LarryC
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Posts posted by LarryC
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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.
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3 hours ago, ClaudeJ1 said:
$10,000.....................no thanks.
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.
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On 1/20/2019 at 3:57 PM, Bosco-d-gama said:
Beethoven composed much of his works being totally deaf. Those of us suffering from hearing impairments no-doubt can still appreciate ‘good’ from ‘bad’ sound reproduction and obviously prefer the former over the latter. And it is a true pleasure to introduce the uninitiated to excellent sound. You can see the wonder in their expressions and sit back and wait for the inevitable inquiries about the music, the systems and the acoustics. This is a marvelous hobby in many ways.
Getting old sucks. By all means protect your sense of hearing. Methinx I can trace my troubles to jackhammers and concrete.
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
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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
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2 minutes ago, mopardave said:
I'm hoping to change the cables without changing the sound. It sounds just about the way I like with the Analysis cable. Just about, because I am never totally happy.
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
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22 hours ago, mopardave said:
need one .5 meter and one 1 meter.
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.
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On 7/28/2014 at 8:05 AM, Chad said:
Please don't post such rude comments in the Garage Sale forum...
I'm mystified -- which was the rude comment?
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Very civilized...
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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.
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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.
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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.
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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.
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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.
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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.).
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2 hours ago, USNRET said:
So I just received an 8th gen i7 NUC and I am searching for the fastest external CD/DVD/BR drive to plug in. Seems to me that Thunderbolt 3 is faster then USB Type C but a) is that true, b) is there an economical drive to be had and c) is the read / write speed of the drive and disc such that it would actually speed ripping discs to my NAS by using Tbolt or Type C over the standard USB 3 ports? My limited searches so far is just USB 3.0 other than Apple's spendy items.
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
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Looks more like an EICO than Heath. Dunno, really, but is the RTR a Wollensack (sp?). The speaker (mono setup no doubt) looks like an acoustic suspension type like a KLH or AR, but doesn't seem to be a model that I recognize.
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21 hours ago, pbphoto said:
I've swapped between the stock K77-D and CT120s on my LSII's at least 20 times and keep coming back to stock. On paper, the CT120 looks better and can handle more power, but the K77 integrates better as a whole with the crossover and squawker in the LSII. 😉
I very much agree with the part of this statement excerpted above. I tried the Crites VERY briefly several years ago, and thought the lack of spatial and frequency response blend was disqualifying. I believe it's best to leave the Klipsch engineering in place!!
I would just get a factory replacement and not screw around with non-engineered substitutes. The LS II is utterly outstanding IMO, so I wouldn't change a thing. How do you know whether you'll agree with any of those other opinions? I usually don't, FWIW.
Just be sure it's truly a blown tweeter! Find another speaker or tweeter, no matter how bad it is, and try it out. If it doesn't play, either, then you're on the wrong track. Get advice from Klipsch about how to trouble-shoot and what to do about it.
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Fini, How the Hell are you!!!??? It's been way too long a time! Any news to report to all your great friends?
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And here I thought it was "Gil".
- Larry
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The Ortofon Black is a classic MM cart, well regarded and fine-soundiing. You CANNOT tell how a cart sounds or performs just from the stylus shape or frequency response -- way too many factors that won't tell you a dam thing. I have no information on the Ortofon Blue, but would expect a Black to sound outstanding.
I also have no familarity with your other equipment, so can't predict what any particular cart will sound like in someone's system, However, my prediction is that the Black is so good in a neutral way that it will sound good in almost any combination.
This leads me to the point that I believe -- MY OPINION ONLY -- that quality in the earlier part of the sound chain will make a bigger difference than improvements later on the chain, i.e., a cart will make a bigger difference for less money than a commensurate change in an amplifier or speaker. Like I say, that's just my impression and my opinion. Bottom line is that something as good as the Black will likely override issues with other components. IMO, you can't equate having a shibata or more extended freq response with sound quality or price.
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"I don't know what your generation is, but .... "
Maybe about the same as yours (or mine), within a generation or two standard deviation.
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Marvel, do you live in Georgia, and do the voting shenanigans there have anything to do with the limited # of machines?
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Aside from that, the sheer number of notes and pen strokes a composer had to make has always been amazing to me, requiring boundless energy and persistence, That's back when they didn't have computers and music notation software, too. That it took months and years is no surprise, but it also indicates how much the composer had to carry in (almost always) his head and how much the composer had to HEAR in his head to then know what notes to put down, make the harmony make sense, keep orchestral balances, etc. etc. Schumann as much as anyone.
Larry
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On 10/25/2018 at 7:52 AM, windashine said:
for comparison … inside design philosophy
These look cut-and-paste made up of some actual K-horn wood pieces and cheap plywood make-up pieces. I guess we are looking at a "pair" of sorts, the finished one being a genuine "B" style. The other looks like a nightmare home-garage project. Re the latter, the sides of the bass horn looks like cheap plywood slabs cut to fit, while the spacers for the side grill frames look more typically robust and have the classic dark brown paint of the genuine article (pic above), so it looks another one was taken apart and perhaps badly damaged. The spacers for the tail board look very crude, as do the male-up angled pieces at the bottom of the inside of the bass horn. The one bass bin door we can see looks cheap and tacked-on.
So, that one is far from authentic IMO.
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Opinions on Crites Cornscalas
in General Klipsch Info
Posted
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