LarryC

Bruce, your fund of knowledge and curiosity is truly endless!! I'll look up the Invention Larry

Can't help on makers of the instrument, but the mandolin has a very long and storied history in all kinds of music, including classical. Wikipedia is a storehouse of such information, Mahler scored for mandolin in three of his major works, and Beethoven, Vivaldi, and Mozart wrote for it as well. 20th century composers like Schoenberg, Prokofiev, and Webern gave it greater prominence than earlier composers, perhaps due to its smaller voice standing out so nicely in smaller classical ensembles. Paganini probably used it to help keep his fingers nimble. Notable literature[edit] Art or "classical" music[edit] The tradition of so-called "classical music" for the mandolin has been somewhat spotty, due to its being widely perceived as a "folk" instrument. Significant composers did write music specifically for the mandolin, but few large works were composed for it by the most widely regarded composers. The total number of works these works is rather small in comparison to—say—those composed for violin. One result of this dearth being that there were few positions for mandolinists in regular orchestras. To fill this gap in the literature, mandolin orchestras have traditionally played many arrangements of music written for regular orchestras or other ensembles. Some players have sought out contemporary composers to solicit new works. Furthermore, of the works that have been written for mandolin from the 18th century onward, many have been lost or forgotten. Some of these await discovery in museums and libraries and archives. One example of rediscovered 18th-century music for mandolin and ensembles with mandolins is the Gimo collection, collected in the first half of 1762 by Jean Lefebure.[189] Lefebure collected the music in Italy, and it was forgotten until manuscripts were rediscovered.[189] Vivaldi created some concertos for mandolinos and orchestra: one for 4-chord mandolino, string bass & continuous in C major, (RV 425), and one for two 5-chord mandolinos, bass strings & continuous in G major, (RV 532), and concerto for two mandolins, 2 violons "in Tromba"—2 flûtes à bec, 2 salmoe, 2 théorbes, violoncelle, cordes et basse continuein in C major (P. 16). Beethoven composed mandolin music[190] and enjoyed playing the mandolin.[191] His 4 small pieces date from 1796: Sonatine WoO 43a; Adagio ma non troppo WoO 43b; Sonatine WoO 44a and Andante con Variazioni WoO 44b. The opera Don Giovanni by Mozart (1787) includes mandolin parts, including the accompaniment to the famous aria Deh vieni alla finestra, and Verdi's opera Otello calls for guzla accompaniment in the aria Dove guardi splendono raggi, but the part is commonly performed on mandolin.[192] Gustav Mahler used the mandolin in his Symphony No. 7, Symphony No. 8 and Das Lied von der Erde. Parts for mandolin are included in works by Schoenberg (Variations op. 31), Stravinsky (Agon), Prokofiev (Romeo and Juliet) and Webern (opus Parts 10) Some 20th century composers also used the mandolin as their instrument of choice (amongst these are: Schoenberg, Webern, Stravinsky and Prokofiev). Among the most important European mandolin composers of the 20th century are Raffaele Calace (composer, performer and luthier) and Giuseppe Anedda (virtuoso concert pianist and professor of the first chair of the Conservatory of Italian Mandolin, Padua, 1975). Today representatives of Italian classical music and Italian classical-contemporary music include Ugo Orlandi, Carlo Aonzo, Dorina Frati, Mauro Squillante and Duilio Galfetti. Japanese composers also produced orchestral music for mandolin in the 20th century, but these are not well known outside Japan.[citation needed] Traditional mandolin orchestras remain especially popular in Japan and Germany, but also exist throughout the United States, Europe and the rest of the world. They perform works composed for mandolin family instruments, or re-orchestrations of traditional pieces. The structure of a contemporary traditional mandolin orchestra consists of: first and second mandolins, mandolas (either octave mandolas, tuned an octave below the mandolin, or tenor mandolas, tuned like the viola), mandocellos (tuned like the cello), and bass instruments (conventional string bass or, rarely, mandobasses). Smaller ensembles, such as quartets composed of two mandolins, mandola, and mandocello, may also be found. Unaccompanied solo[edit] Niccolò Paganini Minuet Silvio Ranieri Variations on a Theme by Haydn Song of summer Raffaele Calace Prelude No. 1 Prelude No. 2 Prelude No. 3 Prelude No. 5 Prelude No. 10 Prelude No. 11 Prelude No. 14 Prelude No. 15 Large prelude Collard Sylvia Minuet of rose Ugo Bottacchiarri I have stood on the banks Heinrich Koniettsuni Partita No. 1, etc. Herbert Baumann Sonatine, etc. Siegfried Behrend Sense - structure John Craton The Gray Wolf Perpetuum Mobile Variations from Der Fluyten Lust-hof Sakutarō Hagiwara Hataoriru maiden Takei Shusei Spring to go Seiichi Suzuki Variations on Schubert lullaby City of Elm Variations on Kojonotsuki of subject matter Jiro Nakano "Spring has come" Variations Prayer Fantasia second No. Serenata Beautiful my child and where Prayer