Search results

They may be far better than most other affordable loudspeakers concerning: Modulation distortion Usable dynamic range Harmonic distortion Rendition of brass, organ, percussion, the human voice (subjectively) But they aren't as good as some others for strings. And they have frequency response...

I don't get it. How could such a thing win Stereophile Amplification Product of the Year?

I can, but all much more expensive. My favorite of c. 1972 were JBL S8R, Bozak Concert Grand, Klipschorn -- all for different reasons.

Absolutely!

Woops!

Does this mean that brachycephalic listeners get a different impression of stereo geometry than dolichocephalic ones? Is there just the right speaker cable or mid- field chrystal focal object, or perhaps a softwood diffuser that will correct for that, making everyone hear like the presumably...

I don't know, but if your speakers cross over to the tweeters between 3K and 7K could just one tweeter be wired with the wrong polarity? Probably just the right one? As I said, I'm stumped, but might it be worth reversing the wires to the right tweeter only, just to see? As far as audibility...

Beg to differ .... at least with the fully horn loaded Klipsch Heritage ... except once. My Klipschorns, in my somewhat dead and treated room, with Audyssey Flat, and tone controls set carefully, by ear, are warm, ultra dynamic and great for most, but not all, disks. With orchestral music they...

Anechoic for Dickie designed Vivid Audio GIYA G1 Spirit; from Stereophile:In Room: Fig.5 Vivid Giya G1 Spirit (red) and MartinLogan Masterpiece Renaissance ESL 15A with Anthem Room Correction (blue); spatially averaged, 1/6-octave response in JI's listening room. Again, from Stereophile...

I have noticed a very slight muddiness when using DEQ, compared to the rough equivalent bass boost using the bass tone control. With the tone control, I notice no muddiness at all. I don't have my data from 2011 at hand, or I would share it with you.

I heard what must have been JBL 4350 or JBL 4355 (shown in Jimi Floyd's post quoted by Matt Hooper) in a studio, while they were mixing a master.. By memory, they sounded great -- much like our Klipschorns with truly exceptional CDs and SACDs, but this was before I had CDs, SACDs, or our...

This is the only nearly full range (20Hz to15KHz) sweep I have at the moment (the old ones were done through a defective mic preamp and an ill suited microphone). I about had it with some early CDs (& 1 Blu-ray) that were incredibly weak in the bass, so I cranked up the bass and futzed around...

Yes, the older ones need to be sealed into the corner, either with neoprene sheets stapled or with foam pipe insulation (as nearly closed cell as you can get). Then, push the Khorns into the corner until the foam is properly squished. Even the new K-horns, with closed backs, need to be as close...

I agree. Once they stopped using a huge amount of feedback and conquered TIM, they were home free. I'm not sure exactly when that happened, perhaps it was in the early '80s, when I got my beautiful Luxman L580 -- the best sounding and most versatile (!) amp I've had.

I think the original (but "final" design for the next 40 ++ years) La Scala had sensitivity identical to the Klipschorn, if measured 400 Hz to 3,000 Hz, which was 101 dB, 2.83v, 1M, and a bit higher in the "typical" listening room. I'd agree, La Scalas and Belle Klipsches roll off at about 50...

For full dynamic range -- reaching 115 dB for the briefest instantaneous peaks (1/4 second) in a 3,000 cubic foot room -- a Klipschorn needs about 60 watts. For a lesser SPL, 30 watts would be fine. Sure, the average power needed is much lower, but if you want to avoid clipping on...

I have bolded excerpts of gnarly's post that I heartily agree with (please expand the quote section): Modulation distortion is considered more noxious than THD. Few manufacturers and few reviewers mention it, but some (Heyser, Keele) have. Klipsch compared two of its 3-way speakers in which...

Thank you so much for your sensitive reply. By the "myth of flat recordings" I meant: The belief that if one sets the tone controls for "flat" [or uses a preamp with no tone controls] one will get flat sound i.e., the music will sound more like what the engineers heard than if you manipulate...

I guess this is what I mean: Down with (max) X-max! And, to echo J. Gordon Holt, Down with [so called] flat! Some speakers (e.g. well designed horn loaded ones) have (and only need) very little excursion (~~1/16") to produce very strong bass, down to about 30 Hz, with very little modulation...

That 4 dB is about the amount and range (4 Hz to 10 Hz) that many preamps used for a "presence control," back in the day. McIntosh had one that was centered a little lower. At that time Paul Klipsch said "If you're going to put in a "presence control," why not also an "absence control?"