Ctiger2

Stan, OK, gotcha. Have you ever heard the AR9's? They're much bigger size than the AR3's. They don't have the added ambiance coloration of the Khorns which I feel gives the Khorns an even larger sound, but they sound just as big if not bigger than them.They sound like huge AR3's with no boundaries. I've read about people getting them dirt cheap on the net. If you like the AR sound. I think these might be the pinnacle of AR. Roy Allison designed. Check out the pic below. From Left to right, AR3, AR9, AR4x, Tannoy Monitor Gold 15", Klipschorn.

Double Post, Server Crashed on me [H]

Hi Stan. Interesting observations. I know what you're getting at, but, if you are there, aren't they really here then? [*-)] My experience would be as follows: Klipsch speakers add a coloration which I affectionately refer to as ambiance to all playback. So, if you're listening to a studio recording the added ambiance makes it sound live. If you're listening to a live recording, the added ambiance make it sound live X 2. The AR's are more faithful to the recording. If it's a studio recording, it sounds like a studio recording. If it's live, it sounds live.

I apologize for slightly hijacking this thread. If I feel so inclined, I'll start a new thread at a later date. Enjoy that music!

I hear what you're saying... Now, have you ever listened to one of the sealed box design speaker brand like KEF, AR, KLH etc. type speakers right next to your Klipsch? The sealed box designs will sound Dull, closed in, some say boxed in, highs rolled off etc. But, as you listen to them over time you slowly realize the Klipsch are actually bright and the horn colorations become so obvious it's frankly kinda disturbing. The AR's are a very neutral (non-colored) sounding speaker. Everything played through the Klipsch will start to sound like it's coming out of a megaphone. That's the horn coloration and all the Klipsch I've owned have it. It must be the Klipsch sound. My first AR purchase back in Dec '07 was a pair of AR4x for $50. These are tiny bookshelf speakers. I put them side by side with the Khorns and cut them loose. At first they sounded dull & boxed in, just like I read they would. However, the bass was truly amazing for such a small speaker. In fact, I still really can't beleive the bass that comes out of these tiny tiny speakers. It's near Khorn bass and it makes no sense to me. I started playing with the volume on these little speakers and I could just keep turning them up up up and they just don't distort and they are never bright. The only real problem with the sealed box design is that you'll need gobs of good power to get them to their full potential. With my Klipsch I start turning them up up and next thing you know they become unbearable to listen to, literally shouting you out of the room, and you have no choice but to turn them down. It's really been a gut wrenching discovery for me over these last eight months or so. And, it's more or less been a slow unconcious realization as well. What I thought was good sound has been turned upside down and I think I've been in denial for quite a while now. I'm still on the fence debating whether or not to actually part with my beloved Khorns. It's internal strife at it's finest. [*-)] I think that's why I started browsing these forums again. Looking for something, answers, not sure. I don't think Klipsch are bad speakers at all. I've just come to the conclusion that they're best for Classical & Jazz at low to moderate low volumes. They sound quick, detailed & dynamic. I guess that's the whole fun of this hobby. New discoveries etc. Some good, some bad. I guess my main point is that Klipsch speakes are colored sounding. Some may like it, some won't. But, they are colored and I'm not so sure I like that sound anymore.. It's pretty strange, but I'm angry about this realization. I'm not sure who or why or what to be angry at though. Maybe those d*mn AR4x's I should smash up. []

I currenlty own Khorns, Tannoys & a 4 pairs of AR's. All powered with Mac tube/SS gear depending on speakers required load. It's when you throw all these different types of speakers together in one listening room you can really hear the differences. Switching between them is very interesting stuff. All the speakers present the music very differently. It all comes down to personal preference and there's nothing wrong with liking Klipsch speakers. I've owned a pair for 15+ years now. []

I've owned my Khorns for 4+ years now and I still own them. Yes! Garbage in, Garbage out. (especially with Klipsch, very sensitive to this kind of stuff) I guess my comments were based on how the music is recorded/mixed/mastered etc. Some of it is done much better and will therefore sound and image better regardless of the speaker.

