Klipsch Cornwall IV Speakers Review

Klipsch Cornwall IV Speakers Review

The large Klipsch speakers have their charm – in the end, if they didn’t, they would hardly keep their brother 80 years on the menu. They need a lot of space, they don’t like very sharp recordings, but when everything fits them, it’s a barrage of musical experiences par excellence.

You can hardly find more American audio than the big Klipsch speakers. However, from the beginning of the first such, it will soon be a brother of some 80 years, an honorable tradition.

Leaving aside the gigantic “originals” Klipschorn and their only negligibly smaller version of La Scala, they are the most spatially distinctive model in the Klipsch Cornwall IV offering. The first model appeared in 1959. By the way, the central canal to the top (Klipschorn) – even those who would probably bear that with the nickname “gigantic” you can easily confuse them with a wardrobe in a standard room.


  • The liveliness and lightness of the lecture
  • Concert drive
  • It takes on the character of connected electronics quite significantly
  • Emotionally very “balanced” sound


  • Maybe less dense bass than you’d expect

Appearance and construction of Klipsch Cornwall IV

The baffle’s shape certainly helps this mistake are purely rectangular shapes in impressive proportions. Cornwall IV has a height of 96.6 cm, a width of 64.3 cm, and a depth of 39.4 cm, which are conditions that are more commonly seen in the furniture store than with state-of-the-art hi-fi technology. This is also associated with a solid weight of almost 43.5 kg; you will get a solid piece of material for your money.

From an aesthetic point of view, it is difficult to describe anything in such a simple design – the dominant perception is a coarsely woven, nice, and “retro-modern” cover grille, which covers practically the entire front except for the “frame” of the basic structure. All panels are made of MDF profiles with a nice surface veneer, in which the same drawing is guarded in each pair. Thanks to a black lacquered plinth with sliding legs, the baffle is lifted from the floor.

Everything important “takes place” after removing the cover grille. The field of converters and the technical-aesthetic concept, in general, will appear, which will take us back decades and decades. The treble and midrange drivers are buried deep in a characteristic corporate shape; below them is a giant subwoofer wheel. At the bottom of the cabinet are three separate rectangular bass reflexes with nicely arched vents.

The entire surface of the forehead is painted in black texture, which underlines the slightly industrial whole. The concept is simple, but not in the wrong sense because the quality as such is certainly good – in the end, it’s the handiwork of technicians and carpenters at the company’s headquarters in Hope, Arkansas.

The back surface is mixed because there is only a small sticker with extensive talk about the company and a small label through which two pairs of speaker terminals are screwed.

The main trick of these large speakers is high sensitivity – this is achieved by a combination of size and “horn” of the speakers produced by the company. The highest frequency is radiated by the 2.5 cm dome K-107-TI; the last two letters indicate a titanium compression speaker. The new K-702 speaker commands the middle – it is a 4.45 cm wide dome made of polyamide fiber. This compression transducer also sits in the upper ear canal with Tractrix geometry (by the way, they also have bass reflex nozzles). Finally, the bass sits on the capabilities of the large K-33-E speaker. The massive cone with a diameter of 38.1 cm is made of fiber composite.

Compared to the previous generation (except for the new Wednesday), the most significant change is the redesigned frequency switch, dividing bands to 700 and 5,000 Hz. However, Klipsch only talks about “premium components” and “high filter steepness.”

There is not much to discuss on a relatively simple basic concept. Klipsch states the frequency range 34 – 20,000 Hz (+/- 4 dB), extreme sensitivity 102 dB / 2.83 V / m and impedance “compatible with 8 ohms”

We measure

Frequency response was measured from a distance of 1 m in the axis between the tweeter and the midrange in a closed semi-reversible space with a floor area of ​​about 50 square meters, standard attenuation (bass traps and absorption-diffusion panels Sonitus Acoustics, carpets, large seating areas, large library, ceiling filled with cotton wool, curtains, and heavy curtains.), although without extensive acoustic modifications.

Measurements can be considered 100% plausible in the band 200 Hz and higher; in the band 10 – 200 Hz, the influence of room acoustics can be seen. It was measured using Clio Pocket software and a calibrated microphone, and the speakers were placed in the listening position seen in the accompanying photographs.

