In 1999 with the introduction of the ProMedia v.2-400 Klipsch rocketed to the forefront of the performance multimedia speaker market. Regardless of whether or not the v.2-400 was actually the best 4.1 system it was arguably the sexiest PC system on the market, the first to sport the then new THX Multimedia Speaker Certification, and the one most people came to think of at top end 4.1. In truth, while the v.2-400 clearly was not perfect, nor without equals or betters, it did allow Klipsch to illustrate their outstanding commitment to their customers, with first free preamp updates and latter enhanced ($50) preamps offered to upgrade the v.2-400 experience.

Klipsch also listened to their critics and updated the crossover network in the satellites, combined it with the new preamp and some other tweaks and released the ProMedia 4.1, the worthy successor to the v.2-400 (the updated satellite crossover actually debuted in the ProMedia 2.1).

Despite or perhaps due to the popular success of the ProMedia v.2-400, 2.1 and 4.1 the demand for a 5.1 version of the ProMedia series was strong and steady. This summer Klipsch has delivered their answer to those demands in the form of the ProMedia 5.1, the $399 MSLP system that we will offer our  impressions of in this initial review.

Overview

The ProMedia 5.1 comes with 4 identical two-way satellite speakers and one center channel that differs only in its horizontal orientation, a dual 8" side firing subwoofer and a handy control pod that has controls for master volume, surround, center and subwoofer levels as well as an amplified headphone out and line input.

As is typical of almost every multimedia speaker the subwoofer cabinet also houses the amplifier. In the case of the ProMedia 5.1 the amplifier uses a 500-watt (Maximum Burst Output) BASH® design that offers high output with low distortion and excellent dynamic headroom. This amplifier supplies 60 Watts to each satellite and 200 Watts to the subwoofer. On the rear of the subwoofer you will find a standard power cord, a DIN input for the control tower and three color coded stereo mini-jack inputs for the 6 channels.

A subtle but interesting change with the release of the ProMedia 5.1 is Klipsch has started using a new power rating called Maximum Burst Output for the entire ProMedia line. The question is just what is Maximum Burst Output? We plan to get more clarification in time for the full review but for now we can point to a response from Klipsch’s DanF in their forum  where the first clarification is they still consider the rating to be RMS. The difference is that RMS is most often given as a continuous measurement and Klipsch is using a maximum burst RMS measurement. According to Klipsch, if you put a continuous RMS and a Maximum Burst RMS amplifier in the same setup, you will not hear a difference in loudness between the two. They go on to note that the maximum burst test is designed to more closely mimic standard program material, so that modern amplifiers can be optimized for the application.

Agree or disagree, one thing is clear, Maximum Burst Output (MBO) as used by Klipsch is not to be confused with the largely useless PMPO rating seen mostly on very inexpensive systems. It perhaps also avoids further discussion on why systems with less Watts RMS play louder or at least as loud as the previous ProMedia line. At the same time does not take away from the fact that the ProMedia line all has the ability to play more than loud enough for most multimedia and even small (relatively) home theater uses.

In the full review we will get into much more detail on the system specifics but I still want take a few words to highlight some elements of the ProMedia 5.1

The control tower

Replacing the control module that comes attached to one of the front satellites of the prior ProMedia line is a new control tower that features separate main, center, rear and subwoofer volume controls as well as a digital LED volume and channel level display and an on/off or headphone listening mode switch. As with the prior control modules this unit attaches to the amplifier in the subwoofer cabinet via a DIN connection.

The large backlit (LED illumination) main volume control has range of 1 to 80, in 1dB increments (these increments step by 3dB with faster knob rotation). The center, sub and surround dials use precision (DVC) level controllers. 80 is the dynamic "ceiling", and the main volume setting will pre-determine the gain allowed in the center, sub, and surround channels with the maximum gain range settings for each channel are –9dB to +15 dB. Klipsch literature says that these settings will be retained as the master level approaches 80. They also note that new settings made at high volumes will only be allowed as the total reaches 80. In other words, if the master level reads 75, the boost will be limited to +5dB, and if main volume is set to 80  (maximum), no boost is available

This might lead you to think that as long as you set the boost to +15 at a lower level it will give a level of 95 when the master approaches 80. Based on my testing what I have observed is the ceiling of 80 is retained at all time so with the master volume at 80 there is no subwoofer boost possible. What is retained the boost setting so as you scale back the master volume the original subwoofer (or center/surround level) is phased back in.