I still own and use Khorns every other day. Was listening to them last night. Over the last 15+ years I've climbed the Klipsch ladder from 4.2's to Cornwalls to La Scalas to Khorns. I didn't and don't really have a lot of experience with other speaker brands. Early this year I started dabbling with some different speaker designs to see what was out there. I'd read a lot about the AR speakers and started trying them out in my system. The AR4x's are like $50/pr and very small so it wasn't a huge monetary investment. It was then that I finally started realizing what people meant by horn coloration. Horn coloration is phrase a lot of people will read and have no idea what it really even means. You need to audibly experience it for yourself to truly understand. It's really strange because I've always thought I would take the Khorns to my grave. Frankly, the thought of selling them, and my reasons for doing so, has been a hard thing mentally to come to grips with. I'm just saying to anyone looking at purchasing speakers would be doing themselves a disservice to not try some of the sealed box designs like old KEF, Advent, AR, etc. Especially if you listen to hard rock/rock music. I've come to MY conclusion that Klipsch speakers are meant to be listened to Classical/Jazz music at low to moderatly low volumes. All IMHO. YMMV []

I've owned Cornwalls in the past powered with MC30/C22/Vinyl and they were way too bright for me as well. I tried using rope caulk on the mid horn but that didn't do the trick. The mid horn is smallish and delivers a pinched & colored sound. I have read online that using 2-ply tissue taped over the mid horn seems to help tame it down a bit. I never tried it with mine when I had them though.

At 100Hz I don't even consider the La Scala's full range speaker. The are mostly lower freq midrangey sounding. I never used mine with a sub. I just sold them and bought Khorns instead. That Khorns solved the bass problem. Yes, La Scala's will image better than Khorns. Typically, the smaller the speaker, the better the imaging. Also, the La Scala's benefit from the placement issues that the Khorns have. They don't need to be plopped into corner. So their imaging factor benefits from that as well. I've come to beleive that horn speakers in general have a really hard time imaging because of their inherent design. The horns are just too directional for them to image well. With my Khorns, I do get some decent imaging at times, but that seems to depend on the CD/LP being played..

Hi, I had '89 La Scala's that were replaced by 1980 Klipschorns. The Klipschorns are now out the door as well I think I'm done with the Klipsch brand. Ever since I bought some AR speakers I started realizing how much coloration these horns actually produce. And I don't like it... I guess ignorance was bliss... for a while.

I currently run my Khorns w/MC30's with good results. I've run them with SS MC2505 also with good results.

Yea, I sold my La Scalas a while back and haven't looked back. What was that bass lady commercial they used to play in the 80's? Oh yea... "Where's the BASS!!??"

It's a tough dilemma. The La Scala's have WAY WAY better mids than the CW's. But, they are VERY VERY bass shy... The CW's mids are pinched and sound like someone's shouting SHOUTING at you. But, they have more bass... Frankly, I'd pass on both and waith for a pair of Khorns if Klipsch is your thing....

