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I think MM needs to head to the desert and try this out...

Oh yea, we don't usually help in the traditional way. We help in the "emptying your wallet and acquiring more gear" kind of way

Just cut to the chase and buy these La Scalas. Mark

Quitter

Back in 1980 i dragged a pair to the desert near 29palms, Kenwoods and a Sansui i picked up before leaving the service. The sound produced was not worth the work setting up the system, car stereo would likely sound better. Never ran sound in the Desert after that.

We made it just fine, when Kevin breaks down he does it in style, I have never broken down with such amenities, ever. Your right the tow truck was as big as the bus, I think it could have pulled the bus down the road with the bus laying on it's side, and at $350 an hour it can add up fast.

^^^^^^^^^^^^^^^^^^^^^^^^^^^^^ MKP :-)

But where's the fun in that?!?

Keeping with the same theme, St. Louis Cathedral, 1727 was the first building, there was a fire in 1788, they started to rebuild in 1789 and was not completed until 1794. In 1829 an organ was imported and in 1825 Francisco Zapari, an Italian painter, was employed at a fee of $1,855 to decorate the interior of the church and its three altars.

I really should stop looking for Klipsch on CL! http://denver.craigslist.org/ele/5833706600.html no affil.

Heck even RF-7s can be made to sound decent if you take a little time and set them up right

If you decide on a LaScala LCR, take a look at my video and build thread in my signature below. Might give you some ideas.

I heard that Cubs tickets were $6,000.00 and Indians tickets were $3,000.00 each. JJK

Wow, so many great responses! Thanks for all the options and sorry I haven't replied until now. Been busy with work the last couple days and I've had some problems trying to reply to multiple posts on this forum lately. Anyway, here goes... That's a nice looking amp, and I've always wanted to try out NAD gear. Have to see if I can make the budget work though, it's pretty tight now. Definitely interested in the M2200's, since I planned to get an Outlaw 975 eventually. I just wish there was a phono input on the 975, but adding an outboard preamp is an option I guess. This is what I love about asking questions here...I'd never even heard of Acurus but now it's on the radar and knowing that many of you have enjoyed them makes me feel better about trying out something new. The 3 channel might be a good option for me since I only plan to run 3.1 for the next couple years. You're an instigator aren't you . That 1.5t is definitely on the table, but those big beauties are probably way over budget for me Nice amp, I will keep it in mind. Curious to know more about the ALK's...are those upgraded drivers? I can't find any info on them after a couple quick Google searches.

Heard them at a Dealer many moons ago.... and I remember them sounding excellent on the demonstration recordings at the time. Anyone thinking of buying them should do some current research especially about repair options and issues. http://www.apogeeacoustics.com/buyingguide.html for what it's worth stereophile review with specs. http://www.stereophile.com/floorloudspeakers/911/#Tgmeht7rxduqeFs4.97 miketn

That's cuz they weren't all horns...

I can't remember, Mark... If I remember correctly, the new owner was on his way back from Vegas after picking them up. He and better half stopped at a place where they had parties with friends before. He posted a bunch of pics... Bruce

Go Cubs!! Believe me, this part of Indiana and west to Chi-town is very excited....ticket prices are already insane.

Gotta grab me some of those... I never got sick eating anything from street vendors, but I have since read an article that said some street vendors get their cooking oil from runoff and sewer water that they filter. It COULD be a rumor.

Just got back home, it was an adventure but the people made it really fun. We drove to the Harmon"s house and rode up to Hope with them in the bus, it doesn't get much easier or nicer. There was a small problem, a small line going from the radiator to the reservoir came loose at the radiator letting it lose fluid and it started to run hot and then alarms were going off. The problem was you can not see even close to where the problem was without removing the giant air filter and it still is almost impossible to get to, 400 hp Cummins mounted in the rear of a 40' bus. So Kevin called an extra large size tow truck and they brought it to the Freightliner dealer an hour away which was closed already. We camped in the parking lot until morning, although we were not roughing it, AC, refrigerator and Sat Tv, everything working on the bus we just couldn't move it. Kevin always tows his 1 ton truck so we got in it and went out to eat and hung out later in the bus. The next morning Freightliner fixed us up, and checked everything else out and we hit he road to Hope, we all worked each day moving things from the plant into the museum, and parking at Rodney's at night.

