LarryC

careful about using watco on your finish if you have a lacquer finish! I'm not sure you should do that. look on the tag on the back; e.g., WO = Walnut Oil, while WL = walnut lacquer. -- Larry

Hi Travis (great to hear from you!) and Sangbro, I have since moved and now have my K-horns in a larger room, more than 15' apart. The problem with the narrower room was the "sweet spot" was very close to the the speaker end of the room, somewhat frustrating to some listeners who wanted to sit more in the middle or other end of the room. The excellent distribution of the K-horn sound field overrode those issues for many, but I and others did feel it was a little suboptimal. In addition to the K's full range horn and room-filling propagation, the sound quality was also due to equipment selection, like the Basis LP and Wadia CD equipment and the tube electronics, especially the Joule Electra pre and OTL amps which are no longer available, My current equipment is listed in my signature below, some changed since Travis heard it. Everything in my system has been carefully chosen over the years, with a strong focus on system synergy, and any substitutions would likely produce noticeable steps down. I'll give special mention to the wire acquisitions, namely Siltech interconnects and Basis speaker wire. In particular, I replaced my internal K-horn wiring with the little-known Basis speaker wire, for better balance and more musical presentation. Also ESP Essence power cords, which are especially good with tube preamps. I agree that I don't need a sub, although classical music probably has more naturally balanced sound than non-classical music and movies. The K-horn has an incredibly seamless quality in transients and propagation, and just the character of the sound, and I would be concerned that the character of the sound would not be as uniform with the addition of non-horn and non-Klipsch drivers. Again, this may be more or an issue with movies and some non-classical. Although I have religiously updated my K's every time one appeared, The AK-6's were the first time in the long history of K-horns that could not be updated, unfortunately. So, I am sticking with the very, very satisfactory AK-4s (crossover network and matching treble and MR drivers, new bass bin panel door). -- Larry

I have had tinnitus for over 20 years, more experience than I ever wanted! Mine combines in weird ways with differences in frequency balance. I have a great deal of tinnitus aggravation from massed, highly distorted high frequencies, such as distorted radio or pop music or jazz. Soothing classical music doesn't seem to bother me nearly as much, and I have always attributed this to a much lower distortion level from classical. I try to minimize any sound which irritates my hearing or makes the tinnitus worse. Also avoid any intakes that make it worse, Like, for some victims, salt or alcohol or tobacco. I haven't consumed alcohol for at least 20 years! -- the added tinnitus and buzzy vertigo, that goes on for several days, just isn't worth even an occasional sip! -- Larry

I agree with this. While differences in wire can usually be subtle, Who knows what kind of odd combined effects you'll get if you have a double pathway of odd wires. I also agree these are fine speakers. While you're at it, try sticking a Dragonfly into the circuitry if there's a USB port to take it. You don't have to do any more than that -- no extra DAC'e, added amp connections or whatever. The Dragonfly seems to substitute some superior DAC circuitry into the works, without extra hooking up, and it sounds clearer, more musical to me the places I've tried it. --Larry

Agreed. The smaller MR horn made the III sound a little too much like the limited MR-horn-Heresy of that period. -- Larry

Dave, I thought you were going to move to Maryland. Yes, No? What happened if so? Larry

Naturally I'd agree with this (see admittedly pricey equipment list) but would add Basis. They have a very nice, pure, musical sound, impeccable construction that lasts forever, etc. Their tone arms are truly world class. Robert Harley of The Absolute Sound is over the moon about the line. Sadly, AJ Conti, the analog genius behind the line, wasn't even 60 when he passed away just a few years ago. - Larry

Rage by Bob Woodward. Woodward's methods and "secrets" are well described there and elsewhere. The result is extremely credible and extraordinarily easy and quick to read. You'll breeze right through it. Informative detail on numerous puzzling stories you've heard over the past year. https://www.simonandschuster.com/books/Rage/Bob-Woodward/9781982131739

Very interesting and good to hear. No, no provision to change the class. What wattage output at 8 ohms do you estimate for mine? What do you think might be the sound difference between A's and mine? - Larry

