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  2. would love to hear them as well.
  3. They are quite visually appealing. I would guess auditorily as well. I'm sure many here think the same. If seller were close, would offer some drinks to hear em.
  4. Reflectors do nothing under 200 Hz, the sound waves are too long. Like i said midrange is what it will effect if at all.
  5. I saw that yesterday and wondered if it was a forum member. Very nice!
  6. If you look closely, you will see a giant Epic hidden within. https://www.audiogon.com/listings/lis9c4eg-usher-audio-d2-mk-2-fabulous-pair-and-bargain-full-range
  7. I will have to get a picture of these to post. They are so small they might as well not be there. I can see the sound waves hitting that back side and ricocheting their way out to the sides and getting garbled on the way out. It is a weird problem and I wish someone with deep acoustic design knowledge would chime in here with the precise effects splitters create. One thing I am pretty sure of though is there was a lot of time spent figuring out the right splitter size and the ones I have seen have all been pretty consistent until this one.
  8. First of all, congrats Jerry, I know how long you've been looking after seeing and hearing mine.... As to your question above, lots of other folks would love to see the answer to that as well.... I would highly doubt that covering the original logo with a tacked on badge is correct. Pretty certain that the K77 square is correct, but not so sure as to the K55 push. I had thought that K55M were the standard for these. As far as updating the crossovers, well, as you know, that's a matter of some debate around here. If you need anything at all Jerry, feel free to PM me.
  9. NICE and https://www.usaudiomart.com/details/649544696-jbltadaltec-bentwoodhorns/
  10. I believe... trying to remember, that they moved them closer together so standard dual banana plugs no longer fit. That's so European power cables won't also fit. Seemed weird to me since you wouldn't plug a male power device into to it.
  11. Sold I private label one of my amps. It’s a great partnership.
  12. The only detriment with a smaller splitter i can fathom would be a slight loss of midrange performance if anything.
  13. That's a beautiful floor!!! Seems her fruit didn't fall too far from her (now deceased) mother......according to her (now deceased) father, her mother never found a piece of wood she didn't want to paint. Seems my wife is similar, so....she'd pay more to get the cedar then cover it up.
  14. I strongly disagree with this quoted statement. Roy's response stating four of Paul W Klipsch sound principles in order of importance was very important because they are the basis for the Klipschorn design since the beginning and have never changed and it should lead those not familiar with them and the science/physic behind them to begin educating themselves as soon as possible if accurate sound reproduction is important to them. I believe Roy's response was reaching past Stereophile and it's review/reviewer in an attempt to get people to think and wonder how a loudspeaker can have a design that has lasted over 70 years and is still very relevant as a sound reproducer to this day and with that understanding hopefully people will make all efforts possible to experience the Klipschorn. All anyone has to do is compare the Klipschorn review by Richard C Heyser in Audio versus this Stereophile review to understand how poorly and inadequate in implementation the Stereophile Review was performed in all respects. miketn
  15. Glens, Thanks for the input. Shorting rings are added to lower distortion and (I believe) flatten impedance, but I can't say if these are helpful at my listening room levels. That is the information that I am seeking. I think that I am fine to buy standard model, that is for sure, but it is worth my while to seek some insight from anyone who has compared them... if such a person exists and is on this forum. I used my current EV1824M for over 30 years, I would like to repeat that success of selecting, buying, and then stop thinking about it. While I'm at it though, I should show diligence.
  16. Well yes that is exactly what I have been saying and they both have itsy bitsy tiny splitters. So I am back to reminding everyone that I am primarily asking about what effect these runt sized splitters can have. They are sequential numbers so someone decided to do a wonderful different thing on these. I suppose the idea of nails splitting plys is possible but two in a row? I have eliminated everything you can come up with except the idea of internal doghouse bracing which I don't think will solve this problem. The more I read the responses and think about all this the more I believe the splitters are the culprit. When I have time I will solve this splitter problem and report back.
