns. I don't see where it's a problem that all speakers become 1-10% more expensive so that we can preserve the experience of having a positive retail transaction. Or should we all celebrate the death of retail?
 

Newman

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(To Head_Unit) Can you explain more? I thought a sub just outputs lower frequencies/bass. If I want to blast let's say Bach's Chaconne (solo violin), how will a sub help here?
Also, what size of speakers (or other properties) do you mean by big speakers?
My primary reply, link, made a similar assertion to that of Head_Unit. Perhaps you missed it or didn’t understand? It explains more.
 

Alice of Old Vincennes

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well.. i would not consider this an ethical behavior.. I do not know which kind of business you are in, but evidently you are NOT in speaker manufacturing. Or any manufacturing. Just TRY to imagine if all customers will be like you. Will drive price of speakers (or electronics or anything else..) thru the roof and at least 50% of manufacturers will go bust dealing with thousands and thousands of returns.
You tested "A WHOLE STRING OF SPEAKERS"... Good Lord.

Talking about taking advantage of the system...

I wish you all the best
That behavior caused Costco to limit returns on electronics.
 

ZolaIII

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Kind of random, I searched a bit Erin's reviews as he tests speakers for distortion and dynamic range, but I'm not sure I can interpret them correctly, so I checked DBR62 review since I watch that thread. I own DBR62, but avoid recomeding them simply because I like them, especially in this case with op requirements, since I don't drive them at very high spl. In any case, can we please not make the discussion personal, everyone is entitled to his opinion.
Fun fact; Erin sent those to Amir in the very beginning when he whose starting to do measuring of speakers in order that he can check which method will produce best results as Amir has a better equipment for that. So he did measurements with them employing various methods but he didn't (unfortunately) do any measurements which where not already done hire.
It's not personal at all, pure physics.
And here is a example of it with objective better speakers in confirmed measurements:
Screenshot_20230321-223519~2.png
calculated score results and rest of the claims I made you can find on Spinorama data and review measurements. It doesn't matter how much I like them (or not).
Best regards and enjoy.
 
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kemmler3D

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We have replaced the cost of the brick and mortar store with the cost of handling returns.
If only it were so.

B&M stores will typically take about 50% of the retail price and give 50% back to the manufacturer.

On Amazon, they take 20%, plus a shipping fee that varies, but they also set manufacturers against each other via sponsored listings, and those costs add up... so they often manage to hit 50% or more of the purchase price.

This is before any returns are figured in.
I don't see where it's a problem that all speakers become 1-10% more expensive
This is a nominal return allowance for B&M retailers. On Amazon you simply bear the cost directly.

In fact, it gets worse. If too many people return your items as an Amazon seller, they often simply shut down your listing or kick you off of Amazon for having too high of a return rate. I used to sell a speaker that had around 4.75 stars and was generally beloved, but because it was a little more expensive it had a high return rate. We had a hard time even staying in business on Amazon, almost completely because of returns.

I agree that there needs to be a good place to hear speakers before buying them. Unfortunately we don't all have access to any such place. Manufacturers can't make this happen on their own. If no hifi store exists, there is nobody for them to ship demo units to. So the first duty of the ethical consumer, I guess, if you are not content to buy sound-unheard, would be to buy something from hifi shops once in a while.

If this is not an option, my opinion is that if you want to be ethical, you need to make a good effort to find a speaker you'll like BEFORE you hit the buy button, rather than staging a shootout at home without really trying to make a single decision first.

should we all celebrate the death of retail?

No, not at all. Selling to retailers is much easier than selling on Amazon, in certain ways. And it's nicer for the consumer in certain ways too. But when there is no retailer nearby, we all need to accept that both sides have lost something in favor of ecommerce.

The only reason that favorable return policies exist is they are profitable for the seller. If they are abused, they will go away. If everyone did return-as-demo for multiple units, return policies would go away overnight. Nobody can economically tolerate return rates above 20% or so. Whether you think it's ethical or not, it's a bad idea to advise people to do this, ESPECIALLY if you intend to keep doing it yourself...


You did note something interesting in your last post though. You think it's fine to pay 1-10% extra for demos... implying there's some kind of rental-for-demo service business model that might work. Something to look into!
 