It's important to note here that the master setting of 80 is not intended to literally represent the actual volume of the system.  The system will in fact typically max out at levels in excess of 100 dB (depending on the material and the output device).  The maximum level of 80 simply represents full scale and 1 is actually 79 dB below full scale.   

The control tower has two stereo miniplug jacks, one for headphone output and one for the convenient connection of portable audio devices and any other alternative source that uses a stereo miniplug output. As with the ProMedia 2.1 and 4.1, this jack has a 3 dB boost and is mixed in with the main inputs to the front left and right channels.

The headphone listening mode is one of these simple, but really nice, features that I have not seen on any other system before hand. Instead of holding the button in for a second or so to turn the system completely off, there is an option to press it more quickly to change from loud speaker to headphone mode. The interesting part here is that the volume levels for the two modes can be set independently so jumping back from high impedance headphones to the main speakers does not have to give a startlingly loud burst of sound if you forget to turn the levels back down.

One quirk that I have seen reported before is the levels of the controls can sometimes jump quickly up or down when being adjusted but it does not happen all the time. I would characterize it as nothing more than a minor inconvenience when it occurs but late at night it can get you in trouble. When operating correctly, moving the dial slowly gets changes in 1 dB increments while a bit faster gets 3 dB changes.

Satellites, midrange and treble

The satellites have undergone some changes, both cosmetic and otherwise relative to the prior ProMedia line. Cosmetically the color of the sealed moulded enclosures has changed and the stands have been changed to a lower profile with rubber feet pre-attached attached for secure positioning. The new center channel satellite uses a horizontal design with a rear-mounted adjustment post for vertical angle optimization for TV or PC monitor placement. It also has non-slip oval rubber feet for prevention of movement once properly positioned on top of monitor/TV. I have not been fond of any of the computer monitor top speaker arrangements on prior systems (DTT2500, DTT3500), but this one is very secure and effective (although the level change in a 3D sound pan across the front remains discernible when the left and right satellites are on the desktop).

A nice change given the problem some have had with the mini-jack connections on the v.2-400, 2.1 and 4.1 satellites is all five satellites now use spring-clip speaker wire terminals, which are designed to handle larger 18-gauge wire (supplied).

In terms of the actual drivers the 3" midbass drivers continue to use rigid fiber-composite cones, black urethane surrounds and long-throw voice coils but the dust cap has been inverted on the ProMedia 5.1 satellites.

On paper the crossover point between the 3" driver and the tweeter has been shifted from 5 kHz on the ProMedia 2.1 and 4.1 to 3 kHz on the ProMedia 5.1. Preliminary testing seems to indicate that while there has been a shift down in the lowest frequencies covered by the horn mounted tweeter, it's not as stark a change as the specs might have you believe. That's mostly because the 2.1 and 4.1 were not crossing over at 5 kHz in the first place (seems closer to the 3 kHz listed for the ProMedia 5.1). Where the change does come out in frequency response measurements is the point that the 3" driver starts to roll-off. On the ProMedia 4.1 it’s at about 2.4 kHz where as on the ProMedia 5.1 it’s about 1.6 kHz.

One other change, both by my ears and by measuring the output from the amplifier, is while both the official and effective crossover point to the subwoofer remains unchanged (~120 Hz) the actual roll-off of low frequencies sent from the satellite to the subwoofer is more aggressive. This is not something that comes across when I looked at a satellite frequency response, apparently because the inherent roll-off of the satellites is essentially filtering out those frequencies. However, if you play a 60 Hz tone (for example) at loud volumes on the ProMedia 4.1 and ProMedia 5.1, the 5.1 system is filtering more of the 60 Hz tone from what is directed to the satellites.

