LarryC

Are you seeing that the top half of the bass bin mirrors the bottom half? The top half is like the bottom half was turned upside down (and vice versa). Or something else? Larry

I wonder if there's some significance to Klipsch suddenly showing a lot more about Heritage on its home page? I also like the blue color scheme better than the previous fires-of-hell bent. It would be nice to think that a seismic shift in Klipsch marketing might be under way! Larry

Thanks, guys! I would like a Brahms R. that encourages me to come back to it. Max, I don't have a perfect Verdi R., either -- my performance model is the old, grainy, mono Toscanini and no other versions have satisfied me. Forrest, thanks for the big boost for Gardiner. Wolfram, I'd be very happy to wait until you spin both. Again, many thanks -- Larry

---------------- On 1/19/2004 8:52:20 PM Woodog wrote: ---------------- Ha! I am totally unfamiliar with Rachmaninoff's Liturgy of St. John Chrysostom, so I'll be looking that one up. Rachmaninoff is great winter music. I'm currently learning two preludes, Dminor from op. 23 and the G#minor from op. 32. the Virgil Fox CD, Digital Fox (the first direct to Disc digital (classical music) recording in the U.S. (or so it claims) is on BainBridge, 1983. It is probably out of print, but it shows up on Ebay from time to time. there are other works besides the 2 Bach works on this disc, but those two are the gems. I have to admit that Fox's interpretations are overly 'romantic' vs. 'pure baroque', but goodness his playing is sweet. As for the Brahm's requiem, John Elliot Gardiner has a decent interpretation out. ---------------- OK, great. I found one Fox CD when I picked up the B minor Mass -- it has the Toccata in D Minor but not the C-major item. I have the Biggs recording of that, which maybe will do. I've never heard any Fox recordings, as I said. Do you think the Gardiner is special, as opposed to, well, merely decent? Wolfram mentioned the Gardiner, too, and the Herreweghe (not known to me). I.e., will I be captivated by either of these? Please let us know what you think of the SJChrysostome -- Larry

---------------- On 1/19/2004 12:56:56 PM Woodog wrote: Here are a couple of CD's that remain among my most often played...Bach: B Minor Mass: Monteverdi Choir.... Virgil Fox: Digital Fox (for the Toccata and Fugue in d mol as well as the Toccata Adagio and Fugue in C ... monster piece THE most beautiful Adagio.. I swear).... Ravel Gaspard de la Nuit : Martha Argerich (anything piano with her name on it is good). A VERY well done interpretation of this ultra-virtuostic piano piece.... Rachmaninoff: Vespres, op. 37. The Choral Arts Society of Washington w/ Mstislav Rostropovitch as conductor.... If you wish to sample choral music, and I golly gee do hope you do, anything put out by the Robert Shaw Choral, or Chanticleer, or King's College Choir (Stephen Cleobury, conductor) is a good bet. enough for now, Forrest ---------------- Forrest, Thanks very much. I've been wanting a good Mass in B Minor, and, with finally a good recommendation, I just now bought your rec. What CD brand and how do I find the Virgil Fox? Many on the Forum have mentioned him, and it's time for me to do it. I don't recall having heard the Toccata, Adagio and Fugue in C. Also, while you're at it, do you have a recommendation for a good Brahms Requiem? Anyone else -- Max? I have the old Klemperer LP album with Schwarzkopf and Fischer-Dieskau which I don't find exciting, and a 1977 von Karajan. The Rach Vespers haven't ranked as high with me, and I've heard it live and have a Rob't Shaw CD. The Rach I find VERY impressive is the Liturgy of St. John Chrysostom, by Charles Bruffy and the Kansas City Chorale on Nimbus. Yeah, I know, Kansas City is a surprise, but the group sounds very very good, and the "Protodeacon" (?) is sung by a Father Andre Papkov, an apparently well-regarded soloist in Russian Orthodox music in the U.S. and Moscow. Sounds authentic to me, and what do I know? I'll think about the Ravel, may give it a try. Larry

