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What I got today, Marantz SA-KI 40th Anniversary SACD player,beautiful built like a tank player made to celebrate Ken Ishiwata with Marantz.I love the way the player sounds and the smooth way the drawer opens and closes,plus the top has his signature stenciled on it with a real ruby stone.

The color of the Gulf away from the land and the river. Plus a flying fish just because, blurry because they are fast and unexpected and I am old.

I get my coffee from Juan !

Somehow, even if they can, I don't see one more beer added to the 30,000+ already available in the world, having any impact on the market, regardless of what the yeast flavor might be, but more power to them. I'd rather have them focus on bringing back a T-Rex so we could thin out the herd. 😅

… o O (133 year old beer technology) … it's strange to think that when I had my first beer 50 yr's ago, free from my friends parents garage refrigerator, somehow I wished that Schlitz would figure out how to step up their game... but I'm pleased with Dos Equis these day's, however they do it....

Last year, an Australian brewer produced beer from yeast recovered from a 220-year-old shipwreck.

BEER FROM 1886 SHIPWRECK MAY YIELD NEW BREW A bottle from a 133-year-old shipwreck may yield yeast for a new brew in upstate New York. CLOSINGS: View Closings BEER FROM 1886 SHIPWRECK MAY YIELD NEW BREW A bottle from a 133-year-old shipwreck may yield yeast for a new brew in upstate New York. Posted: Feb. 16, 2019 7:44 AM Posted By: The Associated Press COBLESKILL, N.Y. (AP) - Ahoy, beer lovers: A bottle from a 133-year-old shipwreck may yield yeast for a new brew in upstate New York. Biotechnology students at the State University of New York at Cobleskill uncorked a bottle from the shipwrecked SS Oregon on Thursday. Serious Brewing Company of Howes Cave plans to develop a new brew if the students successfully extract yeast. Bill Felter, of Serious Brewing, acquired the beer from a customer who owns an assortment of artifacts recovered from the Oregon. The ship was en route from Liverpool, England, to New York City with 852 people aboard on March 14, 1886, when it collided with a schooner near Fire Island, New York, and sank. All but one person survived.

Juan for all and all for Juan!

Pointing downward

… definitely too many brands out there... I'll buy a weird beer every once in a while.... ahhh like this, just to see the packaging technique lol

The guy I call for sheetrock & texture repair is named Juan too lol ….

So I'm not the only soul that like little feat.

best tip i can give you do not tell anybody where they are until they are sitting in your living room. lots of lurkers will steal them right out from under you 2nd best tip is always do what Deang says 😀

Picked up a roughed up RSW-12 from Offerup last night. Has a shredded grill and is missing feet(orig owner said it never had them 😕). Drivers are damage free and it pounds like it should so I’m happy.