The bottom line is that these changes have resulted for the most part in a slight improvement in the overall smoothness of the frequency response, as well as improved clarity and imaging, even at moderate, but particularly at higher volumes. The changes also result in somewhat better transient response on the midrange and a shift to somewhat more prominent center channel imaging for stereo material.

Center Channel

For Dolby Digital and DTS playback when the actual center channel satellite is factored into the equation there is a fairly notable improvement in the clarity of vocals compared to the ProMedia 4.1, even when compared to a narrow desktop placement of the satellites. This is on top of the other changes already mentioned for the satellite quality in general. Having a real center channel allows for wider placement of the satellites which can give a more room filling, immersive sound, as well as better channel separation when seated further from the satellites (i.e. a more typical home theater vs desktop setup).

When it comes to competition the ProMedia 5.1 as a 6 channel analog system is really in a class by it self until the release of the new Cambridge SoundWorks MegaWorks 5.1. While I have not heard that system and Mikael has not heard the ProMedia systems I suspect based on our common reference point (VideoLogic Sirocco Crossfire - a $450 4.1 system) that the midrange on the MegaWorks 5.1 will be smoother. That's because Mikael put the MegaWorks 2.1 prototype ahead of the Crossfire in that respect, while I continue to give the Crossfire the edge for clarity, definition and precision over the ProMedia 5.1 satellites (for more on how the ProMedia 4.1 compares to the Crossfire you can check out that review). I can also point out that the ProMedia 5.1 satellite looks to have somewhat greater upper bass extension and lower crossover point to the subwoofer than the MegaWorks will (and that much more so compared to the Crossfire). At the other end, I expect that the high frequency in the ProMedia 5.1 will be somewhat more prominent than the MegaWorks but again based on the MegaWorks prototype preview, perhaps not a night and day difference.

As before the subwoofer has been the focus of considerable attention, thanks in no small part to the decision by Klipsch to go with dual side-firing active 8" subwoofer drivers (long-throw design) in a ported MDF cabinet powered by 200 Watts (MBO). The 8 inch drivers each use an advanced fiber-composite cone with inverted (concave) dust caps and durable urethane foam surround provide rigidity throughout the diaphragm structure, and long-throw, linear travel with the goal being tight bass with definition and impact.

I suspect that I am not alone in my expectations that the biggest change from the ProMedia 4.1 to ProMedia 5.1 subwoofer would be more bass. While the very large subwoofer is in fact somewhat more powerful than the already impressive ProMedia 4.1 subwoofer it became immediately apparent that Klipsch had put much more of the focus on enhanced quality and not quantity.

What may surprise some people is one of the first things that jumps out when comparing the ProMedia 4.1 and 5.1 systems side by side at default sub levels is the bass of the ProMedia 4.1 is subjectively a much more pronounced part of the soundscape. I suspect that this is in part to do with room effects but the subs were tested in similar locations so a large part of it is likely the new sub being better "behaved" when room effects are factored in. Better put, it's much easier to get a more neutral experience from the ProMedia 5.1 than the ProMedia 4.1 in my test room.

What Klipsch says is the advanced modified sixth-order enclosure alignment delivers bass extension otherwise not realized in a compact subwoofer enclosure. This approach pays careful attention to optimum port tuning, driver design, cabinet construction, air seals, appropriate filtering, resulting in lower excursion to ensure low distortion on the loudest musical passages.

What I say is the sub offers notably better definition, particularly for some lower frequencies where the dual 8" drivers cover a greater range than the 6.5" drivers on the ProMedia 4.1. The result is the tuned port, which does not offer the same quality and definition as the driver is covering a narrower range. Surprisingly, the ProMedia 5.1 sub does not really seem to be much, if any, deeper at the bottom end relative to the ProMedia 4.1 sub at both the –3 and –5 dB roll-off points. On paper it’s supposed to go down to 25 Hz where as the ProMedia 4.1 sub should go to 29 Hz. There is enough margin for error in our port and combined measurements that I can’t say more than performance is strong into the 28 Hz range but by 25 it does seem to be down about 8 dB.

