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Showing content with the highest reputation on 04/11/16 in all areas

  1. Well the new kitchen faucet went in without a hitch...Praise God. So at least I got one chore finished this weekend. The master shower remains unfinished but the good news is the super at my work thinks we have the tool I need to get that bastard out. Time for a cocktail..... Cheers Buds and Budettes
    5 points
  2. Oh funny! My wife just walked by and saw the 24" sub picture above. She said, "oh my, that would rattle the windows!" I asked her if we needed one like that. She said, "If that makes you happy." Yeah, I married good.
    4 points
  3. Never a doubt in my mind you'd handle the situation well and successfully.
    3 points
  4. How much did the widow charge for the repair? She wouldn't take money, couldn't find an invoice or my take up reel, I left my contact number in case she finds his notes. I have no idea what work was done. I did take her a flat of NC strawberries.
    3 points
  5. When they were first introduced... Klipschorn 1946 Heresy 1957 Cornwall 1959 LaScala 1963 Belle 1971 Forte 1985 Chorus 1987 Quartet 1989 I'd put them in this order sound wise... Klipschorn LaScala I & II Belle Chorus II Cornwall Forte II Chorus Forte Quartet Heresy
    3 points
  6. Thanks, they sold for $225.00 on the Emotiva Forum, I listed them there yesterday. Just finished shipping them to Alabama.
    2 points
  7. 2 points
  8. Yep, #3 looks horrible. Are you honing and ringing? Can you feel it and have you measured bore?
    2 points
  9. Thank you. Seems I'm the only one today willing to admit it! Moray, the only thing that could be better than hearing the Jubilee's every day.... would be to hear my wife's voice over them telling me to sweep the floor.... dust the cabinet.....mow the lawn.... well, you get it!
    2 points
  10. i"ve been following this thread and don't really understand the issue I guess. I have a 12 w SET amp that is class A. In my room it sounds fantastic. It powers a modified pair of Cornwalls, Cornwall II's originally, with EASE. It will play as loud as one could possibly want, with a completely natural sound and extremely clean and clear. I originally started off with a Yamaha AVR, then a adcom GFA 5235 (design by Mr nelson Pass) with a emotiva UMC 200. All I can say is in my room the the 12 w SET amp is the hands down winner, no contest. Im actually shocked to see that there is a question about accuracy with a SET amp. Pretty amusing. The SS amps in my room were veiled and lacked a natural presence, air, separation of instruments and lacked the strong holographic phantom center channel. Clean pure power seems to me to be the most important issue. Theres always a lot of talk about head room in these discussions but Khorns have a efficiency of 106db, with a 20w amp you've got a ton of head room. Good luck chasing the ever elusive audio dragon.
    2 points
  11. First EVER attempt at Crown Moulding!! This literally just made the biggest impact. My wife came in after I was cleaning up & said that's the best part of the whole room. That the crown somehow balances everything out.
    2 points
  12. How much did the widow charge for the repair?
    2 points
  13. Washed the LF's and my Volvo. Cleaned the cabinets under my gear...too many albums. two martinis and watching the Masters. Newly retrieved R2R working fine. Need some 71/2 ips tapes.
    2 points
  14. I still say we burn him at the stake or draw and quart him. How dare him ask that price.
    2 points
  15. Lots of American drivers have been made just a few miles from me. Credence used to make Kicker, Lanzar, some JL's, Earthquake, Bostwick, and a few others. Going the other way, Hawley still makes cones for Acoustic Elegance, all of JBL pro, and who knows what else. Downtown, Warehouse Guitar Speakers makes pro style drivers for guitar cabs. The people who appreciate such things are a dying breed.
    1 point
  16. That case is STUNNING! Nice work Tom!
    1 point
  17. I'd be shocked if he didn't.
    1 point
  18. My K-horns are stock with the exception of Crites crossovers. If I wanted to bring the sound closer to my basement system I would time align the horns. The clarity that added to my basement system was profound. Second would be replacing the mid horns.