“What is Active Bi-Amping/Tri-Amping?” Active bi-amping uses one amplifier for low frequencies and another for mid-to-high frequencies—per audio channel. Tri-amping adds one more amplifier for a 3-way system tweeter. This is done via the use of an active crossover unit which is inserted between the preamplifier and power amplifiers. “What are the advantages of active bi-amping/tri-amping?” It provides much greater driver control than a passive crossover/full-range-loaded amplifier configurations. It provides a better load for your amplifiers to drive, and an effective gain in each amplifier’s effective output. It will provide lower amplifier-originated intermodulation distortion (IMD). It provides much greater protection of your tweeter/midrange drivers under clipping/overload conditions. It provides the ability to use less expensive amplifier designs for each driver. It provides for time alignment of drivers within a single speaker (a “must have” capability) It provides for better crossover performance in both amplitude AND phase in the crossover region for smoother crossover performance, including more stable soundstage imaging vs. frequency. It provides stability of crossover performance relative to passive crossover drift during and immediately after under high-load speaker output conditions, i.e., it maintains electrical output linearity under heavy load conditions. It requires lower-quality wire/connectors than a similarly configured passive crossover/full-range amplifier configuration. It allows on-the-fly changes in crossover frequency, EQ and channel gain settings to support changes in your setup configuration, i.e., facilitating the fine-tuning use of tools like Room EQ Wizard [REW], replacing individual drivers, speaker position changes, and adding channels for playback (2.0, 5.1, 7.1, etc.). “What are the disadvantages of active bi-amping/tri-amping?” It requires two/three power amplifier channels per speaker (with associated wires/connectors). It requires an active crossover unit. “What is an ‘active crossover’?” An active crossover provides separation of frequencies of the incoming pre-amplifier output signals, breaking each upstream channel into two (bi-amping) or three (tri-amping) downstream channels: a woofer channel and mid-range/tweeter channel). It provides higher-quality equalization (“EQ”) capability for each channel. Digital crossovers typically provide for delay to allow for time alignment of the drivers within a single speaker. (This is a similar function to an AV Processor that time aligns speaker-to-speaker in a 5.1/7.1 array.) “Do I need to disconnect my speakers’ passive crossovers from my drivers?" Yes. At least the woofer (or low frequency driver) must be disconnected from the passive crossover to permit bi-amping. If your speakers are 3-way (i.e., woofer, midrange, tweeter in each cabinet), then you may retain the passive crossover between the midrange and the tweeter if using bi-amping (…but for tri-amping, all drivers must be disconnected from the passive crossover networks) Can I use ‘passive bi-amping’?” Passive bi-amping does not bring the benefits of active bi-amping, only the disadvantages of extra cables and connectors. Generally, it is not worth the expense of the extra amplifier. In particular, passive bi-amping does not provide for delay adjustment or filter/EQ parameter flexibility. What active crossover brands/units should I use? Many manufacturers make active crossovers, including ElectroVoice, dBX, Yamaha, Ashley, Behringer, Rane, Xilica, Lake, Marchand, Bryston, DEQX, etc. Prices go from $230(US) to many thousands of dollars. There are also lower-cost alternatives, such as miniDSP. Price is generally commensurate with sonic performance. Have I seen active crossovers used in configurations other than an active crossover box? Probably--the "powered subwoofer" channel found on most AV Receivers/Processors is a limited example of a for-purpose active crossover channel (i.e., mono bass channel). Usual features include gain control (at the integrated subwoofer/power amplifier unit), user selectable crossover frequencies, and sometimes GEQ/PEQ (graphical and parametric equalizer) filters built into the AVR/AVP. Delay adjustment for each speaker channel is usually included in the AVR processor functionality to correct for speaker distance room placement variances. Additionally, an "Audyssey"-like feature on some AVRs/AVPs features a built-in real-time analyzer (RTA) to help the user set up their speakers in a room environment. (16 Nov. 2010 edit) Can I use a 2-in, 4-out processor (like the EV Dx38) to Tri-amp my three-way speakers? Yes: if you disconnect two of the three speaker drivers from their passive crossovers, then connect the tweeter and (usually) midrange driver to the 2-in, 4-out processor, leaving the last (usually woofer) channel connected to one amplifier, and the other two outputs from the active crossover connect to the inputs of two other amplifier channels, then you can tri-amp your speakers. Note that this will take three amplifier channels per speaker. If you are like many here, finding extra amplifiers to drive your speakers in tri-amp mode is usually not a big issue. Note that you will not have the flexibility to change the crossover frequency of the woofer to the midrange, nor be able to EQ the woofer channel with the active crossover, but you will still be able to use the active crossover to EQ the most important portions of the spectrum and digitally delay the other two drivers in order to time-align your speakers. Some Klipsch models (e.g., Heresy, Cornwall) have a long midrange horn and a direct radiator woofer. This means the the driver with longest delay -- the midrange driver -- will stay connected to the original passive crossovers, and the other two driver channels (tweeter and woofer) can be digitally delayed by the active crossover to time-align to the midrange. EDIT: 14 Nov 2016-- New users of active crossovers looking for more detail on how to install them into the setups can refer to this thread on using Xilica active crossovers: _______________________________________________________________________ EDIT: 14 Nov 2016-- Users of active crossovers seeking to set their parametric equalization filters (PEQs) easily and rapidly will be interested in using Room EQ Wizard (REW) to generate and optimize those semi-automatically. A link to a tutorial thread on that subject can be found here: Chris

I received my new MA5300 last week and finally I had the chance to unpack it impressive packaging btw) and I hooked it up yesterday to drive my Cornwall's III, and he sound couldn't be any better, ...full, detailed, clear at any level, and absolutely amazing.

For what is listed in the title with no upgrades, what would be the price range for excellent, no visible cabinet defects? Trying to see if I should go see a CL offer. With consecutive serial numbers and oak finish/black fabric grills.

Correct and Mark said to make sure you get a matched quad !