The power handling ability of the subwoofer is an area that is improved over the already good ProMedia 4.1, with good quality being maintained at higher volumes. For those who want to put some more emphasis into their bass, the sub can be significantly exaggerated even at high volumes. Overall the quality differences are most apparent for music and for movies.  While differences can be noticed for gaming, games typically don't offer the definition, depth nor dynamic range to make the upgrade from a ProMedia 4.1 to 5.1 subwoofer truly noteworthy.

There are a couple of performance / compatibility aspects worth noting. Unlike several other 6 channel analog input systems the ProMedia 5.1 retains full bass management and in fact works best in this mode where the optimum crossover points are retained. This is very important as it means the system will work very well with the 6 channel analog output of the Santa Cruz and other 6 channel sound cards or other devices that don't have a small speaker mode. In fact, for optimum performance Klipsch recommends that when given the option you should let the ProMedia 5.1 handle all the bass management chores by disabling the small speaker mode of the outputting device.

With the small speaker mode disabled and the ProMedia 5.1 handling all the bass management performance is indeed outstanding, with the lower frequencies from the satellite channels are optimally filtered to the subwoofer and the actual .1 or LFE channel from Dolby Digital and DTS material is correctly mixed in via the subwoofer input. This route also eliminates the chance of bass cancellation that in theory can occur if the redirected bass and bass from the satellite outputs happen to be out of phase (something that appears to be the case on the Seismic Edge (at least with the off the CD drivers that I tried), but not Acoustic Edge, Live 5.1 or the new Game Theater XP 3.01 drivers).

Full comparative testing on the impact of large and small speaker modes will be done for the full detailed review.

One quirk that comes about from enabling these full frequency subwoofer redirections on most 6 channel sound cards is the filtering on the ProMedia 5.1 subwoofer input. That is, for no good reason that I can figure out, Klipsch not only designed the system to filter higher frequencies directed to the subwoofer input away from the sub (which is very logical and a pure positive), they also designed it so those frequencies filtered away from the subwoofer get directed to the front left and right channels. You can imagine what that can do to the sound field when the frequencies being redirected originated from the rear channels!

Again, bottom line, let the ProMedia 5.1 handle all the bass management chores and you will get optimum performance. As above, for the most part this is just a matter of disabling the small speaker modes of the outputting device but a notable exception is the Acoustic Edge and Seismic Edge. These cards have no option to disable the small speaker mode on DS3D material so when playing games in 5.1 mode you need to go into the control panel for the card and move the LFE slider to the very minimum setting, thereby achieving the same result, at least with the Acoustic Edge. In the case of the Seismic Edge there are some other quirks with bass levels with the ProMedia 5.1 sound output, at least on my installation. A bug in the very first Acoustic Edge drivers actually resulted in no small speaker mode on DS3D material and we have identified to Philips the need to add this "bug" back in as an option for use with the ProMedia 5.1 so perhaps future drivers will eliminate the need for moving the slider down for 3D audio games and back up for software 6 channel DVD playback to the ProMedia 5.1.

So how does the sub compare? As I mentioned, with the exception of the MegaWorks 5.1 that has yet to be released, the ProMedia 5.1 is really in a price class of its own for 6 channel analog input systems and the subwoofer delivers performance to match the price and then some. While I as noted had some issues with the satellites I have no complaints about the subwoofer performance. It's tough to say how it will compare to the MegaWorks. On paper extension is overall similar (32 vs. 25 on the ProMedia 5.1) but the ProMedia 5.1 drivers handles only some of that range where as the MegaWorks sub will handle the whole range without assistance from a tuned port. In theory the lower range of the MegaWorks sub may have better quality where as the dual drivers of the ProMedia 5.1 may have more dynamic range but I can't go beyond those paper speculations at this point in time. Relative to the Crossfire sub I would say the ProMedia 5.1 sub is pretty much as good for music, somewhat better for games and clearly better for movies.  In all cases the strength of the ProMedia 5.1 sub vs. the Crossfire sub is in better dynamic range and better quality on the lower frequencies.