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cavedriver

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The only reason that favorable return policies exist is they are profitable for the seller. If they are abused, they will go away. If everyone did return-as-demo for multiple units, return policies would go away overnight. Nobody can economically tolerate return rates above 20% or so. Whether you think it's ethical or not, it's a bad idea to advise people to do this, ESPECIALLY if you intend to keep doing it yourself...
I disagree with this statement in a couple ways, but since this seems likely to stir up a hornet's nest I'm taking it to a new thread in one of the other topic areas and won't further reply here. If any mods want to move the posts from my first response onward feel free. I just need to figure out which forum, to which I'll edit this post later this evening when I have more time.
 
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excelsius

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But it is clear that this is the case, you are reinforcing the comment of those who claim that you lack experience. The dynamic range of the classical means that in order to hear the quieter parts of the classical above the background noise of the car, you have to keep the volume so high as to make it unbearable for any system to manage the parts at higher volume, and it could not be different from so.
I do lack experience, but I'd think that was clear from the beginning. That's why I'm trying to learn from others. Hopefully being inexperienced by itself doesn't mean that I have to get a special system for the inexperienced. It should be whichever speaker will meet the goals best with the given budget.
 
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excelsius

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I went through all the responses from the start to the end of this thread. Some comments and also clarifying questions:

  • I can avoid placing speakers in the corners or right against the wall. But practically, I don’t want to have a large gap between the speakers and the wall because other than aesthetic issues, I don’t want my dogs to knock over an expensive piece of equipment. If having any of these speakers a few inches away from the wall is a dealbreaker, please let me know. I don’t know how serious the requirement would be not to have a rear ported speaker
  • The speakers will play music wirelessly from PC (probably Roon), i.e., no center console or table. You can understand the issue why I don’t want additional equipment like amps, DSPs, etc. Because even the Bluesound Node will have to rest on top of one of the speakers. Luckily it’s not large or heavy, but trying to fit an amp plus several other pieces of equipment on top of the speakers (on top of a stand), I’m just not sure how that would work for stability, speakers, or aesthetics.
  • Some mentioned that the type of music won’t matter. To me, the reason it matters is because rock, pop, rap usually have a consistent sound. I’ve never had issues cranking up the volume of these genres. But classical is very different, where sometimes you might get almost complete silence in the recording. When cranked up, noise can overwhelm the signal. I also think harmonic distortion is much easier to notice in such recordings. I did an online test and I can’t detect distortion below 1% (single frequency). But in more cacophonous music, I couldn’t detect distortion above 10% or even much, much higher. That’s why to me, trying to crank up Arvo Part’s Spiegel is much more challenging than works by Queen because I will hear that distortion in Part at much lower levels than in a Queen recording.
  • Volume levels: Most importantly, I finally went to a stereo shop and listened to speakers. I can confirm that at least in an enclosed, treated room, spiking to 95dB was what I would consider loud. I was a bit embarrassed to crank it up higher since I didn’t want to damage anything, but I think that would be a good level. By that measure, I think 100-105dB would be very loud. These are the speakers I listened to:
    • BW 606 S3
    • BW 603 S2 (floor standing)
    • Revel Concerta2 M16
    • All connected to a 100W Denon amp and I was mostly listening about 10ft away
    • Some conclusions from the above:
      • I could not tell much difference between the floor standing and bookshelf BWs. They both sounded great and loud. The bookshelf had a little less bass, but still was great to me
      • The Revel was also nice, but to me, BW sounded better and more crisp. But nothing I would call a dealbreaker
      • All these speakers got loud enough for me, at least in that room. However, the volume was almost to the max. I probably had 3 or so more UP clicks before the volume would have maxed out. So probably a bit more headroom would be better.
      • Most importantly, it was almost emotional to hear the music I have been listening to for many years suddenly sound new and so magnificient (I had taken some files on a USB). It was hard to remember that I’m evaluating speakers and I was just really getting lost in music
      • I was also amazed to hear how loudly Gould sings along when he plays. I knew he did that, but these speakers completely brought it to the front. Also, for Karajan’s performances, I could hear random noises with the audience moving around or maybe the players making sounds
      • I’ve been missing out all these years, which is the worst part. But oh well, better late than never. I’m lucky to be able to afford good speakers decades before retirement, an unfortunate trend I’ve noticed among some people in some of my other hobbies. When you’re young, you don’t have money. When you’re old, you might have money, but not the physical ability to enjoy it.

