Jump to content
The Klipsch Audio Community

LarryC

Heritage Members
  • Content Count

    7493
  • Joined

  • Last visited

Everything posted by LarryC

  1. 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.
  2. 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
  3. 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
  4. 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
  5. 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 \\\
  6. 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.
  7. 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.
  8. 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.
  9. 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.
  10. 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
  11. 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.
  12. 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.
  13. 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
  14. 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
  15. 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
  16. 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.
  17. I'm mystified -- which was the rude comment?
  18. 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.
  19. 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.
  20. 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.
  21. Both, depending on what's available for me to hear and afford, as well as where it makes the most sense. It turns out that my analog equipment (preamp, amps, final stage of my analog M-D tuner) are mostly or predominently tube, while the digital stuff (CDP, TV) is all solid state. Gets complicated -- the turntable power supply is SS. The fundamentally analog Revox RTR is all SS.
  22. Rightly described as one of the most consequential presidents of the 20th century. Only FDR exceeded him in that historical stature IMO. Halted at least one nation's aggression in the Middle East. Led the U.S. and the world through the breakup of the Soviet Union to a peaceful, stable outcome and a more stable East-West relationship. Led the country out of financial decline, if only temporarily, by pointing the way toward a better-balanced budget. MHO's of course.
  23. I have little to add to what sounds like a range of very good opinions. I have an all-tube Joule Electra preamp with tube power supply, which works and sounds great as long as it doesn't need fixing but am glad I have a specialized repair person available. Amps are Joule Electra OTL mono blocs, an esoteric design that right now sounds absolutely great, probably can't be beat for me by any other amp I know of. Repair is expensive and they don't come back home anytime soon. The sound is so good that the heat and slight hum and noise are absolutely worth it to me. Each of my other components sounds just fine for me as well -- an all-SS 2-box CD player and DAC, SS Nak cassette player and Revox RTR, a mostly SS Magnum Dynalab tuner (tube output stage, which sounds better to me than the all-SS original), and SS turntable power supply. All these SS units have run endlessly for many years with no repair needs.).
  24. I didn't't think Apple's was that much, but had to have Apple replace it, all free of charge as usual. Works perfectly well now and I'd much rather have Apple's high quality USB Super Drive. Doesn't seem slow to me and I don't have disc compatibility issue of some other brands I tried. Larry
×
×
  • Create New...