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LarryC

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About LarryC

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  1. I guess I see the same genius's hand in the veneer choices as designed the permanently classic proportions of the top hat and permanently unbeatable performance of the bass horn into a package that could go down to a 16' organ pipe's low C, fit though the household doors of the time though the present day, and make it up a flight of stairs. Who else but Paul Klipsch? No one else.
  2. This is what makes this debate a little odd -- the level produced by an LP is dependent on the voltage output of the cartridge, the gain of the phono stage, the line stage, etc., all more or less related to how strongly things are cut into the LP groove, while the CD output seems to be a function of how much the CDP's electronics amplify the digital signal. These are industry customs and and design choices. I suspect that a beefy signal is much easier to come by in the digital realm, than in the very low-level world beset by difficulties in getting a strong signal out of microgrooves and LOMC cartridges which have intense challenges in wrestling with microstyli, groove compression, and electronic noise under amid some pretty severe compromises. Levels are subject to many modes of manipulation for commercial and artistic purposes. It seems kind of arbitrary in the digital arena, it seems to me.
  3. I agree with less-is-better! JohnA suggested the AK-4, which is what I have, and it's a great, smooth, well-integrated sound. Other than that, I wouldn't "upgrade" because you assume it would automatically be better, when it might not be! Klipsch engineering has always been pretty good. I wouldn't assume you're likely to make it better.
  4. Listen carefully to the smoothness and realism of the treble and midange as well as the bass. You may not agree with the standard views and wisdom expounded here. I usually favor Klipsch engineered equipment combos. Larry
  5. Marty -- plus good space consolidation as Claude1 mentions could be a big factor in tempting those who don't want a lot of stuff around, and price consolidation, too and most important the Mac name for some.
  6. No one can criticize that view, but not everyone will share it, either, IF they can willingly afford it AND if it sounds like it's worth it.. After all, one gets a tube preamp and classy TT and cartridge for that package price. I am certain you're aware of LP setups that, in combination, are priced considerably north of that amount. Components would have to be exceptionally well chosen to sound better and more musical than the best of something like this. (Note that I don't think they don't automatically sound better!). For just one thing, I don't think a moving-magnet cart is going to equal the equality of really fine setups. The company saved a bundle by not having MC electronics and a costly MC cartridge. And it doesn't cost $30-$60k +, either. It might be a market test to see how popular the idea is. It's just another entry in the audio market sweepstakes, for people to choose from.
  7. In his later years, I doubt that Beethoven was able to distinguish "good" from "bad" sound, as he could hear essentially nothing at all. Rather, he must have had an amazing "mind's ear" in which he could assemble musical sounds in his head and probably "hear" them from there. His missteps were amazingly rare, e.g., in the Benedictus of the Missa Solemnis and an instrumental wind sequence in the development of the Ninth first movement. Most great orchestrators like Wagner, Mendelssohn, Berlioz, and even Mozart, had to have had that ability as there would have been few opportunities to hear their own music to do trial and error listening and writing. Larry
  8. I now think I will order 1 set 2' and the other 3' to avoid that too short deal. I understand. My suggestion for cable length would be 1 meter (3+ ft) for the usual interconnect type type leads and 2 meters (6+ ft) for speaker cable for the usual speaker setup, not just 2 or 3 ft. Meters seem to be the standard measure these days in audio. You probably meant meters. Larry
  9. Yes, any cable change will change the sound to the critical ear, so I agree. What sounds good with one combo of pieces may reveal unsuspected issues if you switch cables according to someone else's opinions
  10. You might ask The Cable Company for advice and get a second opinion. They're often pretty good at these judgments. Because so many setups use 1.0 m. as a standard length, 0.5 m. can trip you up by being a bit too short, especially if you subsequently change components or your space arrangements. I don't see or hear any benefits to making wire connections a little shorter, but it sure can be the pits if you don't have quite enough length to reach where you want to go. It's happened to me more than once, so I don't fiddle with 0.5 lengths any longer.
  11. I'm mystified -- which was the rude comment?
  12. Gary RC: One of the best Lps I have is a mono Westminster Classical Sampler from the late '50s. Starting in the mid '60s, I used Thorens turntables, SME arms, and a succession of Ortofon cartridges. Hi Gary, Those Westminsters were truly great> That mono setup you had is likewise unimpeachable, which is a good thing these days! The old Nonesuch LPs were tops in my book as well.
  13. Hi Bruce, Thanks -- I don't know anything about non-classical music, don't listen carefully enough to it to judge digital vs analogue. I just believe that every clearly digital classical LP I've ever listened to has had the same negative characteristics that I tried to spell out here. I've run across a few classical LPs that were made in the 1970s and 80s that had the same symptoms and tend to believe they were digital masquerading as analog vinyl. I had to get rid of those too. I'm not the only fan who thinks that, BTW. I absolutely do NOT have the same reaction to well-recorded CDs and DVDs, so there must be something evil that specifically.creeps into digital LPs. I don't recall any openly digital classical LPs that I thought sounded great. For some reason.
  14. The Paragon was a wild swing and a miss back in Klipsch's day -- it appears to have been intended as a continuous wall of sound, with the convex front spreading the sound across the stereo width from left to right, but of course unable to do imaging in any original sense of the word. The riser legs precluded any deep 33 Hz bass like the K-horn could easily do, and the reflective surfaces weren't conducive to an even frequency response. JBL loaded it up with their super-expensive top-line drivers which were wasted in unsuitable cabinetry. There was no uniform theory of sound propagation such as horns or direct drivers -- just a mish-mosh of slick-looking ideas that was supposed to look impressive if you didn't care how it sounded -- which was NOT good! Heavier than hell, though. The Metrogon was smaller, lighter, and sounded worse.
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