    1 point
  19. Hi Dave, welcome to the forums. Unfortunately you need to have at least 300 posts in order to receive FREE items from the Garage Sale. Ok...just kidding. Sorry, I couldn't resist. PM me your address and I'll get it in the mail.
    1 point
  20. Hey gang, I'm working on a Garrard 301 build and am trying to track down an affordable Ortofon 309 or SME 3012 12" tonearm...is anyone holding? Cheers!
    1 point
  21. So the Heresy are > (greater than) the Klipschorn?
    1 point
  22. Not a bad deal, the tubes alone could be worth that much. Good luck with the sale.
    1 point
  23. The 35 plan has the btn as well
    1 point
  24. I heard that was only in select cities at the moment, plus you have to have a ps4. I also heard that it will be $50 a month, so the rest could be bs as well. On another note. After watching the Walking Dead season finally last week, with no issues other than some choppiness at times. I dropped off my Cox cable box at the store yesterday and canceled my service. They seen me coming a mile away and didn't even try to fight it. I may only save $30 but may save up to $60. I will have to see what my bill is next month. But I was able to spend some of that savings on Sling and upgrading my internet speeds. Which all together will run about $30 a month, hey its about quality over quantity. I now get ESPN, and faster internet. On the antenna thing, I think some tvs have built in antennas like the older tvs did. You get more and better quality channels when you hook up an antenna. I am just using a wire coat hanger solder to a coax adapter and I get up to 30 something channels. Eventually cable companies are going to have to come down in price or find another market. I see alot of people going this route and not having any problems with it. I could almost see cable going bye bye. it works on ps4, ps3, fire sticks, fire tv, and IOS devices. There are three different packages 29, 35 and 44. I have zero complaints with it as it has all the channels I watch, dvr, and on demand. It doesn't get live nbc abc but that is why I am getting an antenna. It does have those channels for on demand though. My cable internet went from $151 to $80 by keeping time warner internet and switching to playstation vue from time warner cable
    1 point
  25. Well you guys know I really am afraid of zombies so after not owning a firearm since my 20s in the past 6 months I have bought a Remington 870 with Blackhawk Op specs.....a Canik 9mm pistol with 18 round clip.....an AR-15 with 30 round clip, red dot scope and magnifier. Now I get 3 hours of sleep on a good night Damn those zombies.....Jake doesn't like them either. Oh well....they're here to stay I guess.
    1 point
  26. ......full symphony and chorus for this 'number' (0;....Maestro Ozawa....chorus......photo from rear stage left.......Peter....a very happy group at the concert's conclusion (0:.....the closing screen per usual at the concert's finish... All for today....
    1 point
  27. Might as well watch some more movies.
    1 point
  28. .....here is a distant shot of the small orchestra STANDING for the opening piece....Here is another angle.......now, the next two works coming up are of Beethoven... Cool thing is, the Maestro I know somewhat personally, as we have worked with him at Tanglewood and the Boston Symphony Orchestra! Non other the Seiji Ozawa ! As many may know, he was with the BSO from around 1975 - 2001 He is here today as guest conductor......photos a bit later once he enters the stage with the full orchestra....
    1 point
  29. Good afternoon my friends... Great on the bike topic.... Only thing about Honda and their bike division that I and many fellow riders noticed is......they come up with some fantastic ideas for bikes......produce them, get everyone hooked, and then they discontinue models just when they are catching on!! One example, the Rune ! Ok, here in Music Hall, enjoying a little down time from rehearsals today, taking in a live concert from Berlin once again... (0: Photos to follow....
