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Thread: Klipsch La Scala Opinions....ASAP?

  1. #31
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    Quote Originally Posted by Jeff M
    Well, I will get to pick them up on thursday(gloat) and I will see how I like them in my enviroment. As I stated before, if I like em', I will keep em'..........if not, they go to the trading block
    Jeff,

    If you get them for $800 or so and they are mint, you will be able to get rid of them easily. In the next few months, prices will rise and demand will go up quite a but. Happens every year.

    Honestly, I have never heard the La Scalas, but I owned K Horns and currently own Belles and Heresys, as well as a K Horn/JBL project that is unbuilt. My K Horns sounded great with a digital crossover that allowed me to adjust each driver. The Heresy also does quite well when it is either on the floor as it was designed to be, or the crossover is adjusted to attenuate the midrange and tweeter. When tuned right, Klipsch speakers really do sound very good, especially for the drivers that they have.

    The comments about changing horns is true. A lot of folks over at Klipsch change to JBL drivers and Altec horns (myself included - my project speaker is a Speakerlab Bass bin, and Jbl 2470 midrange drivers and 2404 tweeters).

  2. #32
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    Quote Originally Posted by opimax
    So how about a quick rating of the non heratige speaker lines?
    Mark
    I would say CF4's are the best Klipsch I have heard. They are not quite as dynamic but are much smoother and don't have as much of the in your face sound.

    KLF30s and 20s are more dynamic but brighter. I owned a set for a year. I thought they were too lean and beamy. A different tweeter might help alot. They are a very good rock speaker. They seemed to sound better at 85-95dbl. A little messy at higher volumes and thin at lower volumes. I personally think they were the last of the "real" Klipsch. If a guy modded them they would probably be really nice.

    Synergy and Reference series are more refined but not dynamic. They sound more like cone and dome speakers. They are ok if you don't want or like real horns. I like horns to handle down to at least 750hz so I didn't care much for them. Cone midrange always sounds slow to me. Klipsch also overrates the efficiency of the new models, subtract 3-5db. If you love cone and dome speakers these might be the best Klipsch.

    Heritage, I have heard Lascalas/Belles and Heresey. They were not for me.

  3. #33
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    Quote Originally Posted by Mr. Widget
    The people on the Klipsch forum know much more about La Scalas and the like than all but a handful of folks on this forum ...I doubt anyone over at the Klipsch site will call the La Scalas harsh
    Widget
    But the guys on planar forums will tell you maggies can rock.

  4. #34
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    Yes all hornies must stick together....Just because the La Scalas might not sound as well as we like they should not be thrown out, Modifications can be made. To make them to sound sweeter. Start with the K77 tweeter replace with JBL 2404 or baby cheek Beyma. Bass modification have also been made.
    Vlad

  5. #35
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    Shuster.....Maggies? planner? I can piss louder than low efficient planners.
    Vlad

  6. #36
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    Shane , thanks for answering. 1 last question is how do the KSF sound and compared to the KLF? including effeciancy...same?

    Thanks

    Mark

  7. #37
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    Quote Originally Posted by Shane Shuster
    But the guys on planar forums will tell you maggies can rock.
    I always love these arguments. Reminds me of the Ford v Chevy benchracing of my youth.

    Just a thought. Any given high quality speaker, if set up properly, will sound very good. I have heard Maggies set up with very powerful tube amps that sounded just awesome, especially on female vocals. My K Horns sounded awesome with the right equipment. I have B&W N801's that have a tough impedance curve and not very efficient but they are very dynamic set up with very powerful Bryston monoblocks (900 wpc at 4 ohms).

    Different flavors but all good. Right now I own Klipsch Heritage (many pairs), JBL's (monitors, compression drivers and some consumer junk), B&W's (2 pair) and Maggies. They are all different, but all have good qualities.

    I think that this is why every forum swears by their particular flavor. Right now, my "favorite child" is the N801's, but that may change. Who knows.

    Chris

  8. #38
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    Quote Originally Posted by Maron Horonzakz
    Shuster.....Maggies? planner? I can piss louder than low efficient planners.
    I know. The Magneplanar guys think they sound great with rock. I don't. 1400w to them and you can still have a conversation while they are playing. They are great with little girl and violin music. The Ramones and AC/DC sound terrible through them. The electric guitars sound very fake. My point was you have to take a forums bias into account.

  9. #39
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    Quote Originally Posted by opimax
    Shane , thanks for answering. 1 last question is how do the KSF sound and compared to the KLF? including effeciancy...same?
    Thanks
    Mark
    I owned the ref35, ksf10.5, klf20s and klf30s. The KLFs have much greater efficiency, around 5-10db more. The KLFs are a bigger speaker and have a bigger sound. They are voiced with the older Klipsch sound. The KSF sounds less harsh but gives up the snap and dynamics.

    The KLFs are A grade in certain areas and D- in others.
    The KSFs were C all around. Not bad, not great.

    If you have any more specific questions feel free to ask.

  10. #40
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    Quote Originally Posted by Shane Shuster
    ...you can still have a conversation while they are playing. They are great with little girl and violin music. The Ramones and AC/DC sound terrible through them. The electric guitars sound very fake. My point was you have to take a forum's bias into account.
    Good point! ...and obviously that of the poster as well... I haven't listened to that ear bleeder music in decades. I definitely prefer my horn system to my friend's TOTL Maggies... or another's Martin Logan CLSs, but I'd go with either of those two planar systems over most of the horn systems I've heard. I guess I listen to too many violins and girlie music.