Well, after you showed us this photo, I visited their web site. Here is what is wrong with this design implementation, addressing primarily the lower-pictured stereo amp, in my experience and my opinion, YMMV : a) It is a three stage amplifier. The middle stage ( with all the extra parts ) is unnecessary to drive a 2A3 tube adequately, so the amp's middle stage's existence, degrades the 2A3 amp's ultimate performance possibilities. This middle stage dismisses a SET amp, in my opinion, immediately. b) It is very un-thoughtfully laid out, causing extra wire lengths that degrade performance. eg: Look at the stereo amp's topside, the two 6SN7 input tubes should be at the edge of the very front of the chassis, the output tubes should be right in back of each input tube, and the output transformers should be behind the 2A3s, ........for the shortest signal path. The output transformers need to be moved back s bit - to the far back edge of the chassis, so as not to crowd the outputs. The RCA jacks should never be in the back of the amp, with long wires running, below deck, to the 6SN7s. The logical place for RCA jacks to be located is on the front vertical portion of that chassis, as close as possible to the control grid of the input tube. Then, the input wiring may become as short as 1 1/2 inches or so, from the RCA jack to the the grid of the 6SN7. Look at the top photo of the more costly monoblocks. Here we see a closer placement of the RCA jack in relation to the driver tube. Better!! But the monoblock's output tube should be positioned between the output transformer and the input tube....the shortest, most logical layout. Instead, on his monoblocks - we see the output tube is placed to the right of the output transformer and driver tube, so a further distance in wiring will be required, and also - negatively, the 2A3 output tube is closer to the fields of the ( very active ) rectifier tube. The power supply needs to be AWAY from the audio tubes, as far away as possible, so fields do not interact. Friends, correct layout is better audio playback performance for free, you just have to think about it : form follows function. c) Looking at their web site, their below-deck amplifier photo, it appears to me that the dual triode 6SN7 has its input section, directly coupled to the second tube section. That direct couple is good. What isn't good is that there is a coupling cap in the circuit, between the middle stage and the 2A3. A well made all-direct coupled two-stage 2A3 amp will sound better. d) These amps use a PC board, ( as you can see from the positioning of the tube bases on the outside photo. ) This disqualifies the SET from stellar performance. A PC board will never ever be as good as what can be obtained by well-thought-out point to point wiring. AS a recent example, I DIY did a SET prototype from 7-3-18 to 12-31-18, and even though it was only a 0.25 Watt amp, it needed ( by my ears ) the equivalent of 8 AWG wiring on its entire ground system, to get full fidelity and the best possible dynamics. 'Same wiring needs applies to a good 3.5 Watt 2A3 amp.. NO PC board can do this !! e) The other thing I see, that raises my doubts about this amp, is the designer's use of chokes. It looks like he selected a conventional nicely potted choke...looks "pretty" next to the power transformer. Such a conventional choke is the KISS of DEATH to a tube amp. The chokes in a 2A3 amp need to all be 20 Ohms or less, I have been told this since 1982, by Bob Fulton. It was the first piece of advice he gave me on designing my first 2A3 amp. The conventional choke in most commercial amps, will be 60 to 110 Ohms, and 5 to 10 Henries. It loses an audio performance edge, as a result of that high DCR. From 2006 to 2017, I used two ten Ohm chokes ( maximum ) in my SETs' power supply filters ( as L1/C1/L2/C2 ). In mid 2017, when I was developing a Type 45 SET, I went to two 6 Ohms DCR chokes, and they KILLED THE 10 Ohms chokes musically....yikes - I love 'em. So, from my point of view, I would dismiss all amps that have high DCR inductors, to filter the output stage's B+. Nothing has changed since 1982, " 20 Ohms or less" - 37 years, most of my life. What works, works. Well, without seeing the schematic, this is most of what came to my mind, by looking at their pictures. You asked for a critique. Thank you, for allowing me to share my thoughts with you all. Jeff If anyone wants to see my 2017 design commentary, they are below. Power SUPPLIES.doc

Don't know when it is but Happy Birthday Mike! You deserve a kickback every now & then for the knowledge you share with everyone here! Had me looking further into cartridge/tonearm setup than I ever imagined with those links a while back! And yes everything Little Feat is mastered, pressed, cut and stamped out with the love and care of true professionals back then. Keep the Faith / Keep Rockin'

I guess moving south means something different to all of us. I was in Vancouver around the Holidays. That was almost as far north as I have been. Moving south for me would be south of the Rio Grande. Then I would have to step over the wall to come back.

A HK tubed receiver from 1961 sitting on a McIntosh ML-1C from 1973?

Bonzo. I think in the end you're going to find that you'll have more issues with the lower rated pin compatible tubes you can use in VRD's like 6L6GC, 7581A and so on simply because those tubes are running near there maximum design center lines in the amps while the KT88/6550 family of tubes are running nice and easy.

Same guy....

Like the room and the shutters. What brand are they? Much better than seeing fantastic and expensive gear in a room with aluminum (aluminium, if you like) mini-blinds, or worse, PVC vertical blinds. The latter are perfect if you want to recreate the experience of waiting to renew your driver’s license. You folks down under (Is that one word, and are capitals called for?) know how to do it properly. Next time I’m in Oz, I’ll pop over.