Looks like they're getting some good pre-release feedback: Ive heard a lot of Blue Note originals and myriad reissues over the years, but based on the sample test pressings heard so far, noneand I mean noneconvey the intensity of living, breathing music-making the way the Music Matters Blue Note series does. The sense of air, texture, and dynamic pop in these grooves is astonishing. The music, of course, speaks for itselfand bravo to Music Matters for realizing that the original graphics and Francis Wolff photos are an equally important part of the Blue Note vibe. I cant wait to see the finished products. Wayne Garcia, The Absolute Sound Theyre BIG and open and definitely work in stereo because theyre not hard left/right stereo. The cymbals are so "chimey" and the skins so open! Even Rudy's typical boxy piano isn't too bad. These are going to be really good....!!!! (Real time reaction after hearing his first test pressing of Horace Parlans Speakin My Piece LP.) Michael Fremer, Stereophile, www.MusicAngle.com As nice as they are, the RVG editions of the Blue Note catalog are about to be blown out of the water. A couple of long-time record industry jazz experts a producer and a prodigious collector have teamed up to release several dozen classic Blue Note sessions in definitive 2-disc 180-gram 45 rpm LP limited editions via their new company, Music Matters, Ltd. (musicmattersjazz.com). Weve found some real gems combing through the catalog, says producer Joe Harley. So dont expect the expected, but look for many overlooked titles in this series. Each gatefold package will contain two LPs they need double the vinyl real estate at 45 rpm and will be lavishly and generously decorated with dramatic Francis Wolff photos from the sessions, acquired with the assistance of producer Michael Cuscuna of Mosaic Records. Weve brought in Steve Hoffman and Kevin Gray to do the mastering and we are working with the original stereo mixes. By the way, these are the masters that were used to mix down one generation to make the mono versions. Knowing that all the figures involved in this project are incapable of performing at less than 1000 percent, these Blue Notes, with first-batch titles by Art Blakey, Lou Donaldson and Horace Parlan arriving at retailers as you read this, should provide new insight into the way this music was originally intended to be heard. Its as though the Holy Grail of jazz has finally been presented in high definition Technicolor. Examples Ive heard live up to the hype: the sound is jaw-droppingly dynamic, alive and holographic with none of the high-frequency tilt many have complained about in regards to the RVG remastered CDs, but rather, a satisfying balance from top to bottom, and an unbelievable soundstage, such that I could swear the musicians were playing several feet past the limits of the two speakers themselves. These allow you to actually hear INTO the music, as well as be enveloped by it. After hearing your first of these, youll develop the Lays Potato Chip Syndrome you wont be able to stop at just one. Mike Quinn JazzTimes, November 07 www.jazztimes.com Music Matters to These Guys The buried treasure for those who frequent garage sales in search of LPs are jazz titles from the '50s and '60s, especially from Blue Note Records. Some Blue Note LPs command big money on the used market because their sound quality is considered definitive. But a new music label is working to challenge this notion, reissuing classic Blue Note titles on super-quiet 180-gram vinyl in the most authentic way possible. Music Matters is the creation of industry veterans Steve Hoffman, Kevin Gray, Joe Harley, Ron Rambach and Michael Cuscuna. Not satisfied with producing just another series of reissues, the Music Matters team decided to create LPs that would improve upon the originals in terms of musical fidelity, pressing noise, and packaging quality. Each will be a 45 spread over four sides, and the gatefold packaging will use the original cover artwork and include unpublished pictures from the recording sessions. Such attention to detail doesn't come cheap -- $50 per title -- but once you see what an original mint copy of Hank Mobley's Soul Station or Dexter Gordon's A Swingin' Affair costs, you'll think these two-LP sets are more than reasonable. The product of first-generation analog master tapes, the Music Matters reissues have a refined sonic pedigree. Collectors and audiophiles prize the mono versions of Blue Note LPs for their supposed sonic authenticity, but, as the Music Matters team discovered, the mono tapes were often derived from the stereo masters. Therefore, many of the reissues will be in stereo, not mono. From the Music Matters website: "To our collective surprise, when listening to the master tape, the stereo was greatly preferred to the (summed) mono." The audio equipment used for mastering and playback is some of the finest available, right down to the isolation products, which come from Silent Running Audio. Music Matters has an ambitious schedule planned: six initial releases, then two titles each month through 2009. There will be 63 titles in all, and they comprise a cross-section of the most important music from the golden age of jazz. Look for the first six titles -- Art Blakey's The Big Beat, Horace Parlan's Speakin' My Piece and Us Three, Kenny Drew's Undercurrent, Lou Donaldson's LD+3, and Hank Mobley's Soul Station -- later this year and in early 2008. Only listening will tell for sure, but the Music Matters reissues have all the outward signs of being the finest LPs available and becoming collector's items themselves. Maybe it's time to hold a garage sale of your own.... Marc Mickelson, editor www.soundstage.com September 19, 2007