    1 point
  30. Agreed, that a comparison on an "apple to apple" basis appears to make sense and stress both amplifiers in relation to how you like to listen in order to evaluate how they perform in relation to your listening habits. However, this information now begs the question regarding how precise did you match the gain of each amplifier in your comparison? In my experience, some people tend to forget about "level matching" or "gain matching" when comparing amplifiers. Even very slight differences in gain between amplifiers can be audible as I have found that precise level matching can be more critical than most even realize. In certain situations a 1 dB difference can change a person's perception of an amplifier. In general, when gain levels are different, it seems that many will tend to conclude that louder music, even if it's just slightly louder, will almost always sounds better to them than the quieter music. The curiosity is killing me. What is this 25 watt push pull EL84 amplifier? In case you did not get it from what I wrote previously, Quick Silver horn mono's. TO BE PERFECTLY CLEAR...they sounded great. but $2,000 better than the yamaha rx A1030... not so much. If I did not have the yammy 1030, the horn mono's are keepers! AND the fact that I have the Yamaha RX 1030 is accidental. I had been wanting a Macintosh or Pass amp. I never thought I would have the money to buy one, and in fact did not ( at the time) . BUT i needed an amp. I looked on CL and this 1030 which I knew nothing about was for sale brand new used less than a week. I offered the guy $400 and he took it. I connected it to my ( new to me) lascalas and it sounded good. Thinking that tubes would sound better I saved up and bought the Big Ben. Since that is a buy it and you keep it, I kept it. Although it sounded a small bit better than the 1030, again it was not worth the money as far as sound improvement goes. Then, 2 yrs later, I got to listen to khorns. I was blown away by the improvement! BUT NOW the BB 6 watt SET just was not enough for the BASS when comparing to the yamaha 1030. So now you know the rest of the story. This thread lost me. Do you still have the Quicksilvers? If so, what 12DW7/7247 and power tubes are you using? Your preamp may not be optimal for the Mono's and that may be why the 1030 sounds good....the preamp section is matched to the power section. I have found, over the years, that a preamp and amp from the same manufacturer is they way to go. However, there are always exceptions. FloridaBoy makes an excellent point and it ties into the question I had asked earlier about gain matching the comparison amplifiers. Please keep in mind that the Quicksilver Horn Mono Amplifier has approximately 18dB less gain than Quicksilver's standard amplifier. I could not find specifications on the Yamaha 1030; however, I suspect that AVR receivers probably have higher gain figures and lower input voltages to achieve full power vs. the Quicksilver mono amplifier or tube amplifiers in general, which is one reason why I asked how you did your gain matching. I tried to find the output voltage of the Emotiva Stealth DC-1 and I believe this may be the first time I've seen a DAC that doesn't list its output voltage and impedance on its specifications page. I know that it is promoted as double duty as a preamplifier and these types of basic specifications are important in understanding the voltage gain of the preamplifier portion of the unit; however, maybe the primary purposes is DAC/Headphone amplifier since there appears to be plenty of headphone output data. For example, the XDA-1 specifications show a nominal output voltage of 1V RMS (balance output is more), for which 1V RMS would not be sufficient to drive the Quicksilver horn mono amplifiers to the full potential. While the Quicksilver horn mono amplifier has a nice input impedance of 100 Kohms, the Quicksilver horn mono amplifier has an input sensitivity of 6V. Also, did you use the Emotiva Stealth DC-1 with the Yamaha internal amplifier section (probably not the mismatch to the degree I suspect with the tube amplifiers) or the Yamaha internal preamplifier with the Yamaha internal amplifier (where you would have no mismatch)?
    1 point
  31. VERY NICE AS WELL. I guess you are still liking the set up? Thanks. Yes I am. I've had my Khorns since the late 80's and wanted a project. They're good to go for another 30-years.