    Widget

  11. #41
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    Quote Originally Posted by Mr. Widget
    Good point! ...and obviously that of the poster as well... I haven't listened to that ear bleeder music in decades. I definitely prefer my horn system to my friend's TOTL Maggies... or another's Martin Logan CLSs, but I'd go with either of those two planar systems over most of the horn systems I've heard. I guess I listen to too many violins and girlie music.
    Widget
    Mr. Widget, what horn system are you using? I did a search for Widget horns but didn't find much.

    I like big horns for the large surface area with low excursion. Excellent dynamics and a "fast" sound due to the stop-start-stop time. Alot of guys like them for the controlled directivity but I don't. I think it sounds lean and "pushed" so I tend to like wider dispersion. I would rather take the wall bounce instead of having the music on a laser beam. The high efficiency is a nice bonus but not the main strong point.

    Cone and dome speakers sound ok but have too much compression and sound "slow" to me. I still have BOTL maggies that I don't use much. I listen to a very wide variety of music and they only sound great with certain music types.

    Anybody heard any big horns that have more of a cone and dome dispersion pattern? The vintage ones aren't that great on post 90's music and thats mostly what I listen to.

  12. #42
    Administrator Mr. Widget's Avatar
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    Quote Originally Posted by Shane Shuster
    Mr. Widget, what horn system are you using?
    I am listening to a pair of 4-ways that I designed... they use TAD components up top and a Sub1500... the system is tri-amped with SETs up top, a pair of Pentode KT88 based 200wpc mono blocks between 50Hz and 800Hz and a 600wpc SS amp on the subs... it'll pin your ears back if desired, but Joni Mitchell and Yo-Yo Ma don't need all that slam... the Be drivers do give you all the "rosin on the bow" you could ever want and the system is as neutral as a TOTL cone and dome system.

    I do on occasion play a variety of music at "realistic" levels... but I never did develop a taste for ear splitting guitar music... that powerful midrange information simply hurts.


    Widget

  13. #43
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    Maggie's

    Maggie’s

    Every pair I have heard have been faulty
    Who would make speakers from fridge magnets?

  14. #44
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    Quote Originally Posted by Shane Shuster
    Anybody heard any big horns that have more of a cone and dome dispersion pattern? The vintage ones aren't that great on post 90's music and thats mostly what I listen to.
    Recently I tried a big tractrix midrange horn with a high efficency 6 inch cone driver on a mouth of 55 cm diameter in the range of 500 Hz to 4 kHz, which certanly has quite a directivity.
    I pointed two of these horns on a reflector like that of a Paragon and I got a wide spread sound in a greater audience, the whole room was filled with sound. It was amazing to have the liveliness of a high efficient horn with a wide spread sound stage.
    ___________
    Regards
    Peter

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    Since we have started talking about plane sources and bouncing sound of panels I thought this may be of interest.
    I recently attended a Wellington Audio Society meeting where we met at the Wellington Cathedral.
    Now this is a great huge concrete building with a huge volume and atrocious acoustics for speech.
    The reverb time is very long measured in seconds.
    In this they have installed line arrays.
    They are controllerable by up to 1 degree by software.
    The results are stunning speech is clear through out the entire seating area and the acoustics of the environment for the massive pipe organ and choir are preserved.
    I could not but help think that this demonstrates the importance of polar response of a speaker.
    A bloke who lives close to me makes Ribbon speakers and sells them throughout or local community.
    I have had a chance to listen to these in a domestic setting and it is quite disconcerting.
    There is no top end….. Until you sit down.
    Of course they are a line array and the directivity is extreme.
    When you sit in the “seated” position the results are stunning, excellent dynamics.
    He insists on sealed heavy bass enclosures which I think is a mistake and when you listen the crossover is obvious due to the different polar response of the woofer and the ribbon.
    Someone else immediately picked up a crossover fault on a Piano recording (They play it)
    Line arrays are very interesting; the same theory is used in cellular antennas (or any) and submarine sonar arrays.
    Here in Wellington we have Peter Jackson’s Studio, Park Road Post where they mix things like Lord of the Rings and King Kong.
    Now park road post was another outing and the “room” has won much acclaim as having the same acoustic response across the very wide mixing desk.

    Here I will draw your attention to a AES article that states “at low frequencies the sound qualities of a audio system is dominated by the room” (Todd Welti and Allan Devanntier : Harmond international Industries)
    They also propose that the traditional way of looking at rooms is wrong and instead of looking at a point in the room you should look at a “seated” area.
    To finish of this train of thought: Park Road Post has typical JBL compression drivers and horns as found in a movie theatre and to quote the JBL agent “the room acoustics are so good that the deficiencies in the speakers are not noticeable”

    Now my employee has the privilege of a 1Kw amp a Integra CD and a ancient pair of Altecs.

    He paints houses for me, and it has become very obvious that room acoustics play a huge amount in how a speaker sounds.
    I have got him past full Bass, Full Treble and loudness ON.
    Speaker placement is critical to cover the whole house.
    He has learned how to listen, has stacks of bass and you don’t hear it outside.
    Of course when I EQ out 2242’s and the kids watch movies the neighbour’s house shakes.
    It surprises me how much impact the "ROOM" can have and how what can sound awful can also sound great.
    Depends on the room.
    Worth a thought.

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