12 to 15 year is about the sweet spot for those. I couldn't afford to buy them on the secondary market either. Look for a bottle of William LaRue Weller. Same distillery and many think it's better than Pappys. I have a bottle but haven't opened it yet. I'm thinking maybe when I retire in a few years.

Found this yesterday.

You were correct. They did not mingle well. Thanks

I'll second (third/fourth? I don't know where I am in line) that!

I'm not the one to ask... When I did my basement, I had open walls. I also needed a second distribution panel in the garage so, I created four (4) 20 amp circuits and put them on a lightswitch panel so my wife could easily turn things on/off at the flick of a switch. (works very well) I have an amp (K2) on each Juiblee at front right/left. My center doesn't exist but each location has a switched upper outlet and the lower outlet is always hot (for those items you don't want to lose power to) I ran the wires through the closet so I have four columns in there, corresponding to each speaker location and each of those outlets is also switched on top and hot on bottom. Yeah, it's over kill but I had the outlets, had the space and SWORE that I would never again, do what I was doing upstairs when I first put the system together....that being, having something like 15 plugs daisy-chained into power strips and going into a single outlet. I detested every moment of that and decided I'd have too many outlets so everything can properly plug in without using a power strip. One reason I decided on four 20 amp circuits, is I was going to buy (and have space for it in the garage) a SurgeX protector that uses 4 circuits. (let's face it, four 20 amp circuits is over kill for power) https://www.ametekesp.com/surgex/branch-circuit/branch-circuit-120-208v None the less, since it had 4 circuits and I had room, I put four circuits in and it works like a charm. Took a while to get the wiring done since it was somewhat tedious. Here's a picture of the closet and the front left corner. Notice the outlet up high. I was also wiring in case I wanted to put a tube amp on the 402 (I guess it could be SS) but what if I wanted to build a shelf above the speaker and set the amp up there? With the short power cords of my K2's, the outlet made that an easy proposition. I have instead, set the K2 atop the speaker and plugged the amp in the lower outlet. Oh, and my wife was screaming bloody murder when she saw the orange outlets!!! I told her to simply not touch anything orange (for lighting, cleaning, radio....anything) Switches on top are for the electronics, the lower switches are for the room.

I've been listening to my new to me Fortes for a little over a week. Horns stir strong opinions on both sides, and if I'm being honest I never considered Klipsch an "audiophile" brand. I was actually very happy with my B&W CM5s (now for sale if someone is interested), but I wanted to try something different. I found the Fortes at what I thought was a good price and the owner was close enough for me to audition. Needless to say, I brought them home even though the audition room was less than ideal. I'm glad I took the chance. These things reveal more than I've ever heard from music that I know well. Do they image as well as the B&Ws? No, but they're pretty close. The British speakers also have a little more definition as well. For me, where the Fortes excel is in involvement. They bring you into the music. If you're not familiar with it, the Nitty Gritty Dirt Band's Will The Circle Be Unbroken was recorded with minimal engineering, as I understand it everything was mastered straight to two tracks. The result is an intimate, natural sound. The three-album set captures the conversations of some iconic bluegrass artists between songs that really adds to the experience. Why am I telling you all this? Cause I was there. Practically speaking. These speakers put me in that place. In chorus sections, I could pick out individual voices. These Fortes have had their caps replaced, so perhaps that's a factor. I also have the luxury of a dedicated listening room without any compromises in speaker or seating placement—I don't think you can exaggerate the importance of that when it comes to good sound. On the downside, these speakers revealed an annoying hum in my turntable that wasn't so apparent before. I had to add an additional ground wire to the tonearm because the sound was more than I could bear. Also, some records just don't sound so good anymore. I think I'm finally hearing a truth that was obscured before. Despite that, these 1985 vintage speakers have impressed me beyond what I was expecting. Here is the gear I use with the Fortes: Marantz TT15S1 with Clearaudio Virtuoso cartridge Marantz PM15S2 Limited Edition integrated amp Adcom ACE-515 AC Enhancer Kimber speaker wire cut to shortest length possible Coming soon: 4wpc Spud

I do the same. Most of the time I'm disappointed and get something I know I like, but on occasion, I find a winner. This is excellent! Expensive here $40.00 for a case, but great stuff.

I figured it could start again but didn't know if it would be new yeast or like the original. Bet it would have a different taste than many of today's beers, I would think?

https://minneapolis.craigslist.org/hnp/ele/d/minneapolis-one-single-black-klipsch/6821155398.html Would be a great candidate for a super KLF center project!