The software does not measure the anechoic response, but the frequency response considers the balance of energy over time. So it is not a measured, theoretical ideal of what the speakers can do, but how the speakers behaved in specific acoustic conditions.

The frequency response is relatively visible from the influence of the upper ear canals (the meter measuring distance to them is not entirely merciful); excess to 500-600 Hz, for example, will not be so terrible, etc. 4 dB. The first onset may be close to 34 Hz, especially if Cornwall IV is near the wall. There is a slight excess of energy in the bass, but it is rather good. Cornwall IV corresponds to a good standard in terms of its type and style in terms of measured parameters.

  • It seems ideal to keep your ears at the tweeter level and not move much down or up.
  • Although the grid is densely woven and distinctive, it has no dramatic effect on the resulting reproduction and can remain deployed.

Strangely, resonances at 500 Hz can be seen even in the near field, although it is far from as pronounced as from a meter distance. It can also be seen that this is not – as is often the case – a bass-reflex product but a subwoofer problem. But without that, everything looks surprisingly good.

As can be seen, from a greater distance, the frequency response “learns” considerably; there is even more bass energy and overall decent balance. Overall, the distortion is kept within very reasonable limits, except frequencies below 100 Hz, where it rises relatively quickly to not entirely ideal values.

Here it can be seen that the increased distortion is purely a matter of the second harmonic, so it should “not be so terrible” – the 2nd harmonic is not so completely annoying distortion. The graph shows a slight resonance, but otherwise, everything is surprisingly clean.

The saddle at the beginning of the curve indicates a tuning of the reflexes slightly above 30 Hz, a large number of oscillations on the curve; in turn, the interior will not be too subdued. The waveform stays above 5 ohms overall. It may be slightly wilder, but this should not be a significant problem in the context of amplifiers for such a price class.

Perhaps only around the transient frequency between the mids and the heights can be seen a somewhat significant fluctuation of the electrical phase and impedance, which is not to the taste of every electronic – fortunately, it is already in frequencies where there is not much energy. But in general, you should not underestimate electronics – reserve and stability are important here.

How it plays

We listened to Klipsch Cornwall IV in the main editorial team. Cornwall IV was made company by Métronome DSc1 / Norma Revo SC-2 LN / Norma Revo PA 160 MR, powered by GMG Power Harmonic Hammer 3000P washing machine and Nordost Heimdall 2 cabling. We had a comparison with Xavian editorial Fourth Evolution.

In “Never Felt Less Like Dancing” by Katie Melu (“Ketevan” | 2013 | Dramatico), her piano starts in the lower octaves bravely and powerfully. But despite its huge size and admirable bass driver diameter, Cornwall IV may not meet the expectations of those looking forward to the dense, strong, and dramatic bass of modern design. Instead, Klipsch tends to have a “seventies” live and “sensitive” bass, which is fast, sounds with good articulation, and many different positions.

Not that it is not enough, it cannot be said, nor can it be said that it does not have emphasis; only those huge proportions raise even higher expectations. On the contrary, you could expect that volume and density will play a key role; this is not the case – the definitions and boundaries are very good, even excellent. It’s the kind of concert-style but in an “economic” home package.

Then the middle zone will not disappoint you. The horn performance brought with it – judging by the voices of the Chapelle du Roi in Tallis’s “Gloria” (“The Complete Works” | 2004 | Brilliant) – no distinct coloration or style. On the other hand, the middle band is wonderfully open; the vocals are in large proportions and are beautifully lively, full of energy and detail, with excellent readability. This part of the frequency range also sounds and even sings with ease and “live” intensity. Perhaps there is also a slightly limited feeling of the “body” compared to modern speaker concepts, but the focus and emphasis are captivating.

Also, at highs, let’s say the various jingles of percussion and guitars in the “The Red One” duo Metheny / Scofield (“I Can See Your House FromHere” | 1994 | Blue Note) felt more expressive and intense. The highs are polished, concrete, lively, and sounding, but not aggressive (at least on good recordings).

You will appreciate the plasticity, lightness, and speed; it is a tangible sound, again best described as “concert,” even if it remains home-combed. A bonus of high sensitivity is the ability to enjoy an above-standard amount of detail even at lower volumes.