Very interesting, Backfire! What db output would be generated by a couple of watts into Class A? I don't believe any schematics are available for a Joule OTL, which makes them very difficult to repair. I use Rich Brckich of Signature Sound in Liverpool, NY, the one who worked with Jud for many years. Yes, they do sound superb. -- Larry

Thanks, Backfire. Mine have been described as very esoteric (they probably all are!). Jud called them "class A SET" (they may not be SETs). They do sound like class A as well as like the OTLs I have heard. Where are you located? I'd be glad to have someone stop by for a look-see if desired. Below is Jud Barber's writeup of the design of the circuit you wanted. Do you know of another amp designed like this one? There are those, like Harry Pearson, who have stated this is one of the best amps they have ever heard: "The Joule Electra VZN-100 is a single ended triode power amplifier that does not need an output transformer. The output stage consists of asymmetrical pairs of paralleled triodes, three tubes per half, which are driven out of phase and then paralleled resulting in cancellation of the DC component in the output of the amplifier. This type of design requires very careful layout and attention to the multiple power supplies required for proper operation of this circuit. The circuit is referred to as a bridge configuration, but the similarity stops there. The overall circuit design takes advantage of numerous tweaks. The circuit is biased full Class A at 100 watts into 8 ohms. The design goal was to drive specified speakers with an average input impedance of only 3.2 ohms." (The K-horn bass driver has 3.2 ohms impedance as I recall.) Other circuit details are provided in narrative form. I doubt that I can answer any questions, but I can refer you to a capable tech who worked with Jud for over a decade. -- Larry

Thanks Backfire. Mine have been described as very esoteric (they probably all are!). Jud called them "class A SET" (they may not be SETs). I'll dig out Jud's description and post it some day. They do sound like class A's as well as OTLs. Where are you located? I'd be glad to have someone stop by for a look-see if desired. -- Larry

My understanding is that the output tubes are NOT necessarily capacitor-coupled to the speaker in an OTL. That apparently was the case with very old designs such as Futterman, but not more modern designs such as my Joule Electra. There, my repair guy is emphatic that there are no capacitors in the Joule output signal path. He thinks the speaker is directly connected to the plate of a 6C33B. Jud Barber, who designed and made Joules, felt strongly that music detail is lost in an output transformer. That may well account for why Joules are extraordinarily transparent, and very linear to my ear. However, it is very difficult and costly to design an amp without an OPT. Otherwise there would be more of them! Disadvantages are high current consumption and heat output. My heat output with only 12 OP tubes is tolerable but does need A/C. Joule 100-watt OTLs have a rather high 10 ohms output impedance, so that the sound is a little thin and light in the bass. I try to compensate some with component selection including speaker wire, but by and large my system is very well balanced IMO. My Joule VZN-100's have six 6C33B's on each side. Like Atma-Sphere, the issue is addressed by having more tubes to reduce impedance than you would need in a P-P. -- I just don't have as many as Ralph K. does. I would put my amps up against any that I have heard. -- Larry

Off-topic, to Dave Mallett: Weren't you going to move to Beltsfile, MD or some place like that? Where are you located at present. I live very near there and would like to chat. Garymd lives not very far from there, and would want to do the same. email me at larryclare@aol.com. Thanks. -- Larry

What a fascinating collection of ingenuity and expertise! My avatar (qv) is one of a pair of Joule Electra 100-watt OTL monoblocs. Jud Barber had a wonderful sense of design, and I find there amps very attractive. He apparently wasn't a great circuit engineer. I have a JE preamp which has always been my favorite preamp. Jud has long faded from the scene, and his products are now very hard to find on the used market, for good reason. Of course, I can't tell you a dam thing about them, -- Larry

