LarryC
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Posts posted by LarryC
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Hi, anyone -- how do I edit my signature? Can you PM me please? Thanks
Larry
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Look for the output voltage spec, as these can vary dramatically. That could account for your lower volume. I think those Ortofons are moving magnet (MM), which I think I recall are 5 to 8 mv out or more.
I'd stay away from Moving coil (MC) which are much more demanding and usually have much lower output, that can require extra preamp stages or doo-dads and can seriously raise the cost for comparable quality. MC's often have far lower output (0.3 to 1.0 mv +) which is in a different league in demands and are frequently too low in output for ordinary pre-amp inputs. Stay away from "high-output" MC's -- basically stick to a good MM like the Ortofon OM-30 cart (I think that's supposed to be a good one).
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No definitive answers from me, but many forum members have great experience with LP players and systems, so thoughts and recommendations may be along soon.
I regard the three elements of an LP player to be of comparable importance (not necessarily comparable price): the turntable, the tonearm, and the cartridge. So, don't sell any one of them short.
You might want to have a phone conversation with and get suggestions from the Needle Doctor, as they sell LP units components and have their ear closely to the ground. Other online retailers are probably as good.
Also don't neglect your local audio retailer, say a VPI dealer if you have one nearby, since you maybe able to see, feel and try something that suits you.
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The April, 2018, issue of The Absolute Sound announced in two or three places in the issue (e.g., p. 34),that the old KLH Model Nine is being refashioned for possible re-entry into the speaker market. This lead man in this is David Kelly, "a longtime veteran of Klipsch," who acquired the rights to the entire KLH line in 2017. David Janszen himself has agreed to help Kelly make the Model Nine a viable product again. Jonathan Valin writes that the Nine was always a "supremely great transducer." So, we'll have to see what these good folks come up with. No dates were mentioned.
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Bruce, your fund of knowledge and curiosity is truly endless!! I'll look up the Invention
Larry
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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]
- Minuet
- Variations on a Theme by Haydn
- Song of summer
- 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
- I have stood on the banks
- Heinrich Koniettsuni
- Partita No. 1, etc.
- Sonatine, etc.
- Sense - structure
- 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
- "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.
- Moon and mountain witch
- Impromptu
- Winter Light
- Mukyu motion
- Jon-gara
- Silent door
Accompaniment with solo[edit]
- 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
- Dioces aztecas
- The Legend of Princess Noccalula
- 4 Quartet for Mandolin, Violin, Viola, and Lute
- 4 Divertimenti for Mandolin, Violin & B.c.
- Sonata in C major Op.35
- Spanish Capriccio
- Mazurka for concert
- Waltz for concert
- Bizaria
- Aria Varia data
- Mandolin Concerto No. 1
- Mandolin Concerto No. 1
- Mandolin Concerto No. 2
- Mukyu motion
- Tarantella
- Song of Nostalgia
- Elegy
- Mazurka for concert
- Warsaw of memories
- Enrico Marcelli
- Gypsy style Capriccio
- Fantastic Waltz
- Mukyu motion
- Polonaise for concert
- 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
- Slovenia wind Dances such as
- Dietrich Erdmann
- Sonatine
- Light of silence
- Rikuya Terashima
- Sonata for mandolin and piano (2002)[193]
Duo[edit]
- Op. 59a Sonatina for 2 mandolins (1952)
- 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)
- Mandolin Canons (mandolin & guitar)
- 3 Duets for Mandolin and Violin
- Serenade for Viola and Mandolin
- Tyler Kaier
- Den lille Havfrue (mandolin & guitar)
- Du edge Martino
- Medaka, revolving lantern
- Positive Hattori
- Concerto for two mandolin and piano
- Silent Light for mandolin & harpsichord (2001)
- Two Pieces for Two Mandolins (2002)
Concerto[edit]
- Concerto for Mandolin and Orchestra in D Major
- 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
- 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]
- Mandolin Concerto in G major
- Concerto for piano, mandolin, trumpet and double bass in E♭major
- Mandolin Concerto in B♭ major
- Mandolin Concerto in E♭ major
- Mandolin Concerto in C major
- Mandolin Concerto in G major
- Mandolin Concerto in G major
- Armin Kaufmann
- Mandolin Concerto
- Dietrich Erdmann
- Mandolin Concerto
- Mandolin and the Concerto for Strings
- Brian Israel (1951-1986)
- Concerto for Mandolin (1985)
- Sonatinetta (1984)
- Surrealistic Serenade (1985)
- Makino YukariTaka
- Mandolin Concerto
- Mandolin and the Concerto for Strings
- Tanaka Ken
- "Arc" for mandolin and orchestra
- Vladimir Kororutsuku
- Suite "positive and negative"
- Mandolin Concerto
Mandolin in the orchestra[edit]
- Opera Don Giovanni"
- Opera Halewijn
- Romance sans paroles
- Symphony No. 2
- Symphony No. 3
- Symphonic poem Festivals of Rome
- Opera A Basso Porto: Intermezzo for mandolins and orchestra
- Oratorio Juditha triumphans
- Oratorio Alexander Balus
- Five Pieces for Orchestra
- Opera Otello
- Ballet music Agon
- Ballet music Anna Karenina
- Ballet music Romeo and Juliet
- Opera The Curious Affair of the Count of Monte Blotto
- Opera Don Perlimplin, ovvero il trionfo dell'amore e dell'immaginazione
- Opera Le Grand Macabre
- Opera Il barbiere di Siviglia, ovvero La precauzione inutile
- Opera La finta parigina
See also[edit]
References[edit]
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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
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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
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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?
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Nice photography and lighting IMO.
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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.
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"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
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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).
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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.
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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
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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.
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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.
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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.
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Sorry if I missed it, but what electronics are you using, and what sound sources? Is everything fully broken in?
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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.
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On 11/4/2017 at 10:34 PM, Sprogk said:
Lol ok. Luckily Michigan isn't earthquake country.
You never know ...
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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.
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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.
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On 10/22/2017 at 10:31 PM, garyrc said:
I believe the big changes in the AK4 /AK5 upgrades of the Klipschorns c2004 were much steeper crossover slopes. I have the AK4s, and think they sound great.
Do you have the non-metalic (fiberglass-like) midrange horn (of 1987)? And I presume your tweeters are front mounted (a 1983 change). Those are the other two major changes, I believe.
There may be a small EQ change or two, such as removing two peaks between 100 and 200 Hz.
I very much agree with your views of the AK-4/5, and front-mounting the tweeters if yours don't have that change.
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https://en.wikipedia.org/wiki/Harmonic
Above: discussion of how instrumental tope qualities or timbre differ
Turntable Recommendations
in 2-Channel Home Audio
Posted
RPlace -- A Basis 'table would be terrific, as you know, but a better arm than the Rega would be in order with a 1400 or better.