---------------- On 1/19/2004 11:03:29 AM maxg wrote: Larry - that's quite a list you have there and contains a reasonable balance (bit Mendelssohn heavy maybe - not a bad thing - at least you will get a good grip on the master of strings). Maybe introduce a few more concerto's later....Hadyn - seemed to turn out a symphony a week.... Bengamin Britten did a series of Young persons guide to the Orchestra - many of which are narrated. It is an excellent introduction to the sound of the various elements of the orchestra....I would like to stress relaxing (that sounds like an oxymoron if ever there was one). It does seem like your method is rather laborious and studious. Whilst that is to be commended dont forget to enjoy the music.... ---------------- Max, Thanks for the comments. Mendelssohn was a great writer for woodwinds and voice as well as strings, so he serves up good examples for it all. I agree about the concertos -- as I told Gary, this is a "living document" to which I am frequently adding more examples for listening. While I mostly agree about the later Haydn symphonies, one cannot go wrong with the very entertaining Nos. 6, 7, and 8, the "Morning" "Noon" and "Evening." Those might be a rewarding early disc purchase, and all three can often be found on a single disc. I chose the "Farewell" because one can easily hear individual instruments and what their departures do for the sound...of course, having the score helps.... The Britten Young Person's Guide to the Orchestra is very good, as is the Saint-Saens Carnival of the Animals and the other I think you had in mind. My purpose is to show how instruments are used in more every-day works. In fact, the main purpose of this approach is HOW to listen, admittedly laborious in the short term. But, I send Gary home with records, NOT with the scores, heh heh. The Classical Music for Dummies CD sounds very interesting, Chris. Larry

There is a great richness to the selections mentioned in this thread and a great display of forum members' knowledge about classical music. However, it might be difficult for someone not familiar with classical music to know where to start. GaryMD and I are working our way through a list of works which I thought might provide a semi-organized start to achieving that purpose -- just a beginning, of course. Our approach is to pull out the score (I have over 100 scores handy, mostly Dover paperbacks) and go over important points to focus on like key instruments, obvious organizational landmarks, etc. Gary reads music quickly and has been very attentive to instruments in all his non-classical listening, so he's well ahead in this approach. I use the score for visual reinforcement of the appearance of specific instruments and passages, and it seems to work. (I believe composers' expertise in writing for instruments is an important part of how well they do it.) Below is the list of works and brief descriptors we're using, offered as suggestions for those who might like to consider them. Our goals are: Familiarity with works mentioned on the Klipsch Forum, e.g., by MaxG, ChrisK, Paul Parrot, others Increased familiarity with instrumental and orchestral sounds and effects Increased familiarity with the structure of works Increased familiarity with specific great works and composers The following is the list, which we're half-way through. The one-phrase descriptions are mine alone, so take with a grain of salt! *1. Symphony No. 45 in F♯ minor, Farewell, last movement , 1773, by Josef Haydn (1732-1809) o Clever instrument-by-instrument exits, clear demo of orchestration and diminishing orchestral texture * 2. Queen Mab Scherzo, from Romeo et Juliette, 1839, by Hector Berlioz (1803-1869) o Extraordinary, very quiet but fascinating fantasy piece, remarkable orchestral detail * 3. Jupiter and Mercury, from The Planets, 1914-1916, by Gustav Holst (1874-1934) o Powerful and fascinating composition, imaginative orchestration * 4. Hebrides Overture (Fingals Cave), 1832, by Felix Mendelssohn (1809-1847) o Masterpiece of evocative themes, orchestration, and scenic tone-painting *5. Toccatas in F and D minor, Passacaglia in C minor for Organ, by Johann Sebastian Bach o Mighty organ works demonstrating low 16-ft. C (32.7 Hz) and D (36.7 Hz) * 6. Praeludium from Sonata No. 1 for Solo Cello 1720, by Johann Sebastian Bach (1685-1750) o Six very absorbing and dazzling sonatas for only a single instrument, no accompaniment needed * 7. O Fortuna, from Carmina Burana, 1837, by Carl Orff, German composer (1895-1982) o Powerful, primitive-sounding vocal and orchestral and writing, heavy on percussion * 8. Symphony No. 5 in C minor (four movements), 1806, by Ludwig van Beethoven (1770-1827) o Quintessential symphony powerhouse, grand philosophical theme; all movements reward study * 9. Symphony No. 3 in C minor, 1886, by Camille Saint-Saëns (1835-1921) o THE work for symphony and organ, with exciting, massive orchestral, tonal, and organ effects *10. Overture (1826), Ye spotted snakes, and Nocturne (1843), from Midsummer Nights Dream, by Felix Mendelssohn (1809-1847) o Gossamer, lively, fairy-tale-like music; overture a work of genius by 17-year old composer *11. Symphony No. 4 in A (1833), the Italian, by Mendelssohn, his best-known o Especially tuneful, vigorous, interesting instrumental detail 12. Semiramide Overture (1823) by Gioacchino Rossini (1792-1868); brilliant comic opera music Les Préludes (1854) by Franz Liszt (1811-1886); tone-poem with imaginative orchestral effects 13. Der Freischutz Overture (1821) beginning; Carl Maria von Weber (1786-1826): great french horns Swan of Tuonela (1911), Jean Sibelius (1865-1957): great work for english horn and orchestra Sinfonia Concertante, Violin and Viola (1779) first movt, Wolfgang Amadeus Mozart (1754-1791) o These will increase familiarity with the french horn, english horn, and violin versus viola. 14. Moldau (1874), by Bedřich Smetana (1824-1884) o Famous, tuneful, very colorful work a tone poem with a program, like Liszts Les Preludes 15. Symphonies No. 9 (New World) and 8 (1893 and 1890) by Antonin Dvořák (1841-1904) o Selected movements, by Czech composer who taught composition in NYCity in 1892-1895 o From the New World has evocative, American, woodland-scene-like effects 16. Symphonies No. 4, 5 and 6 (Pathetique) (1878, 1888, and 1893) by Peter Iyich. Tchaikovsky (1840-1893) o Master of melody and impassioned, raw emotionality 17. Peludes to Lohengrin Act I (1848) and Parsifal (1882) by Richard Wagner (1813-1883) o Ultimate master of orchestration, orchestral power, and operatic drama 18. Symphony No. 2 (Resurrection) and Kindertotenlieder (1895 and 1902) by Gustav Mahler (1860-1911) selected movements o Master of beautifully orchestrated, deeply emotional works using great melodies, musical parody and grotesquery to create multiple layers of mysticism, imagery, and personal reference 19. Firebird (1910) Petrushka (1911) & Rite of Spring (1913), ballets by Igor Stravinsky (1882-1971) o Vividly orchestrated, rhythmic, early 20th century cutting-edge works. Rite of Spring began the modern era in classical music with a riot at its premiere in March 1913 20. Bolero (1928) by Maurice Ravel (1875-1937) Scheherazade (1888) by Nicolai Rimsky-Korsakov (1844-1908) Sorcers Apprentice (1897) by Paul Dukas (1865-1935) o Famous, imaginative, colorfully orchestrated works Follow-up extending above selections: Beethoven symphonies nos. 3 (Eroica), 7, and (?) 9 Beethoven overture, e.g., Egmont or Coriolan Beethoven concerto, e.g., no. 5 (Emperor) or 3 or 4 Schubert lied example, e.g. Fisherweise Schumann, selections from symphonies 2, 3, or 4; Liederkreis Op.39 Smetana, Overture to the Bartered Bride Wagner, something from the Ring operas, e.g., Entrance into Valhalla, etc. Mahler, symphony no. 4