It's interesting to note that "after the October 30, 1958 session at Van Gelder Studios the mono masters were made by folding down the original stereo master." According to the Music Matters new site. I did not know this. [] I'm interested to see which titles will come via the Analogue Productions pipeline. They are starting with 25 and will eventually expand this to 100+ titles. That's ~163 titles in 45 rpm from the original masters. []

Get out that wallet and support that VINYL! []

Understandable. But, these will be the definitive sounding releases for these titles. It's also nice for us mortals that who will be able to afford them and not have to go through the impossible search for nice copies of the originals. [] What do you mean by "sizzle" them? I've never hear that in reference to Steve's work?

Can a mod close this thread. Accidentally duped. Server timed out when I made the initial thread and I thought it had failed to post. TIA!

A note from STEVE HOFFMAN: Hi everyone; exciting news if you love legendary jazz! This SH Forums thread from last week mentioned a new BLUE NOTE reissue vinyl series: http://www.stevehoffman.tv/forums/sh...ht=blue+n ote A blurb from that thread: Joe Harley then handed me a gorgeous, double gate-fold LP of the Horace Parlan Quintet's Speakin' My Piece. The first release in Music Matters' new definitive Blue Note reissue series. They'll be mastered by Kevin Gray and Steve Hoffman at AcousTech Mastering, which will produce the metal parts. Because the recent Acoustic Sounds 45RPM Prestige/Riverside discs sounded so luscious, Music Matters decided to release the Blue Note series as double disc 45 RPM limited editions sets. ------------------------------------------------ I am now authorized to give you some more information: For me, the greatest Jazz LP label of all-time is BLUE NOTE. Music Matters, Ltd. is a new record label formed primarily to reissue these definitive vintage BLUE NOTE albums on 180 gram virgin vinyl with the best possible quality. http://www.musicmattersjazz.com/ This new numbered limited edition series will cause quite a stir in the jazz world as well as the audiophile and record collecting communities, thats for sure. The movers and shakers behind the MUSIC MATTERS label are legendary rare record dealer RON RAMBACH, JOE HARLEY, vice-president of AudioQuest and "Mr. Blue Note" himself MICHAEL CUSCUNA as special consultant. These three BLUE NOTE experts are considered the greatest authorities on the label and have come together to insure that this is the most exciting jazz reissue series ever attempted. Folks, this has been very long in the making. (For example, I was first approached by Joe Harley to master these BLUE NOTE gems YEARS ago; yes, I can keep a secret). Just this year it finally came into being, thanks to the good folks at CAPITOL/EMI. See post #101 for the first 63 BLUE NOTES on the list. The albums are being cut at 45 RPM for maximum quality by Kevin Gray and me using our full ANALOG disk cutting system; most studios cannot even cut vinyl in 100% true analog anymore (they convert to digital first) but we can. The original Rudy Van Gelder engineered stereophonic session tapes are used when we master these gems. The sound quality is amazing on our test cuts. Like from heaven. First totally uncompressed versions of these jazz classics that Ive ever heard and trust me, you will be impressed; they sound like no other releases of this music. The sound is lifelike, the horns are in the room with you. Our non-invasive mastering insures the true breath of life on these original Van Gelder session tapes is transferred to the virgin vinyl with absolute authenticity. It is like hearing these BLUE NOTE masterpieces for the first time and that is NO exaggeration. When we heard the first lacquer acetate playback from our first mastering session I thought Joe Harley was going to pee in his pants he was so excited. Actually we all were; after 