    1 point
  32. To pick the RC51 over those bikes you mentioned is high praise for sure. Actually is WSBK, Collin Edwards raced against the Ducatis. Nicky mainly raced against the GSXR 1000 in AMA SBK. Hayden won 1 championship, Edwards won 2. To me , those were the good ole days. I'll have to get my dad on this forum.... He doesn't have any Klipsch ..... But he has a bunch of bikes.... I bet he knows exactly what that bike is..Think I've told a couple of you guys about my dad... He's a nut... Raced up into his late 60's. I think he was about 67 when he stopped... Me and my mom talked him out of it... He raced back in England. My dad was always about racing he was a horse jockey for years. For me I've never really been into bikes. I like em and think there cool.... I've rode a few in my day and I did like it. But for me it's always been cars. And hell as far as horses you can keep em.... My dad would get me summer jobs on the track.... walking horses and stuff like that.....The day I got bit in the face and kicked in the thigh I knew the horse thing was not for me One day I'll tell ya the story when I got caught driving my Chevelle around Pimlico race trace... Yea where they have the Preakness..... It was fun while it lasted Later.... MKP :-) Hey Mark, your Dad sounds like a cool guy, racing anything is a buzz. I was talking about Honda motorcycles because you're a Honda guy. This is one of the finest engines Honda has ever designed.
    1 point
  33. The F3 is really a nice amplifier and I remember that I enjoyed reading your review of that amplifier. Lately I’ve been trying to match components (whether tube or solid state) that have very low noise floors and low distortion levels, specifications not solely achieved through high levels of negative feedback. Although I’m still a few months away, next on deck is what appears to be a well-engineered line stage developed on the DIYAudio forum using a 4P1L tube that is actually a pentode tube but has direct heated filaments and wired as a triode resulting in a very linear tube with very low noise levels for the line stage circuit. The 4P1L tube line stage will provide 7dB of gain and I plan to see how it matches up with my First Watt F3 amplifier that has 12.5dB of gain. This line stage is not necessarily an easy implementation as the 4P1L can be very microphonic, but once the various “triggers” that cause a tube to ring are engineered out of the implementation and the 4P1L is wired as a triode, it looks like it will be a line stage that meets the current criteria of low noise and low distortion. It should be fun. In addition, while by no means an absolute, I have given a lot of thought about the aspect of people generally concluding that the lower watt amplifier has the "better" sound. For example, I can't count the times I've read where a person has a 300b then listens to the 2A3 and concludes the 2A3 sounds better. Then the 45 comes along compared to the 2A3, and guess what? Of course, the 45 has the better sound. I've read similar conclusions about the 71A tube and the 1626 tube in the Darlington circuit. Etc., etc. etc. What does this all mean? Is there any correlation or validity to the aspect that in each instance the lower power amplifier is ran much closer to its maximum, thus generating additional second harmonic distortions? I know this is general and not all amplifiers have the same level of distortion at full output, but it does seem to be an interesting phenomena to consider. Somewhere I had read a signature on one of these audio forums where the signature said, "shape the sound." Personally, as much as I use "accuracy" in attempting to evaluate gear, I also love having choices and assembling “situational systems” to meet different listening objectives. Frank, thanks for your insightful contributions to this discussion! How do you find the time to write such long explanations? As to the conclusions that some have made about the best sounding tubes, they are really invalid unless the same output xfmrs were used, at the very least. And, there are a multitude of other variables which can affect sound, such as the frequency response created by specific values of coupling or bypass caps, the amount of nfb used (if any), the output tube's plate resistance, characteristics of the driver, and so on, that it becomes impossible to create a really controlled comparison. As to lower power amps sounding better than their higher power counterparts, I can only say that in my experience the best sounding units are those which employ tubes designed for service in the ubiquitous table radios of days gone by. And they maintain this amazing sound whether used at a fraction of their output power, where the distortion is extremely low, or closer to their maximum. I have no explanation for this; yet, a 6V6 for example, using the same output xfmr and circuit characteristics, and matched to the same power output, doesn't sound as good to me or many others who were listening. As to shaping the sound, I know few who don't do that in some fashion. Every person for whom I've ever restored a vintage amp with tone controls uses them to create the sound they prefer! Every custom amp that I design and build has some means of adjusting its sonic characteristics to suit individual taste, speakers, and room characteristics. So, what constitutes "accurate reproduction?" There's