Exactly...... More mass...... My IR 244 impact would break em loose @ 130 psi when I first got it. That was 20 plus years ago, that gun is worn out.....but I put that socket on it and has no problem breaking them loose MKP :-)

Hey Carl have you or any of your techs seen these sockets? They are BAD A$$...... I got this 19mm a few months backs......they have been back order for ever..... I use it for the harmonic balancers bolts on the Honda crank shafts..... you can not break them free with a impact and a regular socket. Over the years I've had Honda's towed to the shop from other shops that couldn't get the bolt to break free. Before I got it I would have to use the Honda special tool to hold the harmonic balancer and use a 1/2" breaker bar with a 3 1/2 foot cheater on it (old floor jack handle)to break the bolt free. Some of my Honda buds have bought 3/4" impact guns just for those PIA bolts. MKP :-)

I listed these several weeks ago but had to cancel the post because of personal reasons up North. I am the original owner and they are in "Mint Condition." Hardly used and been in the closet now for two years so need a new home. Comes with original boxes, packing, and instructions. PRICE: $1,100.00 PAIR! Prefer local pick up in Palm Harbor, Florida but will ship at buyers expense..................thanks.

Carl's system is the best home theater implementation that I've heard, and it is also great for 2-channel music.

oh you must need to sell to pay speeding tickets

Nope. Try deleting your temporary internet files, cookies and history. You'll need to log back in after that as well though.

Your price is more than fair considering the upgrades & looks to be "Forum Friendly Pricing". It depends on your location & if any buyers are lurking in the area. GLWTS

The difference between the La Scala and Klipschorn: It's really hard to make buying decisions on speakers we haven't heard. I know I get speaker lust sometimes and feel like I just HAVE to have a speaker because of the way people talk about them. Fast forward to my LS and Khorn purchases. I bought my LS because of speaker lust. I used them for a few months and got to know their sound. Then Mustang Guy found some Khorns which somehow ended up in my living room. I sold the LS to fund the Khorns, so I heard both speakers back-to-back time-wise (not in an A/B listening test). THE BOTTOM LINE to me, with my ears in my living room is that both speakers sound about the same at lower/mid volume. They really do and both speakers are pleasing. What really separates the two is HIGHER VOLUMES. The Khorn has such a strong low end you really don't need a subwoofer. The LS w/sub sounds about the same to my ears. As a stand-alone speaker the Khorn is more versatile in terms of low-end grunt. I also like the aesthetics because the Khorns tuck neatly into the corners at the edge of my peripheral vision so I don't really "see" them when watching TV. The La Scala is more "front and center" visually and frankly is probably easier to integrate as a L/R into a multiple speaker solution (7.1, 5.1, 3.x) because of placement options.

The new RP-250S would be fine with them. If you have the budget that you say, stay away from the R-28F, they have an aluminum tweeter that gets punked by the 1.75" titanium compression driver in the RF-7ii's. Just not even close.

^^^^^^^^^^^^^^^^^^LOL^^^^^^^^^^^^^^^^^^^ MKP :-)

Check out the rp-280f towers, rp-450 for the matching center channel.@MetropolisLakeOutfitters could probably help you out with pricing.

Pictures would help your sale

meet halfway between ohio and vegas lol?

Not a bad set up, but my HT never sounded quite right with a Hersey center between Cornwalls, and I was not satisfied until I added a center Cornwall. That was a very noticable improvement. Three Cornwalls in front with Heresy rears makes for a very good HT, especially in a small-ish room.

I'd eat it MKP :-)

One problem that is hard to overcome, is knowing exactly what you are looking for in the HT. The closer you are in defining exactly what sound, dynamics and look of the room, the goal will be easier to achieve. It is easy to pick which speaker is better but, for the HT, everything needs to blend. This might be a good time to look at all the gear, room size, room composition and go out and hear as many HT sets as possible. Sometimes the only solution is trial and error and the associated cost.

That's a substantial tow truck fo sho. I guess if you absolutely have to break down while traveling, that's the rig to do it in. Glad you guys made it ok.

Done!

I do miss my twice a year visits to Kowloon.

