I listen in a near field setup in about a 9' triangle from the speakers. The Cornwall speaker is designed to be positioned either up against the wall, or in a corner (hence the name Cornwall). By setting up in a near field arrangement, I do not have many issues with wall reflections. If I move my seat back out of the near field arrangement, then I loose bass and have side wall reflection issues.
I was looking at the Tannoy GRF90, and it appears you have a port in the back of the speaker. You may want to try to move the speakers closer to the back wall to provide more bass support. Good luck.
Nice set up. I have a similar big high efficiency speakers like yours (Tannoy GRF90) and I wanted to know how well your speakers interact with your room and any adjustments or tips you might have. It looks like you have the speakers set up on on the narrow side of your room which is about the same width as my wall, did you have any issues with the wall reflections since they look close to the sidewalls? As big as my speakers are I am lacking some bass and I think it's just they are stuffed into a small narrow side of the room. Thank you.
24 hours on the Furman P-2400 IT, and I can't believe the impact it has on the sound of my system. I did not realize my power was so dirty until I inserted the Furman, initially I had to turn up the volume thinking something has changed, but I could not put my finger on the change in sound yet. The unit was just-out-of-the-box. Now that it has been on for 48 hours and has settled in a bit, the change in sound is tremendous in all aspects up and down, what ever aspects float your boat: the bass, imaging, dynamics, tone, textures, it's all there and more. I'm hearing things in both analog and digital in my music that I have not heard before.
There is a digital volt meter built into the Furman. The ML2s are class A SET design, so they draw a constant power draw, along with my other components, I am seeing 4.9 to 5.1 amps being drawn from the wall. I'm on a dedicated 15 amp circuit. The Furman is a 20 amp unit, so there is plenty of headroom in my electrical circuit.
If you can audition a Furman P-2400 IT, you really should do so immediately. You have not heard what your system is capable of yet.
My LP2 Deluxe suffered from a heart-attack. When I sent it back to Lamm, the Dr. Vladimir had to put in a new power transformer due to a capacitor failure in the power supply. They were not able to source the original transformer due to the age of the LP2 Deluxe, so they put in the power transformer to the LP2.1 Deluxe. When I got it back I was surprised at the transparency I had gained with the new power transformer. For me it was like an upgrade.
The iPhono2 is not as quiet as the LP2 Deluxe and I thought earlier below in a previous posting. I found a ground loop issue, and resolved it with the LP2 Deluxe, so now it is dead quiet, even with the L1 turned all the way up with my ear against the speaker. The iPhono2 had noise I could hear, just a touch of noise with the L1 turned all the way up.
No question about it, after an extended listening session with the LP2 Deluxe back in the system, it is far superior to the iPhono2 in a way the iPhono2 cannot deliver the musical expression that lives in the grooves. The iPhono2 does have a nice sense of bloom after the break in period with liquidity as well. But the LP2 Deluxe has that, in a more coherent dimensional soundstage with each instrument's energy intact. It is this instrumental energy that is released in the coherent soundstage that really is special. It can be subtle depending on the recording, but once you become aware of it, you appreciate the musicality of the Lamm sound.
Lamm LP2 Deluxe is back in the system. Time spent with the iFi iPhono2 MM/MC was a nice venture into a really good phono stage for $500. The iPhono2 is a touch quieter than the LP2 Deluxe, but the LP2 Deluxe delivers more color, the image has more solidarity and three dimensional depth. The LP2 Deluxe is overall more coherent and organized than the iPhono2. Still, for $500, the iPhono2 is a direction I would take if I were not where I am now.
HRS Analog Disk installed. I now have completed as much vibration control as possible, that I know of, between the record bottom (Boston Audio Mat), record top (HRS Analog Disk) and cartridge (The Cartridge Man's Isolator).
Now the Koetsu RSP is delivering so much harmonic richness.
Koetsu RSP is low compliance, so it's looking for a high mass tonearm. I have achieved 10Hz resonant frequency as measured by the HiFi News Analogue Test LP with the stock Technics 12xx tonearm. They key was the 18 gram head shell, and additional 55 grams counter weight by KAB USA.
The system I heard had a B&C DCM50 (based on an old Western Electric driver) as the midrange and Fostex operating down to 4KHZ. You should try disconnecting the tweeter in the Klipsch and let the Fostex handle the entire frequency range. It's a far superior transducer to any of the Klipsch drivers. And for not a lot of cash, you can replace the midrange driver with a DCM50.