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About LarryC

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  1. Good! I haven't been keeping up with things, but I hope they went to a decent mid-horn size and crossover to finally distinguish the midrange from the Heresy. That comment probably shows my datedness as well as my opinion. I thank you -- to me, this is very good news. I hope the reviews are really good. Larry
  2. So what's going to happen with Cornwalls? Larry
  3. LarryC

    Classical music?

    For an even more mind-blowing visual and sonic package, go to the brief storm movement of Richard Strauss's Alpine Symphony, which features incredible brass array, a wind-machine, and thunder-machine (sheets of tin) and a huge orchestra in general: Incredible. -- Larry
  4. LarryC

    Classical music?

    What Beethoven recommendations do you have in mind? Beethoven had a lot of amazingly well-judged timpani parts (of course) but Berlioz for one reached well beyond him as did Wagner and Dvorak (8th, 9th symphonies). I just didn't have time to to search out the Wagner examples. Listen to the first movement of the Dvorak 8th -- I suggest Honeck and the Pittsburgh SO.
  5. LarryC

    Classical music?

    To REALLY get the full impact of the timpani and brass in the Berlioz Requiem, please focus down specifically in the previous Youtube excerpt to minutes 20:22 to 27:00! This is a much shorter segment than what I gave everyone before, and gives a fuller impact. The excerpt below repeats the link, but lets you go right to the desired passage; Just skip to min. 20:22. I'm very much a believer in live performance passages you can see as well as hear. Some other links in this thread are just static pictures which don't tell as good a story. That's why I give you the more live links such as the following. HIGHLY RECOMMENDED!!! -- Larry
  6. LarryC

    Classical music?

    You want interesting timpani parts? Go to Uranus in The Planets, scored for 6 timpani with 2 players. Each one is tuned to a different note, thus encompassing most of an octave and some remarkable rhythmic and melodic passages on the timpani alone. I recommend two Youtube videos to see and hear this remarkable movement -- BBC Proms from, I believe, 2009 (you can see the entire work, well worth it) Berlioz was a remarkable innovator on all instruments, and you can see amazing use of many timpani both forte and piano, in his Requiem. https://www.youtube.com/watch?v=LWU7T9zYEks There is an excellent DVD conducted by Colin Davis in the Regensburg cathedral. The whole requiem is well worth watching/hearing. Larry
  7. LarryC

    Classical music?

    This thread contains an incredibly rich and well informed discussion IMO. Some of the recommendations such as The Planets should demand your early attention. Two composers to give special attention to are Beethoven and Tchaikovsky— Beethoven in particular never fails to draw that attention, in almost any setting. YouTube is a GREAT site for classical music because it has overwhelming opportunities to both WATCH and LISTEN to well performed great work. I suggest Beethoven‘s symphonies 3, 4, 5, and 9, Schumann’s 2 and 3, Tchaikovsky’s 4, 5, and 6, Dvorak ‘s 8 and 9, and Orff’s Carmina Burana. When searching YouTube, look for thumbnails showing actively playing orchestras and performers and not static album covers. OK — take it from there!!! Good luck! Larry
  8. Call and ask Klipsch -- quite high, $1,800 for a pair wen they first came out in 2002 or 2004, but I heard they'd dropped a lot later on. In my K-horns, there was great improvement in blending and coherence and linearity, with a reduction in broad peaks and dips in frequency response. Mostly. the output from the drivers came together much better, helped by the FR improvements. While the AK3's were an improvement over the AK2's, the 4's were a big jump up from the 3's in my opinion. The 4 is very complicated-looking, lots of coils and capacitors, a far cry from the elementary coil-and-capacitor for each crossover frequency of the earlier models. Very different. The raves in recent Stereophile reviews and now others online are warranted IMO. You should at least listen to a pair if you can.
  9. FWIW, I have been very happy with my AK-4 crossovers, which replaced AK-3's. These weren't cheap, but you get a Klipsch-engineered crossovers mounted on the inside of new bass bin doors, and new mid and tweeter drivers . Very smooth, well-integrated sound and dispersion. As I understand it, the AK-5 cross's were made for the newer closed-back K's; I tried them and didn't like them as well as the 4's for my standard, open back K-horns. To the best of my understanding, the AK-6 is a new design and top hat construction, and, for the first time in Klipschorn history, cannot be upgraded from earlier models -- I cannot upgrade from the 4's to the 6's. Sorry I don't have a cost-free suggestion. Larry
  10. Excellent! I have long felt that the CW III erred greatly in using the Heresy upper driver config, 800 cross and all, which made it sound more like a heresy. I thought it badly needed a 600 HZ mid horn to measure up to the original Corns with its noticeably larger midhorn propagation field. The III sounded pinched and unimpressive to me. I wish it hadn't taken so long to rectify! I certainly hope to hear it someday! Not for me so much, since I'm pretty well set with my K-horns. Larry
  11. Is this serious? I just happened to see this after not even looking at the forum for months or years. Absolutely plan a visit if you're out this way. PM me and Gary! It's OK to email me at larryclare@aol.com. LC
  12. The only "wire" I have experiencer with are (1) ESP power cards, (2) Basis speaker wire, and (3) Siltech top-line interconnects. . I can totally vouch for all 3, through members of this forum tend to disbelieve all of that. The ESP power cords are terrific on tube preamps, adding a "sparkle" that no one else seems to have. Not so special on power amps, however. The Basis wire takes tons of break-in (well over 200 hrs), has very nice spatial distribution and a very realistic sound. Rarely sold since AJ Conti died, however. I have a very expensive top-line Siltech interconnects between my preamp and OTL monoblocs. which it seems can't be beat. Tops in sound quality and spatial rendition. Caution: these are very expensive, though not as outrageous as the most costly on the market. Larry \\\
  13. As I understand it, the tracker mechanism is a direct mechanical link between pressing the key and the opening of the valve at the foot of the pipe, rather than an electrical solenoid doing the action. I believe guys get harder to press as more pipes are brought into play or something like that, a problem the solenoids bypass. More difficult but better connection.
  14. 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.
  15. 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.
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