Good Monday Morning Two and counting One week, Halloween. RV Slide/wall work continues, plywood backing so it will support a TV. RV Antenna R&D continues, as an inventor, the Web IS indispensable. Easy week, taking the wife for her Doc visits, mouse ckickin/money spendin retirement

See https://en.wikipedia.org/wiki/Audio_crossover#Classification_based_on_components "Black" is an interesting audiophile meme. I don't know what it means. I do know that the use of active crossovers eliminates a set of components between your drivers and your amplifiers--components that change their behavior with age and with load (i.e., voice coil and passive component heating). Amplifiers on the other hand like to be direct coupled to drivers; they have much more trouble with passive reactance inserted into their load loop. I've never seen a hi-fi sound reproduction system without amplifiers...or acoustic drivers.

I think one measure of a really great composer like Haydn is the ability to skilfully incorporate instruments he's not used to in a completely natural and expert way. Here, Haydn builds in three trombones in the most climactic passages to produce a dramatic , full-bodied brass sound that trumpets, horns, and woodwinds by themselves could not bring. He also showed that ability with clarinets in this work (The Creation) even though they were still new on the orchestral scene. While trombones had frequently and expertly been used back in Monteverdi's time, they were still a special case in the Classical era before Beethoven's 5th and 6th.

Welcome to the forum. You have some nice electronics. None of it is a V6.

Buy my rc64ii

+1

Welcome aboard! Nice speakers!

So, how's it feel to be single? You speak as if I had a choice in the matter of choosing furniture for the center of the living room.

I started this journey four years ago with,with rf-82, rc 62, RW 12, RS 52 and RB 61's powered by a yamaha 667, same set up you are describing. Run quick!! I still have, the RF system but with different components, plus three other klipsch systems now. This is basically the equivalent to Audio anonymous in here. Welcome to the club! You've been warned.

You are lucky you didn't get food poisoning, lol. That would have made for some interesting sounds after you left the restaurant.