I'd like to add a few works w/performers. The Saint Saens "Organ" symphony, No. 3, is a real demo spectacular for Klipsch. Besides truly vibrant orchestration, the organ descends to a low, 16' D-flat (34 Hz) in the slow movement and to the 16' 32.7 Hz C in the finale. I know of two standout recordings, both quite old but exciting and driven: Charles Munch and the Boston Sym on an RCA CD, and Paul Paray and the Detroit Sym on Mercury. The Munch has better sonics and his ability with flexible tempos to carry great climaxes. The Paray on CD is an utterly driven recording (more so than the old LP), right to the remarkable last chord. This would be a prime candidate for an SACD rollout mentioned by Paul Parrot. Johann Strauss' works were performed ad infinitum through the 1960s and I think 1970s by the Vienna Philharmonic conducted by its one-time concertmaster, Willi Boskovsky. I don't know whether these are the best, tho' they are certainly Viennese. My favorite recordings are mostly on long out-of-print LPs. I'm using some of them for a classical-music survey and walk-through that I'm doing with GaryMD. I'll just mention ones that I like, in case they have been reissued on CD or you run across cast-offs: Mendelssohn: A Midsummer Night's Dream, complete with sung and speaking vocal parts -- Boston Sym, Leinsdorf Holst: The Planets, Boston Sym, Steinberg Mendelssohn: Sym No. 4 ("Italian") and 5 ("Reformation"), English Chamber Orchestra, Leppard So far, Mahler is missing from the thread! Paul Parrot is extremely knowledgeable and up to date on recordings of his symphonies, in case he wants to post on them, so I'll just mention a different, equally fine type of Mahler: the song-cycle, Kindertotenlieder. I have an old LP, Fischer-Dieskau, the Berlin Phil. conducted by Karl Bohm. Very intimate and affecting. And, the Bach six sonatas for solo cello. Yo-Yo Ma has excellent, slightly laid-back performance on CD. I believe Janos Starker's is still available on Mercury CD, if a more vigorous performance is wanted. Here are a couple of fine recordings of music from the turn of the 17th century: Monteverdi's great Vespers of 1610 on an outstanding recording by the Boston Baroque on Telarc; and fine performances of Giovanni Gabrieli's music by the Taverner Consort, Andrew Parrott cond., on a 2-CD Veritas album, "Venetian Church Music." Larry