  17. Where we are: Our power amplifiers (solid state & valve), preamplifiers (passive or active), CD players, DACs, turntables, integrated amplifiers & AV receivers all have one thing in common: Their “sound” is not affected by a room’s “acoustics” which include the dimensions, shape, dimensional ratios, reverberation time, standing waves, etc. That leaves the loudspeaker which, for the most part, is at the mercy of the above “acoustics” for its “sound” and whose measurements we often question. Where we’ll never be: In a perfect world, all reviewers in the audio magazine bidness would have identical listening rooms with the size (ratios, shapes) and acoustic treatment taken from the experience of notables such as Floyd Toole, Peter D’Antonio and the like. Then, maybe at least the objective measurements would be in closer agreement with the manufacturer’s specs. The subjective assessments would, however, be left to the whims, prejudices, and “golden ear wax” of the reviewers. Where we could be: If my memory serves me correctly, the factory listening room in Hope has four square corners but splayed side and end walls. I think it was constructed about the same time as the anechoic chamber. Shameless Aside: When the chamber was under construction (late 70s?), I visited the plant and found PWK spinning the revolving corner at maybe 40-60 RPM! I can still remember the whoosh of air as each partition went past. He quipped that he was testing the door’s bearings which were from a pair of truck axles. JRH probably was there as well as he drove a lot of the door’s unique, patented construction. https://patents.google.com/patent/US4387786?oq=klipsch WWCB (Cont’d) Anyhoo, I propose that Klipsch get a qualified acoustic consultant and outfit that listening room (Indy's as well) with the proper wall/ceiling/floor treatment that any manufacturer in the loudspeaker bidness should have to highlight their products. The present wall “treatment” at Hope is just sad. What we are striving for is an “ideal” acoustical space using proven solutions; not a few pieces of “acoustical” foam and wall-to-wall carpeting. https://community.klipsch.com/index.php?/topic/177136-klipschorn-new-build-introduced-to-pilgrimage-attendees/ Next, starting with each Heritage loudspeaker, measure every electrical and acoustical parameter known using state-of-the-art, calibrated gear, not a laboratory microphone adapted for entertainment use and the decades-old MLSSA testing software John Atkinson uses. Audio Precision not only manufacturers top-of-the-line measurement gear but also has some powerful, easy-to-use loudspeaker measurement suites. One can make more than a dozen accurate, repeatable acoustic measurements in a few seconds with a single mouse button click. https://www.ap.com/electro-acoustic-test/ Just think, you could start with a pair of Cornwall IIIs in the corners with the tweeter axis pointed at the microphone (at the listening position); take a slew of measurement; and then gradually move the CWIII toward the center all the while taking comparison measurements. Of course, these comprehensive measurements would trickle down the product line as warranted. As a “reference” each loudspeaker would be tested in the trihedral corner of the anechoic chamber to compare FR curves and those pesky sensitivity specs with those taken in the listening room. Finally: The end result of these measurements would be to, a) have a baseline for each loudspeaker model which could (should?) be used in product advertising, and b) could (should!!) be used to refute/dispute an audio magazine’s poor measurement results. In the case of the AK6 review, if Roy was privy to the poor measurement results prior to publication, he should have (at the least) moved heaven and earth to get those measurements re-done indoors or used the Manufacturer’s Comment section to strongly contest the AK6’s poor measurements. Lee
  18. Today
  19. The stories I've heard of Sid Zimet seem to mostly revolve around Black Box models, but anything but square: Now I thought they always had a tweeter BUT it's entirely possible that some predecessor only had a single driver; I say that because there was an old mysterious pallet of 6 - 3/4" treble cone woofers in the factory (late '70s) that might have been there for old model replacement parts. The treble cone acts as a tweeter. Then again maybe in the early Zimet years there was some speaker as you described. The speaker in your pic was only a 4 - 1/2" used in the small [~breadbox size] rectangular Super Midget (no tweeter) and many of the larger multi-way models for mid-range drivers. Also well known for use in Bose speakers of that era (ex: 901). BTW there was never a Super Capsule to my knowledge. There was the painted Capsule Monitor and it's twin the walnut-veneered Concerto.