Again, this is an area that we will cover in more detail for the full review but there are a couple of points I want to cover. First, Klipsch has had some problems with both the initial and even second revision of ProMedia 5.1 production units that resulted in a variety of noise and distortion related issues in what they say is a low percentage of the units. The reason these initial impressions have been delayed is I ended up with two second-revision units that over time developed increasing distortion levels. Even at its worst this distortion for the most part was only audible on pure sustained notes such as you hear in opera type vocals or classical piano. In other words, typical rock and pop obscured the problem.

According to Klipsch this distortion issue was obscured by the version one issue, only occurred in at most 1 in 10 units, and only manifested after more than an hour of playback time. Klipsch actually burns in all retail units for one hour before a quality control test but that one hour was not enough to catch this problem.  I don't want to alarm any early adopters with this so would suggest that you approach it from the perspective that if you have the system and don't hear a problem then you don't have the problem.

The good news is that final testing for this article is based on a third or perhaps fourth revision unit that is now in the distribution chain and the problem appears to have been addressed. That is the music where the audible problems manifested now plays without issue. Having said that I do find that for these same pure sustained midrange notes, the ProMedia 4.1 system might be just a little cleaner. This is something we have asked Klipsch to comment on. To be clear I am not talking about night and day differences. In fact, for the vast majority of material even direct A-B testing with the ProMedia 4.1 and 5.1 of these midrange tones would not allow for identification of the difference I am referring to. More importantly, when you factor in the other changes to the overall ProMedia 5.1 system, the ProMedia 5.1 clearly comes out ahead of the ProMedia 4.1 for all music.

Finally, feedback has been that Klipsch has true to form been excellent in terms of addressing these issues with customers who have ended up with problem units.

The Audio Tornado Dolby Digital 5.1 decoder that Klipsch is selling. The unit is similar but not  identical to the ADS-2000 unit we reviewed.  The key difference is that while the ADS-2000 can only be set to large speaker mode for the front left and right satellites (with the other channels fixed in small speaker mode), the Audio Tornado unit has been optimized for use with the ProMedia 5.1 by allowing for both the front and rear channels to be set to large speaker mode.  When testing the ADS-2000 it's clear that overall performance of this decoder / speaker combination is stronger with the left and right satellites are set to large mode.  Based on those results we can say that  the Audio Tornado should offer somewhat better overall performance than the ADS-2000 when matched with the ProMedia 5.1. 

The output level of the unit (based on the ADS-2000 tested and feedback from users of the actual AT unit) is 3-6 dB below the level that can be typically generated by most sound card 6 channel analog outputs.  For playback at low to moderate volumes this is not an issue as the ProMedia 5.1  has plenty of volume range to compensate.  However, for those people likely to push the system close to its limits, this difference can result in a reduction of peak output  levels relative to using a sound card analog output.   

The other potential down side of using these decoders is there is no 6 channel analog pass-thru function so if you also want to use the ProMedia 5.1 for multi-channel gaming you will have to juggle cables between the decoder, the sound card and the ProMedia 5.1 inputs.  

Given the improvements in software Dolby Digital decoding via WinDVD or PowerDVD  I suggest sticking to software Dolby Digital decoding unless you really need an external decoder (e.g. to use with an external DVD player, game console or hardware MPEG decoder).  Not only do you get somewhat higher output levels, you also avoid cable juggling.

At this point we can point out that the ProMedia 5.1's major strengths are the impressive subwoofer, the full bass management on all satellite inputs, the very good upper bass extension of the satellites, the amplified headphone output with independent volume control and the very good overall dynamic range of the system. Factoring in the overall improved performance of the new satellites and the handy control tower with a line input, we come to the conclusion that Klipsch clearly has another very attractive entry to the multimedia market.  Not only have they addressed the needs of those who wanted the performance of the ProMedia 4.1 together with a real center channel, they have also enhanced the performance of the system so that regardless of whether it is used for stereo or 5.1 material it is overall an even more impressive performer than the ProMedia 4.1!

In our upcoming full detailed review I will get into much more detail on the different performance aspects of the system.  In the interim you can get some more details out of our current ProMedia 4.1 review.

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