of the evening Variations on September Affair of the subject matter Makino YukariTaka Spring snow of balladsballads Jo Kondo In early spring Takashi Kubota Nocturne Etude Fantasia first No. Yasuo Kuwahara Moon and mountain witch Impromptu Winter Light Mukyu motion Jon-gara Silent door Victor Kioulaphides Accompaniment with solo[edit] Ludwig van Beethoven Sonatine in C major WoO 44a Sonatine in C minor, WoO 43a Adagio in E♭ major WoO 43b Andante and Variations in D major WoO 44bb John Craton Dioces aztecas The Legend of Princess Noccalula Giovanni Hoffmann 4 Quartet for Mandolin, Violin, Viola, and Lute 4 Divertimenti for Mandolin, Violin & B.c. Johann Nepomuk Hummel Sonata in C major Op.35 Vittorio Monti Csárdás Carlo Munier Spanish Capriccio Mazurka for concert Waltz for concert Bizaria Aria Varia data Mandolin Concerto No. 1 Raffaele Calace Mandolin Concerto No. 1 Mandolin Concerto No. 2 Mukyu motion Tarantella Song of Nostalgia Elegy Mazurka for concert Silvio Ranieri Warsaw of memories Enrico Marcelli Gypsy style Capriccio Fantastic Waltz Mukyu motion Polonaise for concert Hans Gál Divertimento for mandolin and harp Such as a duo for the mandolin and guitar Norbert Shupuronguru Serenade for mandolin and guitar Franco Marugora Grand Sonata for mandolin and guitar Kurt Schwaen Slovenia wind Dances such as Dietrich Erdmann Sonatine Mari Takano Light of silence Rikuya Terashima Sonata for mandolin and piano (2002)[193] Duo[edit] Hans Gál Op. 59a Sonatina for 2 mandolins (1952) John Craton Charon Crossing the Styx (mandolin & double bass) Four Whimsies (mandolin & octave mandolin) Les gravures de Gustave Doré (mandolin & guitar) Six Pantomimes for Two Mandolins Sonatina No. 3 for Mandolin & Violin Hermann Ambrosius Duo Geoffrey Gordon Interiors of a Courtyard (mandolin & guitar) Sean Hickey Mandolin Canons (mandolin & guitar) Giovanni Hoffmann 3 Duets for Mandolin and Violin Serenade for Viola and Mandolin Tyler Kaier Den lille Havfrue (mandolin & guitar) Hideo Saito, Jiro Nakano Du edge Martino Jiro Nakano Medaka, revolving lantern Positive Hattori Concerto for two mandolin and piano Mari Takano Silent Light for mandolin & harpsichord (2001) Two Pieces for Two Mandolins (2002) Concerto[edit] Giovanni Hoffmann Concerto for Mandolin and Orchestra in D Major Antonio Vivaldi Mandolin Concerto in C major, Concerto for two mandolinos in G major Concerto for two mandolinos, 2 violons " in Tromba"—2 flûtes à bec, 2 salmoe, 2 théorbes, violoncelle, cordes et basse continuein in C major Francisco Rodrigo Arto (Venezuela) Mandolin Concerto (1984)[194] Dominico Caudioso Mandolin Concerto in G Major John Craton Mandolin Concerto No. 1 in D Minor Mandolin Concerto No. 2 in D Major Mandolin Concerto No. 3 in E Minor Mandolin Concerto No. 4 in G Major Concerto for Two Mandolins ("Rromane Bjavela") Gerardo Enrique Dirié (Argentina) Los ocho puentes for four recorders, mandolin and percussion (1984)[195] Johann Adolph Hasse Mandolin Concerto in G major Leopold Kozeluch Concerto for piano, mandolin, trumpet and double bass in E♭major Giovanni Battista Pergolesi Mandolin Concerto in B♭ major Giovanni Paisiello Mandolin Concerto in E♭ major Mandolin Concerto in C major Mandolin Concerto in G major Johann Nepomuk Hummel Mandolin Concerto in G major Armin Kaufmann Mandolin Concerto Dietrich Erdmann Mandolin Concerto Herbert Baumann Mandolin and the Concerto for Strings Brian Israel (1951-1986) Concerto for Mandolin (1985) Sonatinetta (1984) Surrealistic Serenade (1985) Makino YukariTaka Mandolin Concerto Julian Dawes Mandolin and the Concerto for Strings Tanaka Ken "Arc" for mandolin and orchestra Vladimir Kororutsuku Suite "positive and negative" Avner Dorman Mandolin Concerto Mandolin in the orchestra[edit] Wolfgang Amadeus Mozart Opera Don Giovanni" Gustav Mahler Symphony No. 7, Song of the Night Symphony No. 8, Symphony of Thousands Symphony Song of the Earth Willem Pijper Opera Halewijn Romance sans paroles Symphony No. 2 Symphony No. 3 Ottorino Respighi Symphonic poem Festivals of Rome Niccola Spinelli Opera A Basso Porto: Intermezzo for mandolins and orchestra Antonio Vivaldi Oratorio Juditha triumphans George Frideric Handel Oratorio Alexander Balus Arnold Schoenberg Opera Moses und Aron Variations for Orchestra Anton Webern Five Pieces for Orchestra Giuseppe Verdi Opera Otello Igor Stravinsky Ballet music Agon Rodion Shchedrin Ballet music Anna Karenina Sergei Prokofiev Ballet music Romeo and Juliet John Craton Opera The Curious Affair of the Count of Monte Blotto Bruno Maderna Opera Don Perlimplin, ovvero il trionfo dell'amore e dell'immaginazione György Ligeti Opera Le Grand Macabre Giovanni Paisiello Opera Il barbiere di Siviglia, ovvero La precauzione inutile Domenico Cimarosa Opera La finta parigina See also[edit] List of mandolinists List of mandolinists (sorted) List of string instruments Stringed instrument tunings Pandura Greek bouzouki Bluegrass mandolin Mandola Octave Mandolin Mandocello Mandobass Cittern Irish bouzouki Portuguese guitar References[edit] Jump up ^ Hostetter, Paul (11 November 2008). "Paris Swing Mando". mandolin cafe.org. Retrieved 25 May 2017. The Paris Swings, for the moment, are pressed tops instruments - they are not carved ^ Jump up to: a b