50 years of many lackluster and some downright bad sounding versions of these albums, hearing the real deal is a humbling experience, even for us hardened music veterans. You will be able to listen to the music exactly like we did when these are ready for sale in a few months. A word about the artwork and jackets. MUSIC MATTERS have really spared no expense in the creation of the album covers. All laminated thick gate-folds, (custom paper, etc.) just like the originals. Better, actually. Even the hi def original session photos are from the absolute original camera negatives. The old BLUE NOTE covers had around 150 dots per inch on their album photos. These are all redone from scratch at 450 dots per inch or more; its astounding! Best quality you'll ever see. I feel there is great merit to the project and I'm proud to be a part of it. At least 63 albums so far are going to be re-released in this high quality fashion. The dynamic duo of Gray/Hoffman will master all of them at AcousTech Mastering from the analog originals. PLEASE NOTE: Some of you hesitated on the Analogue Productions "100 Greatest Jazz Albums Of All Time" 45's culled from Prestige/Pablo/Contemporary/Riverside/Fantasy because you felt the list price (around 50 bucks) was too much. Well, some of them are now going for hundreds and hundreds if you can even find them. The BLUE NOTE 45 RPM reissues that I am working on will be strictly limited editions and once they are sold out, they will be GONE. DO NOT HESITATE; some of these albums in their original state cannot be purchased for under $700.00 from record dealers. Here is your opportunity to get the best looking and best sounding BLUE NOTE versions for a fraction of that cost. http://www.musicmattersjazz.com/ First releases are coming soon. Stay tuned!! Pictured left to right: Ron Rambach, Joe Harley, Steve Hoffman, and Kevin Gray in AcousTech Mastering at Record Technology, Inc. (with a few "real deal" BLUE NOTE RVG master tapes sitting on the console). Photo by Brian Jones. More BLUE NOTE MANIA! New Acoustic Sounds 45 RPM vinyl by Steve & Kevin! The list: http://store.acousticsounds.com/whatsnew.cfm As most of you know, the fine folks at ACOUSTIC SOUNDS/ANALOGUE PRODUCTIONS are also working on a bunch of 45 RPM 180 gram vinyl BLUE NOTE JAZZ reissues. These are also going to be mastered by us (Kevin Gray/Steve Hoffman) from the original Rudy Van Gelder master session tapes. Both the MUSIC MATTERS and ANALOGUE PRODUCTIONS BLUE NOTE reissues are very exciting (to say the least). Both of these deals have been in the works for a while. This is going to be such a memorable time for both old and new jazz lovers. A good time to be alive!! http://store.acousticsounds.com/whatsnew.cfm Here is the list of the first 25. 1. 84047 Art Taylor AT Delight BX-5870 & 5871 2. 84083 Dexter Gordan Dexters Calling BX-6005 & 6006 3. 84112 Dexter Gordan Go BX-6061 & 6062 4. 84154 Grant Green Idle Moments BX-6149 & 6150 5. 84105 Ike Quebec It might as well be Spring BX-6047 & 6048 6. 1534 Paul Chambers Whims of Chambers BX-8567 & 8568 7. 84034 Lee Morgan Leeway BX-5844 & 45 8. 81577 John Coltrane Blue Train stereo BX-6634 & 6635 9. 84123 Kenny Burrell Midnight Blue BX-6087 & 6088 10. 81595 Cannonball Adderley Something Else Stereo BX-6463 & 6464 11. 84003 Art Blakey Moanin stereo BX-5707 & 5707 12. 1558 Sonny Rollins Vol. 2 BX-7801 & 7802 13. 84063 Kenny Dorham Whistle stop BX-5906 & 5907 14. 84110 Horace Silver Toyko Blues BX-6057 & 6058 15. 84114 Ike Quebec Soul Samba/ Bossa Nova BX-6065 & 6066 - 16. 84051 Jackie McLean Jackie Bag BX-5878 & 5879 - 17. 84140 Joe Henderson Page One. BX-6121 & 6122 - 19. 84130 John Patton Along came John BX-6101 & 6102 - 20. 84071 Grant Green Green Street BX-5922 & 5923 - 21. 84038 Jackie McLean Capuchin Swing 22. 84094 Fred Jackson Hootin and Tootin 23. 84078 Jimmy Smith Midnight Special 24. 84066 Lou Donalson Here tis 25 .84014 The Three Sounds Bottoms up [Y]