I’m putting this forum’s suggestions here into a list to make it easy for everyone to see some of the more persistent recommendations that are still realistically within the budget (or almost so):
  • Neumann KH-150.
    • Seems to be a no fuss, powerful, low distortion speaker
  • Elac DBR62, Hypex NCx500 amplifier, UMIK-1, MiniDSP Flex, 2x SVS SB 1000 sub
    • Seems like a nice option, but I’m just not sure if I can implement it quickly
    • I’ve never used a DSP
    • With so many components, the complexity is high. Am I going to have a great sounding system if it’s not tuned property, vs for example using a KH-150 or Genelec?
    • There is that issue of where am I going to put all this equipment when all I will have is just two stands of wireless speakers, connected together by a wire
    • Some mentioned I might be able to fry the speakers. I think that’s possible because if I can’t get the right volume, I will probably keep going up in the quest for output.
    • Although Zollalll and Vladimir Filevski had an interesting back and forth, I have to apologize that I still didn’t quite get the final point whether KH-150 or this system would be more powerful. It seemed like this system might be much louder, but I’m not certain. And by that, I don’t mean just having a strong bass, but louder music itself, such as a solo violin which I think has almost no bass.
    • Bluesound Node supports only a single sub. I’m assuming it’s the miniDSP that would allow two subs?
    • I like this system, but to me the many components (plus the two subs) is a downside for now. I was even thinking that I could later transition this to my office, but that room is much smaller and again, the issue of too many components becomes even more of an issue
  • Genelec 8030C ($600) and a pair of SVS SB-1000 Pro or SB-2000 Pro subs, + tools to measure and EQ through the bass (room modes)
    • A bit similar to the system above, but with Genelec
  • Genelec 8050b's
  • Genelec 8340a with GLM
    • I have to look some more to see how this compares to the KH-150
  • JBL708P (assuming can find used)
  • JBL705p
  • Revel M106
    • Some mentioned the KH-150 will have a larger and cleaner output
  • Philharmonic BMR
    • This one is an interesting choice. I couldn’t find many retailers online and the speaker seems large, but still would go on a stand.
    • I’m not entirely sure how the output and distortion compares to the KH-150
    • Would still require an amp
  • Wharfedale Linton 85th Anniversary
    • Another interesting, but large speaker
  • Kali IN-8v2
    • Based on the discussions, these speakers might have a much lower output compared to other suggestions, so I’m not certain about these.
 

sejarzo

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I do lack experience, but I'd think that was clear from the beginning. That's why I'm trying to learn from others. Hopefully being inexperienced by itself doesn't mean that I have to get a special system for the inexperienced. It should be whichever speaker will meet the goals best with the given budget.

You met with the people who convinced you what you needed for your car system to explain your needs, which I assume started a back and forth, iterative process, and they saw your car and I hope told you about some specific limitations the installation would have. I would also hope that they had some form of demonstration area that allowed you to hear the gross differences between speakers and perhaps the associated electronics. Even with that you face to face process were, in the end, not happy with the result.

What are the odds of high satisfaction should you follow a recommendation from a stranger here without ever listening to a system with similar SPL and quality capability first, after virtually everyone has said placement, room treatment, DSP etc. are vital?

EDIT: I am certain many of us are happy that you did audition those speakers at those levels, and that speakers like the Alesis were actually quite limited in resolution compared to what you would end up with now...and I hope, convince you that listening at lower levels that will not harm your hearing just might be enjoyable with that increase in detail.
 
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JustJones

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Maybe Kef LS50 wireless or some other active speaker. I wouldn't put streamers, dacs, amplifier, etc... on top of speakers.

" The speakers will play music wirelessly from PC (probably Roon), i.e., no center console or table. You can understand the issue why I don’t want additional equipment like amps, DSPs, etc. Because even the Bluesound Node will have to rest on top of one of the speakers. Luckily it’s not large or heavy, but trying to fit an amp plus several other pieces of equipment on top of the speakers (on top of a stand), I’m just not sure how that would work for stability, speakers, or aesthetics."
 
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excelsius

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To clarify further, I am not blasting music all the time. Most of my listening is below 60db because I'm usually working or reading. However, occassionally, yes, I want to blast that Beethoven, Bach, or Glass, and that very active listening experience is important enough for me where I don't want the system to get in the way of that enjoyment. Hearing is not damaged because it's not long term exposure. I'm also aware of the noise limits recommended by WHO. Nevertheless, this is a different topic. Suffice to say that there is a reason for wanting a high output system.
 