The exquisite sensitivity (even though the paper sensitivity is probably a bit exaggerated, so it is still very high in reality) also brings a problem-free, willing and non-violent dynamism. Play the orchestra, which is performed slowly but clearly in David Chesky’s “Ben Ultimate Headphone Demonstration Disc” (2014 | Chesky Records), and Klipsch Cornwall IV shows dynamic contrasts with ease. But also “cut,” i.e., stop the inverters as needed.

The sound is fast, strong, and, best of all, even at a quiet volume, it can offer even the smallest jitters of energy; the sound does not sink into itself like with less sensitive modern speakers. Instead, you are almost like in a concert hall; the dynamics can be felt first hand; it is intense, rich, willing, and concluding.

Puccini’s “Fuori il danaro!” From “La Bohéma” (Georg Solti / LSO / John Alldis Choir | 1988 | BMG), however, Cornwall IV plays cleanly, without a trace of its own tinted, the intelligibility of the voices is very solid. Instead of the concentration and hyper-analytics that some modern constructions are capable of, the classic Klipsch concept relies more on liveliness and lightness. It relies on the fact that you perceive music realistically – in the end, intelligibility is often not 100% at a concert or opera.

The music scene of Elgar’s composition “Violin Concerto in B minor, Op. 61 “performed by Hilary Hahn and LSO under the baton of Colin Davis (2004 | German Grammophon) was freed from baffles. Instead, it was sketched in front of them, behind them, and lightly around and around, pushing the baffles as far as the editorial room allowed. It only changed that the space was wider – a large listening distance and a larger too large width between the cabinets are more to the benefit of the cause.

Cornwall IV offers large proportions of reproduced music; the instruments have bodies similar to reality. The instruments are well-demarcated well-localized, the events are clear. Again, this is not the sound of a modern monitor that can show a moving bow, but it is a “live” whole with the ability to recognize its details.

Although Cornwall IV can play well quietly, it will ignite another level at normal to higher volumes. The drift and the power of the Ultravox “Dancing with the Tears in My Eyes” | 1997 | EMI Gold) were impressive, definitely danced the whole house (fun and purely because Klipsch pours so much energy into the space that it is really easy to move the table at the neighbors). Cornwall IV, with its light straightness in the mid-height segment, may interfere a bit with a certain sharpness of the recording as such (understand that its hardness and light roughness stand out on the hiss, for example), but it’s still a fun recitation. The music is quite intense, and when everything fits properly, it’s a bit of a “living” in the living room.

Technical parameters

  • System 3 – band, forward – facing ear canals
  • Power (W) – 100 to 400
  • Sensitivity (db / W / m) – 102
  • Impedance (Ω) – 8
  • Frequency (Hz) – 34 to 20,000
  • Woofer K-33-E 15 “(38.1 cm) – fiber composite cone woofer
  • Mindrange K-702 1.75 “(4.45 cm) – polyimide diaphragm compression driver
  • Tweeter K-107-TI 1 “(2.54 cm) – titanium diaphragm compression driver
  • Dimensions (H x W x D) [mm] – 965 x 643 x 394
  • Weight (kg) 43

Conclusion on the Klipsch Cornwall IV

The large Klipsch speakers have their charm – in the end, if they didn’t, they would hardly keep their brother 80 years on the menu. It is interesting to meet such. The “biggest of the compact” (as Klipsch calls them) will change your view of modern hi-fi and high-end. Compactness, elegance, and microfilaments are more valued here than the passion and liveliness of reproduction.

Not in Klipsch Cornwall IV, these “originally valid” standards can be found there to a high degree, but even from other technical points of view, Klipsch does not have to be ashamed in modern competition, even if they go their own way. But if you like a “live” impression, if you want liveliness, speed, color, and even “unbearable ease of being,” then Klipsch is an interesting option.

They need their space (actually a lot of space), and they don’t like hard/sharp recordings and probably not even electronics. Still, it’s a barrage of musical experiences par excellence when everything fits them. So even if you are not prepared for such large speakers, it is worth experiencing them as the opposite of most contemporary and, in fact, a bit like a path that leads much more to music than to technical perfection.

Klipsch Cornwall IV Speakers Review
Klipsch Cornwall IV Speakers Review


Enable registration in settings - general
Compare items
  • Total (0)