|Input||(3) analog line inputs/(2) AES digital inputs (shared connectors), (1) RTA mic input|
|Input Connectors||(3) female XLRs (2 selectable between analog/AES digital audio formats), (1) female XLR RTA mic input|
|Input Type||Electronically balanced/RF filtered|
|Input Impedance||> 30 kΩ, balanced line to line|
|Max Input Level (line inputs)||> +28 dBu, balanced, ≤1% THD|
|CMRR||> 50 dB @ 1 kHz|
|RTA Mic Preamp Phantom Power||+48 VDC|
|Output||(6) Line Outputs|
|Output Connectors||Male XLR|
|Output Type||Electronically balanced, RF filtered|
|Output Impedance||120 Ω, balanced line to line|
|Max Output Level||+22 dBu, balanced, ≤1% THD|
|Alignment Delay||Up to 1000 ms per output channel|
|A/D Converter||24-bit with dbx Type IV™ Conversion System|
|A/D Dynamic Range||117 dB A-weighted, 114 dB unweighted, 22 kHz BW|
|Type IV Dynamic Range||129 dB with transient material, A-weighted, 22 kHz BW; 126 dB with transient material, unweighted, 22 kHz BW; 121 dB typical with program material, A-weighted, 22 kHz BW|
|D/A Dynamic Range||116 dB A-weighted, 113 dB unweighted, 22 kHz BW|
|Internal Processing Wordlength||32-bit floating point|
|Supported Sample Rates||48/96 kHz (32-192 kHz using sample rate conversion)|
|System Performance Dynamic Range||114 dB A-weighted; 110 dB unweighted|
|THD+Noise||0.0025% typical at +4 dBu, 1 kHz, 0 dB input gain|
|Frequency Response||20 Hz – 20 kHz, +0 /- 0.5 dB|
|Interchannel Crosstalk||< -97 dB, -105 dB typical 20-20 kHz, +4 dBu, all channels measured|
|Latency||Analog input to output: 2.57 ms (48 kHz), 2.28 ms (96 kHz); Digital AES input to output: 2.31 (48 kHz), 2.15 ms (96 kHz)|
|Operating Voltage||100-240 VAC 50/60 Hz|
|Power Consumption||18 W|
|Unit Weight||5.48 lbs. (2.49 kg)|
|Shipping Weight||7.10 lbs. (3.22 kg)|
|Dimensions||1.75” (H) x 8.0” (D) x 19” (W), 4.4cm (H) x 20.32cm (D) x 48.26cm (W)|
Killer set up with the 1505s!I went through the same thing. I had an MCS system that we bought when we first were married in 79. These came up for sale at a local garage sale for pennies and replaced the MCS.
Voice of the theater with 515 woofers, 1505 horns with 2 288 CDs on each horn, and a Beyma tweeter between the cab and horn.
Ruined my life for ever.
View attachment 31846
I forgot how I set it up. It's been awhile. I started chasing high quality and all along it was right in front of me.Killer set up with the 1505s!
Are you using 8 ohm crossovers since you have 2) 288 per?
I'm looking for 16ohm super tweeters but assume your beymas are 8
Heartfelt amen! As this thread demonstrates, it requires religious terminology to convey the nature of the experience. For years I thought my Klipsch Forte 1s were getting me there. But as I read forum discussions it slowly it seeped into my consciousness that there was more impact to be had from something more like Cornscalas with larger woofers and a broad baffle (or horn loading) to facilitate "wave launch", and sweeter MR horns worthy of a lower crossover frequency. (IMO the greatest weakness of 3-way Klipsches is their MR horn lenses.) Long story short, I now enjoy (to put it mildly) TOA 380SE 3-way "mains", but with larger add-on MR radial horns and University alnico comp drivers, and an 18" B&C pro cinema sub, all DSP multiamped. After tweaking, the sound is simply glorious and at times overwhelming. A few days ago I dusted off and played the venerable Antal Dorati Detroit Symphony 1981 recording of Stravinsky's Rite of Spring, and words fail me... a menacing and borderline dangerous listening experience! Now I need to repackage all the drivers in bigger baffles/boxes, but in the meantime I can't keep my ears off them. And I can barely listen to first-rate recordings on my Fortes now, knowing how they really should sound and feel.Then we started playing music....holy !@##$$#@
Over the next 4 hours we tweaked eq and xover settings until we had it "there". Then we proceeded to throw music at it, trying to see if there was anything it couldn't do. We failed. We broke out into belly laughs so many times our sides hurt. This was A M A Z I N G audio reproduction, with crappy cables, background hiss and looks that even the most tolerant wife would laugh out of the living room. Yet there we were...seriously rethinking many of our recent speaker and gear choices.