no point in having equipment with the proverbial, flat, "dc to daylight" frequency response if it sounds like garbage to the person who listens to it. I'd rather listen to distortion which allows me to enjoy music to its fullest, than no distortion which sounds like finger nails scraping on a chalkboard. Speaking of distortion, you mentioned the 1626 Darling amp. I once ran loadlines for that tube and, with the recommended circuit parameters, I think the 2nd harmonic distortion was around 15% at full output. Yet, folks who use those amps usually say that they have never had a more enjoyable listening experience......... Maynard Lots of stuff circling in my head and since I don’t have the time to write often, when I do write, I like to make the most of it. Makes sense, and I agree that there are an exponential range of variables that will never be controlled in evaluating the audio reproduction chain or in trying to determine if there are explainable reasons why certain gear is chosen over others. From the outside looking in, we just don’t have enough information, and I suspect, the person making the selection has not even truly identified the reasons “why” themselves. Part of my intent with many of these posts is to draw out the specific experiences from the very diverse backgrounds of our forum members. While I often lay out thoughts and concepts that can perk the interests of the technical people with the skills and understanding of electronics, I also try to give a few thoughts on the music aspect itself. Many times the posts I read in the threads have led to a whole new avenue that I choose to explore resulting in new insights that may be of some relevance to others. In other instances, such as in the OP’s original quest, I hope the different views and experiences expressed will help raise additional questions and awareness, to help the person better evaluate if they have made the correct correlation for the issue. I believe that the variables you have outlined often do not make it to a level of conscious consideration, similar to Gil’s post below where I responded to Gil that “there is iron in your words,” (although, I’m not sure anyone actually caught the pun in connection with quoting “Ten Bears” and all of the iron in tube amplifiers using transformers). To borrow an iconic phrase from Ten Bears, "there is iron in your words." Yep, I just got done watching the movie "The Outlaw Josey Wales" and decided to read a little. You sure outlined way too many variables to even think about all of the potential impacts when considering the audio reproduction chain as the initial capture of the performance all the way to the output from the speaker in a home listening environment. The multitude of variables that cannot be controlled or even identified being so overwhelming, relates to the reason why I tend to post that I firmly believe that the ear (even an “untrained” ear) can detect very small differences that seem very inconsequential on the surface; and I certainly cannot find fault with those that just use their ears and go with what provides the listening experience they are looking for. However, I try to remind that although the ear can detect very small differences, the brain may not exactly know what specific aspect of the music reproduction chain to attribute the difference. Actually, I never really liked the word “accurate” since, there again, 15 different people will have 15 different definitions of “accurate.” However, long before this book/movie on “50 shades of grey,” at least for me, I tended to believe audio reproduction was there first, with “50 shades of realism” and anyone should be able to find their own comfort zone on this type of continuum without criticism of others. 50 shades of realism may help negate the negative connotation attached to “inaccurate” and (going with my earlier high-definition TV analogy) we can decide for ourselves if we want the “cartoon” version of Daphne Blake of Scooby Doo fame, or if we want something with a touch more realism, such as the Sarah Michelle Gellar version. However, even 50 shades of realism has its flaws. For example, it seems that today the ideas about music are not the same as when I was a kid and there may not be as much exposure to live music that conveys presence through voice and acoustical instruments alone. More and more, “we” as a whole appear to be synthesizing sounds and music that seem to have no actual real counterpart in the “live world” and during this avenue of change we seem to be losing the benchmark perspective of “realism” in relation to the “live event.” There was a thread on gaining “perspective” with audio gear by comparing with other gear and many in that thread seemed to shoot down my thoughts on developing perspective by gauging reproduced acoustical music against a live acoustical music event. I thought either none had actually been to a live acoustical music event or maybe my posting had been translated into a foreign language, I just don’t know. Well, that is another topic for another day and back to my aspects of realism. At least for me, the concept of 50 shades of realism isn’t really much different than PWK outlined in “Dope From Hope, Vol 4, No. 3 August 21, 1963” where PWK indicated that “In quality or accuracy, all loudspeakers err by greater or less amounts. Comparison between them is not the best way to