LarryC
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----------------On 3/10/2004 7:46:52 PM garymd wrote:...one of the great discoveries for me was Chopin's Piano Concertos 1 & 2. The particular CD I have is Martha Argerich on piano & Charles Dutoit conducting the Montreal Symphony Orchestra. EMI recording from 1998. I have nothing to compare to since I'm a beginner here but this particular recording is very good. If anyone has a favorite recording of these pieces, I'd appreciate a recommendation.----------------
I'm not familiar with that recording, the music is a great find. I think Woodog and Wolfram are high on Argerich and Dutoit and the Montreal are exceptional, so its gotta be good. I've never found the hyped Evgeny Kissin/Moscow Philharmonic CD to be inspired (he was only 12). My favorite is a 1988 Naxos recording by -- bear with me, I'd never heard of these folks -- István Székely, piano and the Budapest Symphony Orch conducted by Gyula Németh. To me, this one has the great delicacy and feeling of the kind I like in Chopin. Why don't you borrow it and see what you think?
Larry
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----------------On 3/8/2004 12:53:03 PM John Albright wrote:I would like some recommendations for lively string ensembles. . . I also think small groups like string quartets might be a good way to get into the music. What do y'all recommend?----------------
John,
I would recommend considering some of the following very great works. I don't know about recording availability.
Beethoven: "Archduke" Piano Trio, Op. 97, some very noble music indeed. I have a Kempff/Szeryng/Fournier LP.
Beethoven: Middle-period String Quartets, Op 59 Nos. 1, 2, and 3, and Op. 74, the "Harp." The Emerson Quartet is nearly unbeatable.
Beethoven: "Triple" concerto for violin, cello and piano. This is one GaryMD especially likes. The Perlman, Yo-Yo-Ma, and Daniel Barenboim (piano and conductor) is a fireball recording which I strongly recommend: EMI 5-55516-2. Gary bought a DVD of this to both see and hear it performed.
Mendelssohn: String Octet, Op. 20. Driven from beginning to end. The Academy Chamber Ensemble is very good: Phillips 420-400-2.
Another fine work is Schubert's "Trout" Quintet for violin, viola, cello, string bass and piano. I don't have a recording to recommend, unfortunately.
Hope this helps.
Larry
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----------------On 3/5/2004 2:01:52 PM fini wrote:Ed,I'd like to not have to remove the shell from my PU (that sounded a bit odd, eh?). I'm thinking they'll have to go face down, HF sections removed (and fit in there somewhere). Can anyone give me a clear size of the "home plate" shape of the Khorn, as seen from above (I.E. the five sides)?----------------
Fini,
Go to http://www.hifilit.com/hifilit/Klipsch/1957k.jpg -- Someone needs to confirm, but I do not think the dimensions have changed since then! The top section of my B-style, including the insert, is 13.25" high (I myself like the B-style better). My home plate is 31.25" wide across the front, the parallel sides are only 12", the converging sides (which go along the wall) are 22.25", and the tip-to-front distance (max, measured perpendicular to the front plane) is about 27 3/8". Yes, take off the side grills, fastened on by famous wingnuts. Taking off the top, also held on by wingnuts (at least on mine), is a non-difficult two-person job. You need two folks anyway.
Larry
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----------------On 3/3/2004 7:36:38 PM DTLongo wrote:...it appears I am outta luck tone-control or equalizer-wise.Subjectively, the Jolida seems to be a little bass-shy, at least with my Khorns...So far, that combo is working well and it sounds great.----------------
Tom,
Congratulations! I've not had tone controls for at least two decades, and don't miss them a bit -- they never seemed to do exactly what was needed, nor did my '70's-era preamp with a 3- or 5-band equalizer. A good break-in period generally makes the bass fuller and removes initial closed-in hardness. Enjoy!
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Search on "Transparent klipschorn" -- it was in the Odds and mods forum, last post 1/26/04.
Larry
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----------------On 3/3/2004 9:51:46 AM fini wrote:So the C and D models were available in the samw veneers and finishes as the B models? Seems most of the C's and D's I see are unfinished fir. Maybe more of those were sold, given the lower cost.----------------
Fini,
See http://www.hifilit.com/hifilit/Klipsch/1957k.jpg -- The "B" and "C" were both finished, the B with a "hand-rubbed" finish (YOU wouldn't make anything of that, would you?), and "C" a satin lacquer finish. By the 1960s, there was a "D" (for decorator?) model with a raw or black finish.
Larry
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Actually, I think it's too long a drive for my inner ear, so I'll likely fly if I go. Southwest's non-stop 737s look the most promising and fly out of BWI, which was why I asked. I can take a taxi if you've already left. Thanks!!
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Steve, what kind of vehicle, how big, etc.?
Gary, can I park at your place if I fly out of BWI?
Larry
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----------------On 3/1/2004 5:44:18 PM trey cannon wrote:What I need now is some ideas from you. What would you like to do and see while you are here?....I am trying to put together an agenda; any help you can give will be great.----------------
Trey,
Would Fred Klipsch be interested in making an appearance? A few words, take a few questions (maybe!), or even attend the dinner if he's paying for one anyway again this year. There seems to be a rising respect and repute for what Klipsch is accomplishing that might be worth hearing about and discussing.
Could Roy Delgado or Jim Hunter give a talk, demo, and/or question and answer session, given the strong Heritage interest?