A note from STEVE HOFFMAN: Hi everyone; exciting news if you love legendary jazz! This SH Forums thread from last week mentioned a new BLUE NOTE reissue vinyl series: http://www.stevehoffman.tv/forums/sh...ht=blue+n ote A blurb from that thread: Joe Harley then handed me a gorgeous, double gate-fold LP of the Horace Parlan Quintet's Speakin' My Piece. The first release in Music Matters' new definitive Blue Note reissue series. They'll be mastered by Kevin Gray and Steve Hoffman at AcousTech Mastering, which will produce the metal parts. Because the recent Acoustic Sounds 45RPM Prestige/Riverside discs sounded so luscious, Music Matters decided to release the Blue Note series as double disc 45 RPM limited editions sets. ------------------------------------------------ I am now authorized to give you some more information: For me, the greatest Jazz LP label of all-time is BLUE NOTE. Music Matters, Ltd. is a new record label formed primarily to reissue these definitive vintage BLUE NOTE albums on 180 gram virgin vinyl with the best possible quality. http://www.musicmattersjazz.com/ This new numbered limited edition series will cause quite a stir in the jazz world as well as the audiophile and record collecting communities, thats for sure. The movers and shakers behind the MUSIC MATTERS label are legendary rare record dealer RON RAMBACH, JOE HARLEY, vice-president of AudioQuest and "Mr. Blue Note" himself MICHAEL CUSCUNA as special consultant. These three BLUE NOTE experts are considered the greatest authorities on the label and have come together to insure that this is the most exciting jazz reissue series ever attempted. Folks, this has been very long in the making. (For example, I was first approached by Joe Harley to master these BLUE NOTE gems YEARS ago; yes, I can keep a secret). Just this year it finally came into being, thanks to the good folks at CAPITOL/EMI. See post #101 for the first 63 BLUE NOTES on the list. The albums are being cut at 45 RPM for maximum quality by Kevin Gray and me using our full ANALOG disk cutting system; most studios cannot even cut vinyl in 100% true analog anymore (they convert to digital first) but we can. The original Rudy Van Gelder engineered stereophonic session tapes are used when we master these gems. The sound quality is amazing on our test cuts. Like from heaven. First totally uncompressed versions of these jazz classics that Ive ever heard and trust me, you will be impressed; they sound like no other releases of this music. The sound is lifelike, the horns are in the room with you. Our non-invasive mastering insures the true breath of life on these original Van Gelder session tapes is transferred to the virgin vinyl with absolute authenticity. It is like hearing these BLUE NOTE masterpieces for the first time and that is NO exaggeration. When we heard the first lacquer acetate playback from our first mastering session I thought Joe Harley was going to pee in his pants he was so excited. Actually we all were; after 50 years of many lackluster and some downright bad sounding versions of these albums, hearing the real deal is a humbling experience, even for us hardened music veterans. You will be able to listen to the music exactly like we did when these are ready for sale in a few months. A word about the artwork and jackets. MUSIC MATTERS have really spared no expense in the creation of the album covers. All laminated thick gate-folds, (custom paper, etc.) just like the originals. Better, actually. Even the hi def original session photos are from the absolute original camera negatives. The old BLUE NOTE covers had around 150 