Micro, is this the same fundamental design, or iteration, as the "London" cartridges from the 1960's? I've never heard one since then, but recall they had a great, very clear, and rich musical sound, perhaps the best of any cart then available. However, like too many carts of that era, record scratch and wear that occurred on virtually each playing were all too audible, and no one wanted to lose their record collections that fast. The Fairchild 232 (MC, w/transformers) also had a first-class musical sound, but audible wear, with each playing. It took the top-quality Shures and ADCs, and better tonearms, to get around the record wear problem, though they never equaled good moving coils IMO. How are the Londons now on record wear? Thanks, - Larry

I know nothing about the salaries or demands of city managers, but there must be some market forces at work to cause this, such as unusual talents in finding good people, keeping things cool and making things work right politically, etc. Some would be surprised that, with a certain amount of high-priced talent in the uppermost reaches of an excellent symphony orchestra, the highest paid musician is often the conductor, although many would assume he or she only has to wave their arms just so. But that's what a community sometimes has to do to get someone they like in that job. Same sort of thing? Funny thing is, good conductors are frequently very well liked, and aren't begrudged the money, if so. -- Larry

The higher grade outlets I used came in orange, gray, or white. I wondered if the orange versions weren't necessary for commercial use, but to help builders and stores spot them quickly. The color wasn't required by anyone. -- Larry

LaScala if it fits. I don't think a K will, and it looks like the Cornwall won't either and perhaps not a LaS. Better measure and make sure your eye's aren't fooling you. You also need room for all that stuff. You might want to go the latest Heresy, since they are now ported for better bass. You never know how anything will send in a room like that, and we can't even see what's behind you in the pic. -- Larry

Ain't that the truth that $10,000 is quickly spent! Also, you can see how much trouble is involved with shipping carts around for "retipping" compared to just getting a fine MM to begin with. From what I've heard myself, high-line Ortofon MM's have a great sound and may outstrip something like the opaque sounding Glider -- JMHO. (I don't like hi-output MC's anyway). At least in the past, Needle Doctor has been a good source of advice and online purchase, unless you have an outstanding local store. -- Larry

Moving coil, especially low-output, is in a different world from MM because of the much greater demands placed on electronics and associated equipment by LOMCs on preamps and electronics, by greater gain differences between models, and greater clarity and transparency from good moving coils. These considerations can wash through the choices made through your entire system! LOMCs have a much greater range of gain choices than MM, which can be very difficult to deal with and require more careful matching to maximize benefits and minimize noise. Better turntables and tonearms will show up more with a more transparent cartridge. A system's cost may be greater with LOMCs for these reasons. It may be best to purchase from those with active experience in selling and putting together systems. Be sure to listen as much as possible before buying if you can. Component synergy can make a real difference in your system. The three components of LP player quality -- turntable, tonearm, and cartridge -- all need to be considered. Tonearms have been a tad underrepresented in this discussion so far, though there may be a little less to say about them, but tonearm quality should not be underrated in your decisions. -- Larry

I agree he sounds like a good ENT, notably so for your condition. I've had Menier's in only one ear for over 20 years, hearing has been stable and "normal" in the other ear all this time. Gabapentin hasn't affected it. This is very tough luck for anyone, I devoutly hope you improve! Best, Larry

While "OL" was mentioned by Srinath above, the Khorns in the pics above are plainly walnut. This is confirmed by the "WO" on the tags -- Walnut Oil. Sorry to have contributed to any confusion. -- Larry

Can they just be refinished? Klipsch veneered products have been pretty good, and refinishng is a lot easier to do. Its veneers have usually been in attractive, well-balanced grain patterns, whereas randomly-selected grains can look funny and out of place. Also, you want almost book-matched pairs of veneers so that they look right when looking at a pair of speaks. Lots of opportunities for going astray. I wasted a lot of time several years ago looking for someone who would and could re-veneer my beautiful mahogany B-style K-horns, but refinishing gave me a much better looking pair of K's! It's hard to beat 1962 Mahogany veneers. -- Larry

I believe OL is Oak Lacquer, and that's a beautiful, rather prominent veneer. Note the extensive book matching in the B-style; each front panel is composed of mirror-image halves for symmetry, and the front panels are mirror-imaged with each other. Also true of the tops, and to some extent the side panels of the top sections. -- Larry