Greetings all, <?xml:namespace prefix = o ns = "urn:schemas-microsoft-com:office:office" /> Be patient, because this is going to be long. I was going to wait a week or so until the Cornwall IIIs settled-in before writing, but I just couldnt contain my enthusiasm. Holy shit! Please, pardon the profanity, but there is simply no other expression that accurately describes the feeling I have after listening to these speakers. Simply put, they are the most dynamic, lifelike, and visceral loudspeakers I have ever heard. Furthermore, they are also the smoothest, most transparent, and emotional transducers of the musical event that I have ever had the pleasure of owning. In my 25 plus years of dabbling with audio I have never, I repeat, never, been so enamored with the sound of a loudspeaker coming right out of the box as I am with the Cornwall IIIs. Invariably, almost every (new) loudspeaker Ive owned needed some period of break-in before settling into its own sound. Not so with the <?xml:namespace prefix = st1 ns = "urn:schemas-microsoft-com:office:smarttags" />Cornwall IIIs. They sounded so good out of the box that I question the subjectivity of a break-in period all together. However, this is neither here nor there, and such matters neednt be discussed at the moment. Onward Ill spare the details of unpacking and set-up, except to say that the speakers came packed in bullet-proof cardboard containers of substantial rigidity, and set-up was a breeze. And now for the sound I wanted to begin with something simple, to let the drivers ease into a steady pace before pushing down on the throttle. So up first were some tracks from smooth jazz artist Chris Bottis, When I Fall in Love [Columbia CK 92872]. Within the first few notes of the title cut the dynamic shadings were readily apparent, the full weight and scale of Federico Penas piano notes setting the stage for Chris Bottis smooth and sultry trumpeting to cut in, while in the background the gentle pitter patter of Billy Kilsons brushstrokes shimmered effervescently. Together, both piano and trumpet soared masterfully throughout the cut like a hot knife through butter. Nice! Prior to the Cornwall IIIs, I had considered the standards on this album to be of high quality, but nothing more than casual background music, the kind one would play at a dinner party or when not concerned about attentive listening. With the Cornwall IIIs in play the sound gave new meaning to the term smooth jazz. I sat up and took notice. This is one album my wife and I will be spending more quiet nights, curled in front of the fire sipping 88 Zeller Schwarze Katz with. Okay, so these boxes wanted to play, eh? Lets see how they handled something with a little more flair. Next up was a track called Exotique, from the group Soul Ballet [Columbia 17746-2]. This is a haunting, soulful track, layered with upbeat synth-pop and piano, underpinned by heavy bass riffs and drums kicks, while in the background the moody overtones of Stefanis desperate vocals call out with an eerie ring. The Cornwalls ripped through this track like nobodys business, making short work of all the electronica like it were being fed through a food processor, Stefanis voice floating high above the mix adding to the space and air of the track. The bass, in particular, was a real treat, too, giving this tune a solid, purposeful sound. Nice indeed! By now, I was getting the feeling that these Cornwalls meant business, and were ready to handle anything I threw at them. So, without wasting any more time, out came my acid test: Peter Framptons, Do you feel like we do, from the album Frampton Comes Alive [A&M 540930]. This is a soaring, 14-minute classic that is sure to get any loudspeaker (and set of toes) moving. Forget for a moment that this track was recorded live in 1976, when multi-tracking and mike-mixing were the exception, and not the rule, because this cut is all about adrenalin, and it has never sounded better than through the Cornwall IIIs. The Cornwall IIIs are the very reason why I enjoy listening to live recordings so much. No other loudspeaker has taken me to the live event in the way that the Cornwall IIIs have. Through them the music just sizzled, as if I were right there in the smoke-filled audience, just a few rows from the stage. Framptons guitar took on a life of its own, filling my listening space with some of the most breathtaking guitar riffs I have ever heard, while Bob Mayos organ brilliantly bridged the gap between Framptons riffs and Stanley Sheldons masterful drumming, the shimmer of the cymbals floating endlessly out in space. I literally stood up and cheered with the audience after the song ended. Phew! There comes a time during a listening session or audition when a person can safely say that something truly special is happening. Within the first minute or so of Frampton's "Do you feel like we do," I was saying just that. Talk about goosebumps! Some loudspeakers are fussy about placement, room acoustics, and electronics, making set-up and matching a royal pain. I dont know if it was the Cornwall IIIs by themselves or the quality of my Quicksilver Audio gear, but there was no denying the synergy between the two. On more than one occasion I had to look to see if there wasnt a 400 watt Krell or Mark Levinson amp driving the speakers, as the sheer effortless delivery of the Cornwall IIIs was simply startling at times, and most addictive. Song after song, album after album, the Cornwall IIIs displayed superlative music making, the likes of which I had never heard before. No matter what the genre, jazz, pop, rock, vocal, the Cornwall IIIs proved beyond a shadow of a doubt that they were made to do one thing deliver music in the most realistic and enjoyable fashion possible. Micro dynamics were extracted from each CD I played, bringing new life to familiar recordings. Late into the evening I was still marvelling over performances by Sinatra, Monk, Sade, Pink Floyd, etc. No matter what I played, the Cornwall IIIs transformed my room into a viable space devoid of any boundaries. The Cornwall IIIs simply did not discriminate against what was being fed through them. They gave each performance equal billing and the proper amount of space to showcase the talents of each artist/group at hand. Ive read where horn drivers are ruthless in their upper frequency delivery. This is simply not true. If there were any nasties in this region they never once reared their ugly heads. On the contrary, I found the high frequencies of the Cornwall IIIs to be among the best Ive ever heard, lending not only greater extension and clarity to the music, but smoothness, as well. From top to bottom the Cornwall IIIs sat there confounding my preconceptions of what a dynamic loudspeaker was capable of. Did I mention that I am a long-time user of Magnepan loudspeakers? Well, I am, and although I was excited about the purchase of the Cornwall IIIs, I anticipated the loss of spaciousness sound that Magnepans are renowned for. Well, fear not planer speaker users, because I am here to inform you that the Cornwall IIIs are imaging champs. Thats right. At least in my room they are. Sure, I expected the Cornwall IIIs to throw a palpable soundstage. But what I wasnt prepared for was how a speaker of their size could literally disappear before my eyes. My listening room is far from ideal; the walls are bare, and there is little absorption to speak of, except for the thick, plush carpet the speakers sit on, yet from the onset the Cornwall IIIs melted into the background as if they were a pair of high-end mini-monitors, adding great dept and transparency to the music. Im serious folks. This is a testament to quality engineering and sound design. If the Cornwall IIIs can sound this good I can only imagine what you owners of La Scalas and K-Horns must be experiencing. I guess it gives me something to shoot for. Honey, we need to sell one of our cars, I need a pair of K-Horns! I could go on and on, but I think my message is clear. In all, I couldnt happier with my purchase. My only regret is that I didnt get into Klipsch loudspeakers sooner. Oh well, better late than never, right? I am the proud owner of Cornwall IIIs and plan on keeping them for a lifetime. Cheers everyone! William