dots per inch on their album photos. These are all redone from scratch at 450 dots per inch or more; its astounding! Best quality you'll ever see. I feel there is great merit to the project and I'm proud to be a part of it. At least 63 albums so far are going to be re-released in this high quality fashion. The dynamic duo of Gray/Hoffman will master all of them at AcousTech Mastering from the analog originals. PLEASE NOTE: Some of you hesitated on the Analogue Productions "100 Greatest Jazz Albums Of All Time" 45's culled from Prestige/Pablo/Contemporary/Riverside/Fantasy because you felt the list price (around 50 bucks) was too much. Well, some of them are now going for hundreds and hundreds if you can even find them. The BLUE NOTE 45 RPM reissues that I am working on will be strictly limited editions and once they are sold out, they will be GONE. DO NOT HESITATE; some of these albums in their original state cannot be purchased for under $700.00 from record dealers. Here is your opportunity to get the best looking and best sounding BLUE NOTE versions for a fraction of that cost. http://www.musicmattersjazz.com/ First releases are coming soon. Stay tuned!! Pictured left to right: Ron Rambach, Joe Harley, Steve Hoffman, and Kevin Gray in AcousTech Mastering at Record Technology, Inc. (with a few "real deal" BLUE NOTE RVG master tapes sitting on the console). Photo by Brian Jones. More BLUE NOTE MANIA! New Acoustic Sounds 45 RPM vinyl by Steve & Kevin! The list: http://store.acousticsounds.com/whatsnew.cfm As most of you know, the fine folks at ACOUSTIC SOUNDS/ANALOGUE PRODUCTIONS are also working on a bunch of 45 RPM 180 gram vinyl BLUE NOTE JAZZ reissues. These are also going to be mastered by us (Kevin Gray/Steve Hoffman) from the original Rudy Van Gelder master session tapes. Both the MUSIC MATTERS and ANALOGUE PRODUCTIONS BLUE NOTE reissues are very exciting (to say the least). Both of these deals have been in the works for a while. This is going to be such a memorable time for both old and new jazz lovers. A good time to be alive!! http://store.acousticsounds.com/whatsnew.cfm Here is the list of the first 25. 1. 84047 Art Taylor AT Delight BX-5870 & 5871 2. 84083 Dexter Gordan Dexters Calling BX-6005 & 6006 3. 84112 Dexter Gordan Go BX-6061 & 6062 4. 84154 Grant Green Idle Moments BX-6149 & 6150 5. 84105 Ike Quebec It might as well be Spring BX-6047 & 6048 6. 1534 Paul Chambers Whims of Chambers BX-8567 & 8568 7. 84034 Lee Morgan Leeway BX-5844 & 45 8. 81577 John Coltrane Blue Train stereo BX-6634 & 6635 9. 84123 Kenny Burrell Midnight Blue BX-6087 & 6088 10. 81595 Cannonball Adderley Something Else Stereo BX-6463 & 6464 11. 84003 Art Blakey Moanin stereo BX-5707 & 5707 12. 1558 Sonny Rollins Vol. 2 BX-7801 & 7802 13. 84063 Kenny Dorham Whistle stop BX-5906 & 5907 14. 84110 Horace Silver Toyko Blues BX-6057 & 6058 15. 84114 Ike Quebec Soul Samba/ Bossa Nova BX-6065 & 6066 - 16. 84051 Jackie McLean Jackie Bag BX-5878 & 5879 - 17. 84140 Joe Henderson Page One. BX-6121 & 6122 - 19. 84130 John Patton Along came John BX-6101 & 6102 - 20. 84071 Grant Green Green Street BX-5922 & 5923 - 21. 84038 Jackie McLean Capuchin Swing 22. 84094 Fred Jackson Hootin and Tootin 23. 84078 Jimmy Smith Midnight Special 24. 84066 Lou Donalson Here tis 25 .84014 The Three Sounds Bottoms up [Y]

http://www.stevehoffman.tv/forums/showthread.php?t=82369

I use MC30's and an MC2505 w/my '80 Khorns and the sound is downright glorius. I imagine this is how music would sound in heaven...

I suggest eBay for ya. You might get in the low $2K range... Probably $1500 - $2000 though. IMO

double post