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Gary Garrison's set-up
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Discussion Starter · #1 · (Edited)
Here is our Music Room/Library/Home Theater, photographed with a pretty bad flash unit. Captions are below each picture.

The room is 25 ft. long by 16 ft 9 in. wide, with a sloped ceiling, highest in the rear, that averages 10 ft. 2 in, high, running from 8 ft.6 in. to 11ft. 10in. Full range Audyssey took out a few peaks, and we love the clarity, the convincing tonality, the clean transients, and the effortless, wide, dynamic range. We think our sound closely resembles the character of the orchestras we have listened to “live.”

Entering. The exponential curve Karlson speaker enclosure in the corner is empty now, and is there for sentimental reasons, because my father built it for me when I was about 14. We deliberately did not fill the shelves with books, but put them in with objects between the clumps to provide a combination of diffusion and slight absorption. These are book shelves, rather than bookcases, so there would be less of a sound barrier at the ends. Anything you see that is higher than shoulder level is stuck down with museum putty, or bolted down, or behind a barrier. The shelves are screwed into the walls through the 5/8 sheetrock, then through a layer of 3/4 plywood, and, usually, into studs. We’re in earthquake country, and we like to shake the floor every once in a while when screening movies.

The front wall, as seen from farther away than the main viewing/listening position in order to get the Klipschorns in the picture. The little white spots are in the digital imagination of some device, rather than in the room. The wall is covered in fabric, and the center section hides the center channel speaker, which is a (big) modified Belle Klipsch which is flush mounted in a bump-out sticking out of the other side of the wall. It is a three-way, with all speakers horn-loaded, and has all of the same drivers as the Khorns, and now has the same midrange horn because we built a new “top hat” to accommodate it. It should be a good timbre match (and sounds like it) above the 40 Hz Audyssey measurement says is the F3. The Belle is raised so that the tweeter is the same height as those in the Khorns. We put stock upgrades in the Khorns, so they are the ~~ 2005 version, having the same guts as ones made up until late 2019. The fabric on the wall is sold as acoustically transparent, as is the projection screen, although “acoustically transparent” may be like “clean coal.”. With both fabrics in the way, we get about -1.75 dB at 16K. Audyssey completely compensates for that. The bump-out also contains a slightly off-center subwoofer, as well as absorption and quite a few diffusers. By putting the front of the Belle flush with the front surface of the wall, all three front speakers can be at the same distance, to within 1.2 inches. We put the bowl dead center, thinking it would provide a focal point, but it turned out to be not needed. We can sit on the couch and zone out listening to music, gazing at the fabric. Sometimes the imaging is better with the center speaker being used, as well as the Khorns & sometimes it’s better without the center, depending on the recording. On the advice of Roy Delgado, chief engineer at Klipsch (who worked with Paul Klipsch) there is nothing on the front wall that sticks out much between the Khorns. Delgado found that a lot of reflective surfaces between speakers, e.g., TV monitors, equipment racks, etc. interferes a bit with imaging. Since you can’t see it through the fabric, here is what a Belle Klipsch looks like.


The Front wall with the AT screen down.
The screen looks a bit smaller than it is (130 inches wide,
not diagonal), because we are still farther back than the Main Viewing position, shooting over the couch (not pictured). When the lights are off, the K-horns can hardly be seen. The screen height is such that someone with tri focals can see the whole image through the tops of their glasses without tilting their head forward.

Screen shot from the Main Viewing Position. This is what Panavision, CinemaScope, etc. look like. All of the 10 aspect ratios except 3 fill the screen’s image area from top to bottom, varying only in width, i.e., “Common Height.” The dark area above the image is border, drop area, & canister.

This is what Cinerama looks like in our room (with SmileBox).

Looking toward the back wall. My wife built the diffusors. When we have 6 people, including me, I sit at the desk behind the couch. For a few films from the magnetic era, I stay back there so I can fluidly ride the Volume control (without being seen so doing) to put back the orchestral and effects dynamics they compressed out, e.g., the ship splintering in Ben-Hur, and the music in several places, when they mastered the dialog too high, or the music & effects too low. This volume riding is easy with musicals (the Dance at the Gym in West Side Story), and hard in others, requiring rehearsal. We have our Marantz pre/pro set so volume control manipulations can’t be seen on screen.

The Right Front Corner. The absorbers are placed where a straight line (yardstick) from flat on the front of the midrange/treble section would first touch the wall, extending two feet toward the rear of the room. This was on the advice of an engineer who did extensive work with corner horn midrange/treble acoustics.

Looking down the right wall. 9)

The left wall. On each of these last two walls you should be able to see the black Klipsch Hersey II surround speakers. They are three way with horn loaded treble & midrange, with infinite baffle bass. There are some white absorbers behind the books on two of the shelves.



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