ZolaIII

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There are no bookshelf speakers that will be able to do what you want on their own.
So sooner or later you will add subwoofer's and some multichannel DSP in order to menage them. So complexity difference in the end is only embedded or standalone amplifier. As you can't even position speakers properly not to talk about room acoustical treatment you will need to master use of PEQ filters for which DSP is in the first place. And it's not that complicated, only cuple different type of filters. You can buy a license for Dirac live which will do it automatically but my advice is to learn to do it by hand. You don't really need FIR tap convolution filters in my humble opinion and even they are created relatively easy in REW as negative to measured response with microphone while exporting them is a little more complicated (entirely MiniDSP's fault) bat manageable to learn. At the end Rome whosent built in one day and neither is close to perfect audio system.
Edit: and the part you didn't get any of those speakers Elac, Genelecs, Neumann... would be able to go 6~7 dB louder crossed (with crossover at 100 Hz) with pair of capable subwoofer's than solo only speakers.
 
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pablolie

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I am an avid classical collector and listener.

To me at least - classical music is far more demanding on speakers providing a decent stage presentation. If I can't hear the orchestra arrangement in front of me, I am majorly missing on something. It's also not as demanding on crazy low bass output, unless you're focused on listening to the largest organs on the planet (I don't like churchy organ music, personally) or demand to hear a realistic canon shot in Tchaikovsky's well known cliché... :)

And as always, a ton of it will depend on room acoustics. For me personally, in my current room, bookshelf speakers on stands that render stuff at ear level, plus a sub set up at under 70hz and optimized with Dirac - that's what fully satisfies me these days. Even though I have "cathedral" ceilings and a lot of volume in my listening room, my previous tower speakers sounded murky.
 

BDWoody

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However, occassionally, yes, I want to blast that Beethoven, Bach, or Glass, and that very active listening experience is important enough for me where I don't want the system to get in the way of that enjoyment.

I know what you mean. I don't live at reference level, but I like to visit there once in a while and don't want to be punished by my system for doing so.

It is not a trivial challenge to get clean high SPLs at full bandwidth in a large space. The bottom octave and that last 10-12dB of volume will kill a budget pretty quickly.
 

pablolie

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I know what you mean. I don't live at reference level, but I like to visit there once in a while and don't want to be punished by my system for doing so.

It is not a trivial challenge to get clean high SPLs at full bandwidth in a large space. The bottom octave and that last 10-12dB of volume will kill a budget pretty quickly.
But unless you sit in certain sections *in* the orchestra with the percussion or trumpets directly behind you playing fortissimo, ear-hurting sound levels are nowhere near realistic... and you never get them in any venue, at least none I would favor.

I do play my classicals loud. But as we all know very high SPL levels absolutely obliterate your ability to hear any details and finesse.
 

ZolaIII

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@pablolie not really if THD of a system is kept low and time domain is good. That's why people tend to listen louder with headphones than with speakers. I am not for mind blowing loud levels. I do a white noise calibration at 83 dB usually listen at considerably lower levels and rarely ever go over 90 dB with speakers especially (did critically for shot sessions on really good headphones when I whose younger and to 100 dB) but I listen in mid field 2~2.3 m from speakers. I tried to explain earlier that it's possible to listen on considerably lower levels by keeping perception of full audible sound spectrum by use of equal loudness normalisation. His main problem is request for very wide DR in full reproduction on far field of 4 m (-12 dB to 1m). And with my best effort for the budget I menage to do it in 95~96 dB almost full scale (from 31.5 Hz to over 12.5 KHz and for the argument less precise 20 KHz).
dB-chart.jpg
Who can do it better on the long term and with low THD have aplauz from me.
 

Keith_W

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First off, I would like to ask ASR members to not attack the OP for his inexperience or not knowing what he wants. That is NORMAL for anybody new to this hobby.

I can avoid placing speakers in the corners or right against the wall. But practically, I don’t want to have a large gap between the speakers and the wall because other than aesthetic issues, I don’t want my dogs to knock over an expensive piece of equipment. If having any of these speakers a few inches away from the wall is a dealbreaker, please let me know. I don’t know how serious the requirement would be not to have a rear ported speaker

Not a dealbreaker. You will likely get sound that you will be happy with, if your requirements are only that it will play loud. But you will not be getting performance that you have paid good money for, which is why so many of us are against the idea. The reasons why have been elaborated many times in this thread, so I will not rehash.