Be aware these Klipsch Heritage speakers are BIG. Find the dimensions of the La'S and the Ks, and see how they'll fit in your room. Then, add a sub, and you may find you're beyond what your space can handle. Just a caution. Larry

Note: My following comments apply to passive, non-powered speakers. I'm not clear on just what this system is. Since it seems like a powered speaker, then others' suggestions that they are defective may be correct. The purchaser should probably contact Klipsch tech support. -- LC If you're getting hum from speakers with NOTHING connected to them, then I would suspect electro-magnetic induction or interference (EMI) in either the voice coils of the speakers or the coils in the crossover networks. Klipsch speakers are exceptionally efficient, which greatly magnifies the sound, including induced hum, that they reproduce. To do a little detective work on the source or cause, move the speakers around and rotate them in place if possible. The volume level of the hum should vary as you do those things -- the hum would decrease as the square of the distance as you move them away. Rotating the long axis of the crossover coils relative to the axis of the source might have a substantial effect. I don't know of a speaker "defect" that would do this. One forum member several years ago discovered that an electrical conduit in the corner of the room next to the speaker was the culprit. I don't recall if he found a solution. I don't know if grounding your building's circuitry would have any effect, but I would suggest having a good electrician check that out. Since the hum persists with everything disconnected from your system, It probably has an exterior cause and I doubt that grounding anywhere in the system will have any effect. Only iron or steel shielding is supposed to have any positive effect EMI -- aluminum shielding is no good for EMI, although it does wonders for radio frequency interference (RFI). Rewiring house circuits with "Metal clad" (MC) house or commercial wire may have a small effect. I once chased after a low-level intractable hum from one of my speakers, finally discovered it came from a exterior electrical service entry panel immediately on the other side of the house wall that included the corner containing the offending speaker. Attempts in shielding were futile, but it was too low-level to pursue anyway. Just remember that passive speakers don't produce hum by themselves. This most likely has an exterior source. Are your speakers electrically powered?