Tom, Beautiful K-horns, in a beautifully appointed and furnished living room and nearby kitchen! It looks like the molding and maybe the cabinetry are oak as well, a pleasing combo. What a terrific setup and great room for the speakers! I think this shows that K-horns have an excellent, classic, living-room appearance as fine furniture, and yet can function extremely well as one of the greatest speakers ever. What other speaker can claim all that? Larry

The 1400 is/was the least expensive of the pricey but high quality Basis line. I'm not sure it will stay in the lineup. Basis seems to be slimming down its dealer lineup, and recently changed its distributorship from Musical Surroundings to Profundo, which also distributes Transfiguration cartridges. Anyway...unfortunately, Basis discontinued some internet dealerships that had the best web displays of its products without getting its own website into shape, so it's not as easy now to find much detail or good pics. The best I've been able to find is at www.takefiveaudio.com/basis_turntables.htm. The 1400 is the only clear acrylic table in the line, and it appears it cannot be upgraded. Basis's tables in its 2000 series are either suspended or can have an active suspension added as an upgrade. I have a very hybrid Basis, an Ovation with the higher-line Debut platter and bearing and updated silicone suspension cartridges. I have always thought my Basis has a very musical playback quality. Larry

I think it looks overly satanic at times. The copper color may interfere with how well speakers will appear on the home page, especially if fine wood grain starts showing up (don't we hope!).

---------------- On 1/11/2004 6:48:56 AM 3dzapper wrote: If you are interested in spending a bit more money Klipsch has availiable an upgrade to the latest drivers and network. The cost is about $1800 for the two AK4 networks, new design squaker drivers and new tweeters. That will bring them up to 2004 sound wise. Rick ---------------- James, The AK-4 upgrade Rick mentioned also includes new Klipsch-spec'd Monster Cable internal wiring, pre-cut and terminated and ready to "drop in". I thought it a definite improvement when I replaced my 1980s-vintage drivers and crossovers. Costly, tho'. Larry

Thanks to Fini's outstanding help, here's a pic of my 1962 mahogany laquer K-horn grain. It seems less prominent and regular than the Jubilee's, but still similar. Larry

I couldn't find the max power output of this unit on the Panamax site, a peculiar omission, and that's a critical point of information! A similarly pricey competitor is PS Audio, which sells the P300 (300 watts max), the P600 (600 watts), the P1200 and the P2000. I don't think these have the surge protection and other Panamax do-dads. The P300 costs about the same as the Panamax, and the others head rapidly upward. The nice thing about PS Audio is that they'll sell you one with a 30-day FULL money-back guarantee, which basically means an in-home trial for only shipping costs both ways if you decide against it. Aside from cost, disadvantages are notable: they consume approximately twice the power they deliver because of how the regeneration works; they put out noticeable heat; and an audible fan goes on at higher power outputs. Moreover, I didn't find any advantage to powering my pre-amp or tuner, although you can change the "line" frequency from 60 Hz, e.g. to 90 Hz, allegedly making some components sound better. On the other hand, I heard some improvement in powering my digital (CD) equipment, and, surprisingly, a very noticeable improvement in my motor-driven stuff, namely my turntable (!) and cassette deck, so I have to keep it at 60 Hz. YMMV. Larry

No problem, Keith, just takes a little focusing

Fini, thanks, I would love your help!! The Klipsch server originally wouldn't complete uploading my pic, a big digital file (this has happened repeatedly in the past). So, I used PE to "save for the web" to reduce the file size and, while I was at it, crop down to show the grain better. The K. server finally uploaded the result, but then the posting came out a big magnification of what I thought I had. While I think I have the HTML codes to post in the message, I need to solve the basic things. I am in total digital kindergarten here. Perhaps you can give me elementary pointers about what the hell to do. I may need to be talked through it. Larry

Rats!! I still can't figure out how to use Adobe PS Elements to prep and post pics here. I can e-mail if you want.