  • Some mentioned that the type of music won’t matter. To me, the reason it matters is because rock, pop, rap usually have a consistent sound. I’ve never had issues cranking up the volume of these genres. But classical is very different, where sometimes you might get almost complete silence in the recording. When cranked up, noise can overwhelm the signal. I also think harmonic distortion is much easier to notice in such recordings. I did an online test and I can’t detect distortion below 1% (single frequency). But in more cacophonous music, I couldn’t detect distortion above 10% or even much, much higher. That’s why to me, trying to crank up Arvo Part’s Spiegel is much more challenging than works by Queen because I will hear that distortion in Part at much lower levels than in a Queen recording.

What you say is true. My gf came down last night to listen to music with me, and she listens to the cacophony that they call K-pop (Korean pop music). She listened to some of my classical pieces after my latest improvements to my DSP tuning, and she said "wow it sounds so real!". Then she wanted to listen to her K-pop and she was immediately disappointed. She complained that the singers don't seem to be in front of her any more and it doesn't sound real. I also pointed out a lot of things that are missing - like, no sense that it was recorded in a room, all the voices sound artificial, and that she had to turn the volume a lot lower to get the same SPL (because of the loudness wars). And I don't know if it would be even possible to hear distortion in heavy metal even if there was 100% distortion because it already sounds so distorted to me anyway. We listen to real instruments and if something is off with the tonality or timbre, it is much easier to hear because we know what instruments are supposed to sound like.

  • Volume levels: Most importantly, I finally went to a stereo shop and listened to speakers. I can confirm that at least in an enclosed, treated room, spiking to 95dB was what I would consider loud. I was a bit embarrassed to crank it up higher since I didn’t want to damage anything, but I think that would be a good level. By that measure, I think 100-105dB would be very loud. These are the speakers I listened to:

If you have a system that has an even frequency response and follows the ISO226 equal loudness curve, you do not need to crank it up. I listen at 75dB with ISO226 compensation* applied, and it sounds great. I find most people boost the volume because they intuitively know that the freq response is off at low volumes, or because their systems produce a lumpy freq response so they have to up the volume to hear what they want to hear. It might also be your preference to listen loud.

* this refers to how the freq response sensitivity of your ears changes with volume. Lower volumes need more bass and treble to sound the same volume.

  • Some conclusions from the above:
    • I could not tell much difference between the floor standing and bookshelf BWs. They both sounded great and loud. The bookshelf had a little less bass, but still was great to me
    • The Revel was also nice, but to me, BW sounded better and more crisp. But nothing I would call a dealbreaker
    • All these speakers got loud enough for me, at least in that room. However, the volume was almost to the max. I probably had 3 or so more UP clicks before the volume would have maxed out. So probably a bit more headroom would be better.
    • Most importantly, it was almost emotional to hear the music I have been listening to for many years suddenly sound new and so magnificient (I had taken some files on a USB). It was hard to remember that I’m evaluating speakers and I was just really getting lost in music

I am delighted that you got to experience that! For us, it's like telling you how delicious a burger is but there is no way to know until you actually eat a burger (I am one of those strange types who gets emotional about food!).

Revels are tuned differently to B&W's. B&W's typically have too much treble, which I am not a fan of. Revels have much more neutral tuning. But B&W's might work for you. I think you have also realized that what works in a small room will not work in a larger room. From what I remember, your room isn't that large. It's a bit smaller than mine, and I can tell you that I can put bookshelf speakers in my room and it's plenty loud for me. But remember my preference for volume seems to be much lower than yours.
  • I’ve been missing out all these years, which is the worst part. But oh well, better late than never. I’m lucky to be able to afford good speakers decades before retirement, an unfortunate trend I’ve noticed among some people in some of my other hobbies. When you’re young, you don’t have money. When you’re old, you might have money, but not the physical ability to enjoy it.

Hahaha, it never ends!! Wait till you buy these speakers and start enjoying them. Then you get invited to someone's house with an amazing sound system. Then you will feel as if you have been missing out again. I have been in this hobby for 30 years, which is less than a lot of people on ASR. I have listened to dozens of systems in shops, hifi shows, and in homes. I still come across things I have never heard before and I am still learning.