You probably don't believe me and that's OK. But those that might own large Altecs or other pro-level horn systems know what I am talking about here. The sense of dynamics and sheer impact (I have NEVER heard a kick drum hit like these do) just totally blows away any "tall skinny audiophile" speaker I've ever heard. And I'll put my Salon 2's on that list as well.
I'm ruined. I need therapy. Can I get an AMEN ?
I’m in awe of how full and realistic a properly executed modern stand-mount can sound, and I can play with models all day long and show you how to get gob-smacking bass out of the right 5.25” woofer. I am not a Luddite. But I feel like people who gravitate that direction - default audiophila - seldom acknowledge the catastrophic compromise they’re making.This all reminds me of a review I read in one of the magazines, either Absolute Sound or Stereophile, for the very large Cerwin Vega CLS-215 from several years back. They were basically shocked to hear the scale of sound they put out, that that scale was, in a way, as effective as the usual audiophile cliches at conveying the sense of real music being in a room and that in some ways it was actually better. They were also surprised just overall by how good they sounded, expected more a PA-sound (which brings up another thing... there's a lot of good theater and live-sound speakers now, that don't sound at all like the ones of olden times).
I think part of it is just being aware of what you're missing. I like many standmounts, and I love how they image. They're coherent, all that stuff. But then I'll here something like a large format speaker, well done, and it just makes me realize that I'm missing something with what I have..which is fine, my room is a compromise, fitting things in my home is a compromise, I don't want to look at giant speakers all day and in regards to the big CVs, they're just plain ugly.I’m in awe of how full and realistic a properly executed modern stand-mount can sound, and I can play with models all day long and show you how to get gob-smacking bass out of the right 5.25” woofer. I am not a Luddite. But I feel like people who gravitate that direction - default audiophila - seldom acknowledge the catastrophic compromise they’re making.
I know that’s a gross oversimplification, and even if it weren’t, “with subs all things are possible.”
But I’m not convinced the old farts on your least-favorite FB audio group aren’t right: there’s no replacement for displacement. An adequately-sized moving membrane, by my reckoning, starts at about a 12” cone. I kind of wish I didn’t feel that way.
Well, "there's no replacement for displacement" is only sort of true, though admittedly a catchy rhyme. It's really radiating area that counts most. Many a car system gets massive bass from a relatively small subwoofer with extreme linear displacement, but that works well only because in a small space the bass never gets to be a wave, it just cyclically pressurizes the space. So wave launch is out of the picture. In larger spaces a smallish woofer disperses a wide, weak bass wavefront and really needs nearby boundaries to concentrate the energy in the listener's direction, but this probably smears transients somewhat unless the boundaries are really close-in, approaching a wave guide situation. High SPL from small cone excursion is the key to large scale low distortion sound, IMO, requiring a large driver or large horn mouth.But I’m not convinced the old farts on your least-favorite FB audio group aren’t right: there’s no replacement for displacement. An adequately-sized moving membrane, by my reckoning, starts at about a 12” cone. I kind of wish I didn’t feel that way.
The trick is to avoid the experience of dining at Claim Jumper, this chain they had in California that had truly gigantic portions of extremely mediocre and often bad bland food. Happily this thread seems more like a Gibson's Steak House meal. Yum and lots of it.As I reread this thread, it occurs to me that good smaller speakers provide a listening experience akin to dining at a French restaurant... the flavors are amazing, but the portion sizes leave much to be desired, satisfying the tongue but not the tummy.