Larry
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----------------On 2/29/2004 10:50:39 PM Ray Garrison wrote:I am totally in agreement with the idea that those that fail to learn from history are doomed to repeat it. Studing this, or any, war from that perspective is an honorable pursuit (IMHO).I guess I just can't compartmentalize my emotional horror at the events away from the study of what, and why, what happened, happened.----------------
Part of it for me is awe over the scale and sometimes import of the events -- what people thought, how they got themselves into it, what might have been. The people, their beliefs, judgements, all that. The Little Bighorn Battlefield has the same effect (nor was it necessarily all Custer's fault, which increases the interest). You're right -- I was very weighed down emotionally after an extensive tour of the Gettysburg battlefield, wasn't real happy that I did it.
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On the second rack pic, I can read "Marantz Stereo Console" and bass, treble, right, & left. Tho' I cut them down some, I guess the files are still too big. The pics look very clear from here when I call them up from your posts.
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----------------On 2/28/2004 5:25:32 PM garymd wrote:Sorry Jim. I have no digital camera. Maybe Craig has some he can post.----------------
Gary, my route to Towson tomorrow is not that far from your place, and I can easily stop by and snap a few around 12:45 or 1:00.
Larry
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Rich, can't you put the left K-horn all the way over into the far corner on the left, instead of into the jog in the "recess"? I see the door near that corner, but can't tell how close it actually is -- is it too close? Putting the left K-horn in THAT corner can bring the whole room into magnificent, all-out K-horniness, the way they are MEANT to be! As others said, though, get them anyway and mess around a lot, you'll be way ahead!
Larry
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----------------On 2/26/2004 12:31:44 AM 3dzapper wrote:Dylanl,Frank Vanalsteen recommends damping not only the woofer basket but the entire inside of the dog house to dampen spurious resonances.Rick----------------
I used Marigo anti-resonance "dots" to damp my K-horn bass bin, placing them by a combo of Marigo's recommendations and trial-and-error. Problem is, it was possible to damp the bass bin too much and make the bass dull-sounding. I suggest caution in where and how much you use damping that you can't remove easily. The benefit was small in any case.
Larry
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As Gary said, I heard these today on my K's. The bass was VERY impressive -- powerful, deep, and very, very clean and well defined. Beyond that, I thought the entire top-to-bottom musical range and image were very well integrated, and his fine James Taylor CD sounded full K-horn size in the entire room. His Altecs generate the same kind of large, detailed image, so his Altec setup should be a terrific combination!
Larry
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How big is the main part of your room, and is the recess in the center of one wall, or to the side? The edges of the two K-horns will only be a little over 4 feet apart. The bass waves from the two sides will barely have room to breathe before they start to mix it up with each other. Paul P. is probably right that it's not enough room.
A K-horn is flush with the wall for 22" from the corner, which means 24" is just enough to clear where it is flush with the wall, but NOT enough to visually "cover" the space behind the part that angles away from the wall. In other words, the part of the side of that K-horn that stands away from the wall will project beyond the short 24" wall. This also means the bass horn lens will be incomplete on that side, as bass-horn and false-corner wisdom says that uninterrupted wall length should be more like 44" from the corner.
The 36" wall will just cover the full width of a K-horn. Better.
A larger issue may be whether K-horns can load up and properly disperse their sound in the ENTIRE room, if they are crowded into a narrow recess and far away from the room's actual main corners. The beauty of how K-horns fill a room with sound should depend on sitting in the actual corners, i.e., at room's outer boundaries, the main walls. You might hear poorer dispersion at the sides of the room, which I think K-horns ordinarily are pretty good at.
Larry
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----------------On 2/21/2004 2:16:20 PM sja wrote:I've narrowed it down (I think) to the Mahogany or black--looking for a finish that won't go 'out of style' as I plan on holding on to these forever. (choices at this time are apparently Walnut, Oak, Unfinished Oak, Mahogany, and Black)Steve----------------
Steve, can Klipsch get you good color pics or actual wood samples of the finishes to help you decide?
Larry
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Boy, does that bring back memories! The drivers and the crossover with those big air-core coils and that classic 15WK look to be in outstanding shape. How do you like the mid-range? I recall it with special fondness. Easy to see how you made the astute observation that Khorn58's early Cornwall had morphed from a Shorty.
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Bryan,
10 to 1 on Sat March 13 is now out for me.
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Bryan,
All my upcoming weekends are available, for a couple of months at least. I would prefer having Sundays free, but will gladly accommodate.
Larry
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----------------On 2/22/2004 9:35:55 AM JBryan wrote:If they're interested, maybe we can get a few of the other Klipschters like in the area like GaryMD and Klipschfoot to join us and bring some of their gear - sort of like a meeting of the MD chapter of Klipschfolk. Drop me a note if this sounds feasible and I'll start to make arrangements.Have fun -Bryan----------------
Bryan,
I live in Bethesda and would be interested in joining in. While I have very little moveable gear (we can discuss), you and others have plenty to play with. Thanks for the idea!
Larry
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----------------On 2/21/2004 11:13:16 AM Klewless wrote:CongratulationsYour Letter to the Editor published in March Stereophile was right ON!----------------
I thought Ray's letter was a masterpiece of statement, timing, and insight, that brought the stars into alignment and moved a real issue in a major mag. Congratulations!
Larry
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Is she more agreeable to moving them downstairs?
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If you want, you might re-post in the 2-channel forum, where more vinylphiles hang out. I think someone ginned up an isolation platform by cutting two tennis balls in half and putting the halves up-side down under a board or platform for the TT. It would be best to get it from them, however.
Classical Weekend
in 2-Channel Home Audio
Posted
Proko,
Maybe I missed it -- what instrument did you play?
Thanks,
Larry