  • Elac DBR62, Hypex NCx500 amplifier, UMIK-1, MiniDSP Flex, 2x SVS SB 1000 sub
    • Seems like a nice option, but I’m just not sure if I can implement it quickly
    • I’ve never used a DSP
    • With so many components, the complexity is high. Am I going to have a great sounding system if it’s not tuned property, vs for example using a KH-150 or Genelec?
    • There is that issue of where am I going to put all this equipment when all I will have is just two stands of wireless speakers, connected together by a wire
    • Some mentioned I might be able to fry the speakers. I think that’s possible because if I can’t get the right volume, I will probably keep going up in the quest for output.
    • Although Zollalll and Vladimir Filevski had an interesting back and forth, I have to apologize that I still didn’t quite get the final point whether KH-150 or this system would be more powerful. It seemed like this system might be much louder, but I’m not certain. And by that, I don’t mean just having a strong bass, but louder music itself, such as a solo violin which I think has almost no bass.
    • Bluesound Node supports only a single sub. I’m assuming it’s the miniDSP that would allow two subs?
    • I like this system, but to me the many components (plus the two subs) is a downside for now. I was even thinking that I could later transition this to my office, but that room is much smaller and again, the issue of too many components becomes even more of an issue

For now, you should forget about subs, DSP, and so on. You might eventually need them, but right now you don't need them. Keep it simple and get the best speakers you can. The above advice should be taken an upgrade pathway, rather than something you need to do immediately. The most important rule for upgrading is: never spend money unless you have identified a problem and have a rational solution to fix it. You don't have speakers, so you don't know if you have a problem yet. What WE consider to be potential problems may not be a problem for YOU when you get your speakers and put them in your room. You might be perfectly happy with the sound, so you may not even need to go down this route.

BTW, it is hard for dogs to knock over a sturdy stand for bookshelf speakers, especially if it is very heavy. Some stands are hollow and you can take the top off and fill it with sand or lead shot (I found a 10kg bag of lead shot online for USD$50 ... I just looked). Some bookshelf speakers have holes so they can be bolted to stands. Of course, it depends on how big your dogs are. You could place some obstacles around your speaker stands so they can't run fast near them. And you can train your dogs not to run around in the house. I trained my dog not to walk on any carpeted areas. Just a thought.
 
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excelsius

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There are no bookshelf speakers that will be able to do what you want on their own.
So sooner or later you will add subwoofer's and some multichannel DSP in order to menage them. So complexity difference in the end is only embedded or standalone amplifier. As you can't even position speakers properly not to talk about room acoustical treatment you will need to master use of PEQ filters for which DSP is in the first place. And it's not that complicated, only cuple different type of filters. You can buy a license for Dirac live which will do it automatically but my advice is to learn to do it by hand. You don't really need FIR tap convolution filters in my humble opinion and even they are created relatively easy in REW as negative to measured response with microphone while exporting them is a little more complicated (entirely MiniDSP's fault) bat manageable to learn. At the end Rome whosent built in one day and neither is close to perfect audio system.
Edit: and the part you didn't get any of those speakers Elac, Genelecs, Neumann... would be able to go 6~7 dB louder crossed (with crossover at 100 Hz) with pair of capable subwoofer's than solo only speakers.
Ok, I think this makes sense now. Theoretically then, if I were to get the KH-150s now, but add a sub (or two) later, then the sound would increase even higher and likely have a larger output at that point than the DBR62 with a sub, if I understand correctly. I guess my question then is would it be very difficult to add an active sub to an active speaker like KH-150?
 

mj30250

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Ok, I think this makes sense now. Theoretically then, if I were to get the KH-150s now, but add a sub (or two) later, then the sound would increase even higher and likely have a larger output at that point than the DBR62 with a sub, if I understand correctly. I guess my question then is would it be very difficult to add an active sub to an active speaker like KH-150?
You can certainly add virtually any sub (or subs) to the KH 150s, however, this would require the ability to high-pass and integrate them via external DSP such as a miniDSP plus UMIK-1 along with some knowledge and experience to make it work well.

Otherwise, you could make the process fairly simple and idiot-proof and use Neumann's MA-1 mic and correction software along with a pair of KH 750 subwoofers. This is likely to be a costlier option, though.
 
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excelsius

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You can certainly add virtually any sub (or subs) to the KH 150s, however, this would require the ability to high-pass and integrate them via external DSP such as a miniDSP plus UMIK-1 along with some knowledge and experience to make it work well.

Otherwise, you could make the process fairly simple and idiot-proof and use Neumann's MA-1 mic and correction software along with a pair of KH 750 subwoofers. This is likely to be a costlier option, though.
I see, so this is where that MA-1 would come since I think the KH-150 has an internal DSP. In that case, are microphones DSP specific? In other words, could I use the UMIK-1 with KH-150? Or use the MA-1 with a different DSP?

If using the MA-1 would allow me to add a sub to KH-150 without using an external DSP, maybe it would be worth it to keep the system clean.
 
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