I got another great deal on the used sites. I grabbed a nice pair of DT Mythos Ones and a pair of Sixes. I then dug one of my DT SuperTower STs out of storage for a center channel. It’s hard to tell but below both statues are DT SuperCubes. So far I have been thoroughly impressed with the huge ST tower acting as the center. I will have to compare this center to one of my Ultra2 650’s (sold off a few last month but I still have a couple sitting in my storage room) but judging but my movie experience the past few days, the nod is headed towards the ST. I love my Ultra2’s and that will end up in my dedicated home theater, if that dream ever materializes. This ST just seems to be hitting a some type of sweet spot for me at the moment, in this tiny room. The ST is huge though, at about 48” tall so that likely where the slight advantage might be. Not today but I grabbed all of those items in the past few days. Not really a fan of how high the center is above the tv so I am going to lower it about 4”, so the tweeter is about 4” another the TV. Sent from my iPhone using Tapatalk

Amazing color looks like it's glowing, and looks very cold. .

Mine are the original Fortes. I'm liking the serious toe in like Ski Bum suggested. It does seem to preserve the imaging.

I believe those are RF 3s. Check some pictures of RF7s. The 7s have different woofers and are much taller.

Sure. Buy cheap, but make sure it has tone controls and a mono switch.

In my opinion, probably, unless you just want to alternate them, which I don't understand. I'd certainly use them elsewhere. SSH

That was a bummer about all the damage Mexico Beach had. Are these current pics? Looks wonderful. I wonder how St George Island held up? My family tried to keep my Dad's place just for vacations, but being vacant for months at a time definitely took it's toll on the place. We are 720 miles from his house.

I went to my Aunt's funeral last year. It was in a 100 year old church, with a massive pipe organ. It was a beautiful piece of history, and sounded wonderful. @Tigerman works on pipe organs.

Working on Gia's system... Now I need a pre box , Bluetooth box... And turntable...

Used to know every bit of this release by heart. Been a while now, but the riffs are so incredible, effortless and natural sounding. My lp was long gone by the time I found this on the cheap for vehicle jammin'.

You can look at it this way: playing a CD is like cooking with a microwave, while playing an LP is like cooking with a barbecue. The whole vinyl "tea ceremony" can add to the experience. You don't generally put on an LP for background music. You set up the record, play it, and listen to it. No multi-tasking. LPs are for mono-tasking and really listening to the music. You don't do it every day, but it's fun when you take the time to do it and enjoy it.

So the porter is closer to the body. They elimate the need for the T- bone, but we had them every Sat. night when I was little. When they put them on sale for 8.99/lb I can not resist a good Strip or the Porterhouse, I'll even eat the rabbit food (salad) with one of those and a bacon wrapped baked potato!

I would like to "bump" this thread, in February 2019. I have worked with 6AQ5 and 6005 amps, off and on, for the last eight years. Here is what I have found necessary for highest performance, and what I prefer: a) a directly-coupled amp, over any using a coupling cap, or interstage transformer b) a two-stage amplifier only, over all amps with three stages c) tube rectification, directly heated, 5U4GBs being one excellent choice d) choke input filter, using dual series choke/cap sections, eg: L1/C1/L2/C2 e) I find it critically important, that chokes have a DCR of 10 Ohms or less, and it does not need to meet " critical inductance ", what-so-ever f) triode connection of the 6AQ5/6005, even if it has less power g) no capacitor larger than 50 uF, and all film caps, no electrolytics h) Military Spec internal wiring, copper and silver plated, teflon jacketed. The equivalent of 8 AWG for ground returns ( three wires in a bundle, paralleled ) i) conservative plate dissipation / operating points , typically about 62% of maximum ratings j) no feedback A SE version of the above will only put out 0.25 Watts clean, and 0.33 Watts maximum, so it will NOT be good for a Klipsch speaker. A Push-Pull version of this design will put out maybe 2 to 4 Watts, and be appropriate / superb for a similarly re-wired / well-wired Klipsch vintage corner horn. In the coming next two months, I will design and prototype this, work out the values needed, and give it a whirl. Two stage, P-P 6005s. I love the 6005, it is a " firecracker " of a tube. IMHO, I find it totally and easily SMOKES any NOS Type 45 DHT Finals tube I tried. ( I have NOT used the $$$$$ EML s ). Amps, not good speakers, in my own opinion, are the weakest link in high performance audio. Have fun, I sure do. Jeff

I donated them to the museum, they will be auctioned off at the pilgrimage.

Just did a 200 mile round trip for this Sansui G9000db always wanted one Sent from my iPhone using Tapatalk