Nice photography and lighting IMO.

Just to make sure to keep a handle on audiophiles' wealth, a new trend in some brands of carts is the use of jeweled cantilevers! A few carts (Dynavector, Koetsu, Transfiguration) even have cantilevers made out of diamond. Funny how those prices went up.

"Cables have break in period?" Absolutely. Forty hours of playing music through them is a common benchmark, i.e., you should hear most of the improvement by that time. Some cables may take longer. Just moving them around, like coiling and uncoiling, will often cause some temporary increase in irritating sound in cables that are otherwise well broken in, but that goes away in a few hours of playing music. Naysayers abound in this area, as you can see. It's best to ignore extreme ones and keep an open mind LC

Maybe the local power cleans up at night? PS Audio's AC regenerators claimed to send a better sine wave in its power output. They clearly made my motorized components (TTs, tape players) sound better (IMO).

These are a bit ersatz anyway -- they are not original "B" style K's, because the interiors of the top hats are plywood painted black and not veneered. The top hats are probably not original, which throws off the appearance and dimensions of the tops in various subtle ways -- they just don't look "right." Don't look like K-77's either. Contrast with the fully-veneered tops in the other thread with the rosewood "B" K's, which were fully veneered throughout the top hats.

Hi Ceptorman -- I appreciate the validation of what the Palladium sub adds to the P38's. Too bad the space and $ demands are so high, as the sub makes the whole installation pretty amazing and what everyone should have! I, too, have marveled at how well integrated and seamless the music is between the sub and the floorstanders. Obviously not enough people have the whole setup like they should! My guess is that a pair of the P-38's and the sub is a very adequate base combo, with or without the center and/or satellite units

Travis and everyone, Are the proposed banner, Someone left out KING KLIPSCHORN! The LaS and Cornwall were later products. I suggest saying "...thanks to great speakers like the LaScala, the Cornwall, and the incomparable Klipschorn." Klipsch built its name in audio thanks to great speakers like the La Scala and the Cornwall. That’s why we call them the Heritage series. They were made in the USA by the hands of Paul Klipsch himself and everything we’ve done since then was because we started here. While these speakers may date back to the beginning of Klipsch, it’s difficult to beat their performance still today. That’s why many of these speakers are still available. Why would we ever stop building great speakers? Check out Klipsch Heritage series of speakers. They were the best back then, and they’re still the best today. And they’re still made in the USA.

I briefly explored getting a 2.1 repaired, couldn't find anyone who was interested. I'd just buy a new one, it ain't that much.

Hi Rich, This would not be an easy decision for a number of reasons (it's older and used, has two chasses), and the new Mac in your first link does more than compete at the same price, but I like my Joule Electra tube phono capability and performance: https://www.ebay.com/i/332480095288?chn=ps Anyway, FYI. Note -- no digital capability, two awkward chassis units. However, I now have a really low output Transfiguration cart that generates only 0.20 mv out, and yet still has plenty of low-noise gain.

Sorry if I missed it, but what electronics are you using, and what sound sources? Is everything fully broken in?

Trifonov is incredible. IMO, he has an astounding ability in the Mozart concerto to produce all the emotion intended by the composer and all that is hoped for by the audience and the viewer. I can't imagine how he does it. If Jeff doesn't mind, I'd like to insert here the link he posted in a PM to another, unbelievable Trifonov performance, I think with the Israel Phil, of the Rachmaninov Rhapsody on a Theme by Paganini, Zubin Mehta conducting. In all of these videos, the conductor may be the most interesting performer to watch, and Mehta, who is of Indian descent, is a very, very, good conductor: https://community.klipsch.com/index.php?/messenger/47620/&tab=comments#comment-210848 Everybody in this video is superlative.