  20. Can I take a small hammer and tap along all the joints and detect this separation?
  21. Recheck the woofer dustcaps & leads. The crossover can create noise as well if not secured properly. A rubber mallet can be a useful tool for finding loose panels or parts. If you are worried about marring the finish put a facecloth over it securing it with a rubber band.
  22. Of course, the assertion that hi-res audio recordings do not often exceed CD audio quality is hotly contested. I won’t beat that dead horse. I think that everyone needs to listen to “true” hi-res recordings for themselves, and decide for themselves. (By “true” hi-res recordings I mean recordings that have hi-res provenance and are delivered in a hi-res format. NOT ripped CDs.) It cannot be disputed that CDs can’t deliver 5.1 surround-sound. IME, surround-sound is particularly useful when the main left and right speakers must be far apart due to room layout. Also, part of the “live-concert-hall experience” for large-scale classical orchestral music is the amount of acoustic power. In your home listening room, if you have a quantity of 3 or 4 or 5 speakers, you’ll have more acoustic power than 2 similar speakers. (In my basement system, the left, center, and right speakers are Klipsch RF-7II. A single rear speaker is an RF-7. Two powered subwoofers.) It cannot be disputed that CDs can’t deliver video. As I said earlier, high-definition video is essential for visual art forms such as opera and ballet, and IMO very enjoyable for classical orchestral music. Moreover, hi-def video can be very useful by displaying an opera’s libretto (in one of several languages) on the HDTV screen (vs. having to turn on bright lights and use strong reading glasses to try to follow the tiny print in a printed libretto). I respect the fact that different people like to enjoy the experience of attending a live classical orchestral concert in different ways. Do you like to close your eyes? Or, do you like to watch the conductor and musicians? What if there is a soloist? FWIW, I prefer to see the performers. Following are a excerpts of a few recordings that I own on Blu-ray that feature audio/video. (Except in the case of Yuga Wang, which is DVD.) I own many other Blu-ray classical recordings. Of course, the youtube audio and video quality pales in comparison with the Blu-ray disc. Khatia Buniatishvili https://www.youtube.com/watch?v=30jnieVq8Cs Pepe Romero https://www.youtube.com/watch?v=uu0jsqljVe0 Claudio Abbado conducting Mahler Symphony 9 https://www.youtube.com/watch?v=mrJ8e51__yE Angela Gheorghiu https://www.youtube.com/watch?v=gnqa94oeGfw Anna Netrebko https://www.youtube.com/watch?v=yiGpm56Bi8s Elīna Garanča https://www.youtube.com/watch?v=LoXqkUZW7do Yuga Wang (I have this recording on DVD – not Blu-ray. When upscaled by my Oppo UDP-205, it looks great, and it sounds great.) https://www.youtube.com/watch?v=2GGx8TRWFVA Two ballet excerpts: https://www.youtube.com/watch?v=0SKgGF4v8_c https://www.youtube.com/watch?v=-w7vPLNcsZI Again, the audio and video quality of these youtube videos pales in comparison with the Blu-ray disc. Nonetheless, these excerpts illustrate my point that technology has advanced in the more than 30 years since the Redbook CD entered the market. IMO – for the classical music that I love - Blu-ray’s high-definition-video and hi-res surround-sound significantly enhances the experience of enjoying recorded music in my home. For me, Redbook CD doesn’t hold a candle. (And because I listen to an entire symphony or opera, there is no benefit associated with being able to “shuffle” or randomly select individual tracks via a “ripped” CD.) As I said in an earlier post, the relevance and availability of modern Blu-ray audio/video recordings varies by music genre. For classical music, modern hi-res recordings are plentiful, and highly relevant.
  23. Thinking 5 more inches since this morning... brother has a boat. Thinking about going out for supplies... maybe not...🙀
  24. I don’t follow. I am referring to the Manufactures Response section in the back of the stereophile issue in which this review appeared. This section of the magazine is there to provide manufacturers a chance to respond to issues raised by a review. And there seems to be much here that Klipsch (i.e, Roy) could have responded to. Of course Klipsch would not want to come across as being defensive, but there’s nothing wrong with politely crying foul over bad measurement techniques
  25. I was actually living in upstate New York at the time.
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