---------------- On 1/7/2004 12:26:26 AM T2K wrote: Looks close to my mahogany Klipsch Synergy's. Keith ---------------- This is a pic, maybe too close-up, of 1962 K-horn mahogany laquer. Larry

Greg, Can you put an active link into your post/posts? Thanks --

---------------- On 1/5/2004 10:22:56 PM tillmbil wrote: Larry, I keep running through my mind how to fit a pair of Khorns, but it just won't work. I did tell the wife the next house will have an upstairs room just for me and they will be added. She said with a new house it would be OK. The deal seems kind of expensive; new bigger house for a set of Khorns. What do you think? ---------------- I don't think I want to touch that one! K-horns are a beautiful presentation as furniture, IMO, especially since they tuck nicely into corners. I wouldn't want them too hidden away. Did you get your Grado, and how does it sound? Can you get a trial of a Monster power unit if this one doesn't work out? Larry

---------------- On 1/4/2004 10:21:31 PM tillmbil wrote: ...I have just been getting that itch to see if I can produce better sound. ...How are the Khorns treating you? The ones Jazzmansound are selling are really appealing. If only I had more room I would definitely be interested. ---------------- Bill, I/we'll be interested to hear how it all sounds after you get all the electronics in place -- maybe you won't need any tweaks or accessories. Your current listening room looked terrific in the earlier pics; can you fit K-horns in another room, like I did with mine? Larry

---------------- On 1/4/2004 8:40:21 AM tillmbil wrote: I have been considering purchasing a line conditioner for my 2 channel system. Is there any sonic gain . . .? I have been looking at the monster2600 ---------------- Bill, I don't have any experience with those, but, at a much pricier level, I have been using a PS Audio P-300 power regenerator and have had notable sonic improvement in some components. Go to www.psaudio.com for more information. It converts line current AC to DC and re-synthesizes a pure AC sine wave. The company states that it is not a filter or line conditioner. The AC output frequency can be varied, which some claim benefits a variety of components. I, however, use it only for my CD player, turntable, and cassette and reel-to-reel tape decks, whose motors of course require 60 Hz. The good news it that, oddly enough, it effected an audible sonic improvement in all the above components, even the TT. The disadvantages are (1) the regeneration process approximately doubles the power consumed so it's not very green (or cool in the summer); (2) the P-300 is limited to 300 watts output, which is no problem with the items I use it with; and (3) it adds a step or two to turning everything on. Fortunately, I found no advantage to using it with my pre-amp or tuner, and I felt no need to consider having to get a more expensive higher-power version for my amps. PS Audio will sell these with a full 30-day money back guarantee. The customer pays shipping both ways, and one must keep and return with the original packing materials. Anyway, an interesting item, if not very reasonable cost-wise. Larry

---------------- On 1/3/2004 6:23:51 PM NOSValves wrote: Ben, Sharp catch there I wasn't thining that he wouldn't have a clue about are American slangs ! Cheers Craig ---------------- Yeah, the Swiss probably only know about Swiss cheese!

Fini, do you hear TT motor noise through your cart, in addition to feedback from outside the TT? I still wonder about a problem with internal TT isolation -- did you ever get info on securing for shipping? Is something around the tonearm or the plinth resting on something it shouldn't? Is the plinth suspended on springs and moveable, or is it cinched down? Larry

While you're waiting for more "feedback" -- the feedback you're getting on this TT sounds extreme, like something incorrectly rests or rubs on something else, thereby conducting feedback directly to the arm and bypassing whatever isolation is supposed to be there. Sometimes TTs have a shipping screw or whatever to hold things together and keep them from flailing around until it's unpacked. You might see something like that on the bottom of the TT. If the upper chassis is supposed to "float," loosening said screw or whatever allows it to do so and might solve some of the f/b problem. Larry