You never know ...

What benefit do you expect from bi-amping? It's such an efficient speaker, I didn't think there would be much power or efficiency advantage, and there might be increased noise because of the efficiency from adding electronics in a chain. As I recall, PWK didn't think much of bi-amping K-horns. I believe Roy Delgado has had a lot of experience with electronic X-overs and bi- and tri-amping.

Boomac (Scott) had an Eastern Electric CDP for a while, eventually changed to something else and shed all his (BAT) tube electronics, I believe. I liked the sound of his EE. Oppo is nice, though its in the digital realm -- current models have the advantage of bein universal players with CD and Blu-Ray. However, necessary hookups like TV and cable boxes may degrade their very nice sound (it did in my setup). Tubes in the circuitry might add a nice tube softness, realism, and clarity, as in the EE. Magnum Dynalab offered tube output stage options on some of its tuners; I have an "MD 102T" which benefitted from an added tube clarity and realism when I added the tube option. I'd do it again.

I very much agree with your views of the AK-4/5, and front-mounting the tweeters if yours don't have that change.

https://en.wikipedia.org/wiki/Harmonic Above: discussion of how instrumental tope qualities or timbre differ

More detail (much more!):https://en.wikipedia.org/wiki/Harmonic_series_(music) I didn't see percentages of strength, but I think those drop dramatically as one goes up the harmonic series. Probably much lower than major %s like 30% and 50%

Below is an interesting website discussion of overtones and harmonics: The first paragraph suggests how different combinations of overtones ("partials") come up with distinctively different sound qualities -- partly how we can distinguish clarinets from horns or flutes: Although any one apparent sound to our ears, the following applies: Human ears tend to group phase-coherent, harmonically-related frequency components into a single sensation. Rather than perceiving the individual partials–harmonic and inharmonic, of a musical tone, humans perceive them together as a tone color or timbre, and the overall pitch is heard as the fundamental of the harmonic series being experienced. If a sound is heard that is made up of even just a few simultaneous sine tones, and if the intervals among those tones form part of a harmonic series, the brain tends to group this input into a sensation of the pitch of the fundamental of that series, even if the fundamental is not present.

There are probably a large number of musical and non-musical sounds that determine the sonic character of an instrument, like a bow scraping on a string, flute breath tones, etc., in addition to the essential character that comes from the overtone balance. Overtones can be much lower than 1,000 Hz, e.g., 200 Hz from a 100-Hz note, as well as 300 Hz, 400 Hz, etc. etc. At the same time, even low notes have overtones that go above the 4K highest note of the piano. The "tingle" of triangles and cymbals are non-harmonic sounds that definitely higher than 4K. So, there can be a vast frequency range of tones from bass, middle, and high notes. The Crites tweeter provided increased output and clarity of overtones above 4 KHz, which (in my opinion artificially) increased the clarity of EVEN DEEP BASS NOTES, showing how important overtones are that reach several octaves above the fundamental to the definition and character of those deep bass tones. They definitely increase clarity, but are capable of exaggerating that clarity if the overtones are exaggerated. I wonder if that has been part of the appeal of non-Klipsch tweeters. Richness may be a different issue, and could be impaired if the overall balance is tilted up too far, making it sound too thin. A complicated area!

Hi Rich! -- No, it must only anchor them, because those TA wires are continuous all the way from the cartridge pins to the preamp connecting pins! A real pain to unpack and install, because the arm and wires all have to be pulled out of the box together and handled as one piece. I've heard of one to-hell-with-it case of someone breaking the connection and putting in RCAs at the back of the Vector for easier disconnecting and re-connecting! Yeah, a micrometer VTA is a lot better than trying to do miniature hex key juggling while sliding the arm base up and down with the other hand. I've had to do it both ways... Larry

It seems to have some hallmarks of Klipschorns, such as the University treble drivers including what looks like the SAHF that was used into the late '50s or early '60s; the bracket holding up the back end of the mid horn; and the quality x-over design using large air-core coils. Those things look like they could have been part of early K-horn evolution. I wonder if the SAHF replaced the other University driver with the cut-off leads? Or was the latter a tweeter? The crossover looks 3-way to my untutored eye.