evaluate them. Comparison with live sound would be much better when and if possible. Then one would not judge which sounds best but which sounds most like the original. If the original sounds bad, then surely, so should the reproduction.” Let’s expand PWK’s views on “comparison with live sound.” The most common benchmark or quote that I read is related to Harry Pearson (of “The Absolute Sound”) where his stated benchmark was “the sound of live, unamplified music occurring in real space.” In this regard, although “real space” can mean a variety of settings as different as a concert hall compared to outdoor settings, we are looking at music and voice from actual acoustic instruments and people singing without electronic amplification and without any sound reinforcement systems. To borrow a term used by our own Dave Mallette and apply it here, we may be getting closer to the musical “TRVTH” in evaluating the realism of the reproduction. Now let’s look a little closer at “shades of realism.” For example, when thinking about shades of realism, how well can a person’s audio system get the “general” beat, rhythm, melody and harmony correct or resolve enough detail and cues from the recording in relation to the actual score of the musical composition (of course, for this section I’m assuming the piece is played to the original score and captured in the recording). On a side note, ever notice how many people “loosely” use the acronym PRAT for the comparison of how one “loudspeaker sounds in relation to another type of loudspeaker” instead of evaluating the realism of the music reproduction in the context of the inherent PRAT (pitch, rhythm & tune; or pace, rhythm & timing – take your pick) that is reproduced in relation to the live musical event that closely follows the actual score of the musical composition? I use the term “generally” because there will be systems that do these aspects much better than others. For example, in something like the melody that essentially relates to the notes played at different pitches or even repeated pitch may not be entirely distinguishable, but different systems will still tend to resolve enough detail to distinguish the pitches or maybe enough cues related to duration or rhythm that should help a listener recognize the melody. Regarding rhythm, since it will not always represent the ‘periodic beat’ over the entire musical score, can the system resolve enough detail to determine that a guitar may actually be playing the opposite of the beat? How well does the system resolve detail in relation to the harmony where the 'lead' voice and instruments playing melodies can be distinguished from other voice and instruments that accompany the lead but are doing something else (e.g., essentially hearing the detail of different notes played at the same time)? How well can the system resolve the distance between notes where a listener can determine whether the harmonic relationship is one of consonance or dissonant? Is there enough information being reproduced in enough detail where a listener can actually feel the sense of relaxation or feel the sense of tension that may be scored as part of the harmony? How much realism is there to the fundamental frequency and overtones? Does the timbre, tone quality and tonal accuracy of the instrument sound real? I’m straying to amplified music a bit, but I can’t distinguish when a Gibson SG guitar is being used from evaluating the timbre, but my brother can pick out the Gibson SG every time. I love the differentiation and nuance in the various instruments related to the individual bass notes that gives me a sense of “realism” with the Klipschorn loudspeakers vs many speakers that seem to only produce the sense of “one note” bass. There are many more aural cues that may be in the recording, but I tend to stop around this point. I don’t feel the need to hear the ambient aspects of the auditorium where the music was recorded, since a certain level of “realism” in my “listening space” is fine. I also, do not feel the need to hear the sweat dripping from the performer’s forehead onto the soundboard of the acoustic guitar. I just do not find these things important; however, I realize that there will be others that seem to and that’s fine with me. As a final test to determine if my system can resolve a portion of the points above for a fairly nice representation of “realism” in the music, I would have little get-togethers with some of these “well-trained ears” that I know, and often times, when one of them is familiar with certain nuances of the live music that may not generally be heard in reproduction systems, they will tend to pause and state something like, “wow, that recording sounds pretty real” and often not even realize why. Some of the nuance in live music I can hear and identify, much of it I cannot. For example, I cannot tell you the wood used to make the soundboard on an acoustic guitar or the wood used to make the piano by the timbre of the sound of the instrument being played and certainly would not be able to identify in a recording, but seem to have found a couple of friends over the years that can. None of what I can hear or cannot hear impedes any of the enjoyment I derive from music, and ultimately, while I like to experiment and test in order to increase my understanding of things, I try not to make anything about this an obsession. .
    1 point
  34. Mark, being the Honda fan you are, I have a Honda motorcycle I'll bet you would like. It's a RVT1000r (RC51) It's not made by their normal bike factory, it's made by their racing section, HRC (Honda Racing Corp) RC51 stands for Racing Chassis #51. It has HRC stampings all over this thing, especially on the magnesium engine block and cylinder heads. It's 1 of a handful of bikes engines with gear driven camshafts, it has a terrific gear whine. And being a big Vtwin, it has that low rumble also. Honda made this bike specifically to compete against Ducati in World Superbike competition. It's pretty rare. I really like to work on it, it was put together to come apart easily, unlike most new bikes.
    1 point
  35. 1 point
  36. That scam ad was someone's real ad from Waterloo http://waterloo.craigslist.org/ele/5492782989.html
    1 point
  37. He was the one who invited me here also.
    1 point
  38. Ya, not good, but we need to realize all of us have our " triggers" and baggage that totally affects all of our actions. I always found Psychology to be fascinating.and one of the most practical interesting studies and Proffesions. Lars
    1 point
  39. Lets not forget Roy Buchanan https://www.youtube.com/watch?v=0TU3vwb1lcg
    1 point
  40. Since we're on the subject of guitarist that are better than Crapton….I'll ad a couple of Jimmys….Page and Hendrix
    1 point
  41. I'll probably catch hell for this, but Beck is better than Clapton.
    1 point
  42. Copper and black just looks so nice for photos. What movies are on for the weekend?
    1 point
  43. I don't like the color of the floor they're on, I vote we hang the seller at high noon.
    1 point
  44. I went with my best friend that I have known since we were 5(46 years and counting) and his father who has had a lifetime pass since forever. About 15 years or so ago my friend(Jim) was chosen to have his name entered into a lottery because he was the son of a ticket holder and what do you know, his name was one of chosen ones to receive lifetime passes. A few years later Jim called me up on a Thursday and asked if I wanted to meet him in Augusta to watch the Saturday and Sunday rounds. I was really bummed because I already had plans that weekend. He needs to give me a little more notice next time. . Bill
    1 point
  45. Almost exactly one year ago, the last week of March 2015, I acquired my first pair of Klipsch speakers, 1979 Heresy 1 H-BR. These little gems improved my listening experience so much that they led me to purchase my second pair of Klipsch speakers three months later, 1994 Chorus 2 with Crites crossovers, Crites Titanium tweeter diaphragms, Crites Phenolic Midrange diaphragms and newly reconed woofers. Both pairs became the core of my Home Theatre system and are used many hours daily for TV, movies and music, usually together in an A/B configuration for stereo music listening. In November 2015 I got a pair of KLF20's, bone stock, no loose baffles. These are set up in the Master Bedroom and are used for 2 channel stereo listening. I have Titanium tweeter diaphragms that will be installed in the next few days and will post my thoughts after I've listened to them a bit. Because I listen to these wonderful speakers so much, it has become difficult to listen to lesser quality systems. It's like a whole bunch of the music is just missing and it takes quite a while to get used to. I'm now accustomed to hearing the details, a drum stick hitting the bell of a ride cymbal, the nuances of a vocalist, slight string noises of the guitar and fingers plucking notes on a bass guitar. Without these details, the music is basically background noise, which leaves me looking forward to getting home to MY system. It's not so bad if I'm at someone's home with a decent rig, but that doesn't happen often. Many thanks to all of YOU, for sharing your time, knowledge and experience with new guys like me. I've learned a ton about Klipsch and fine audio in general. I don't get to visit here as much as I'd like, but whenever I do, I learn something new and have never been treated badly, which speaks volumes about the quality of the folks in this community. Thanks again and rock on!
    1 point
  46. My one trick up my sleeve is I'm leaving the exterior wall unfinished for a while. I'll move into the room and listen and enjoy for a while. If things need to move or be added I can access the side and rear walls very easily to run new wire. Once I'm 100% happy with everything then I'll close up the walls.
    1 point
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