Deang

'HT' to me -- is simply watching a DVD. Hell, it could be mono with one speaker -- but if I'm watching a movie, it's 'HT'! Nope, my 'HT' is two SET monoblocks and a pair of lowly RF-7's. No sub, no center channel, no rears, no side rears, no processor, and no headache.

Nice looking set? The picture is terrible, and you really can't see anything with these. There is also no real useful information in the ad at all.

They be coming home later this morning. Let the chaos begin!

So, looks like you and Kelly are the only two get bit with this. Should be easy to figure out -- what do you two have in common that no one else here does? How is Kelly doing this work? Directly onto the Comcast server I would imagine. So, both you and Kelly are being issued IP's for your sessions (your local machines) that are probably part of the same subnet as the Comcast server. Craig, you might want to remove that router and plug straight in to see if you get the error, unless of course you are not really running a "router", but rather -- some type of broadband device instead (provided by your cable or phone company). Kelly, do you have a router, or running firewall software? I'd like to know what the error says exactly.

That's pretty funny, for it's the same thing I thought about you after we talked the first time.

Probably should also block ports 22 (secure shell), and 20 as well. As a matter of fact, the easiest way to do it is just create an ACL blocking everything except inbound port 80.

Yes, yes, I know -- a frightening proposition. Only a complete idiot like myself would even consider doing it. I rolled the 27" Mitsu in front of the rack tonight and stuck in the S-video cord. Debbie and Ian are still in the hospital and the kids wanted to do some movies, and I really didn't feel like sitting in the basement with the 32" screen and 2" speakers. No Scott, no Cornwalls, eh. We started with 'Reign of Fire' (not a bad flick really). I jacked the volume control to about where I figured the KR300BXLS' would be spouting brimstone -- and hit the chair. The kids were on the floor, and we were just kind of kicked back. Well, we were kicked back until the initial action scenes kicked in. I KNOW there wasn't much bass to speak of below 35Hz -- but whole damn room was shaking. Transients were simply unbelievable, and dialog was coming straight out of the screen. We turned it down a little after about a 1/2 an hour, and my 13 year old said: "Dad, I usually can't tell when you get different stuff -- but I really don't think you should ever sell these. No sh!t.

Mike, You look terrible.

Jim, I think you should just relax and enjoy the good sound. My preamp volume pot is almost the same way with my Apollos. At the 9 o'clock position it's motoring pretty good, at 10 o'clock I'm looking for a place to hide. You may have a similiar thing going on, where the volume control maxes the amp out pretty fast, as opposed to what you are usually accustomed too (being able to get the volume control up to 12 or 1 o'clock). OTOH, remember -- 40 watts is a hell of a lot of power with K-horns. If everything is working the way it's supposed to be, you should be splitting the rafters with 8 watts. It probably wouldn't take much on a volume pot to get 8 watts. Let me guess, the third notch is sitting right at about 9 o'clock position. 104db/ 1 watt 107db/ 2 watts 110db/ 4 watts 113db/ 8 watts 117db/ 16 watts 120db/ 32 watts

No problems from this end, works fine. Nice work Kelly. Sure wish I had your skill sets. Yes, my camera is poop. However, which is better: A 40 year old cosmetically "as is" 299 shot with a high resolution camera showing in very great detail the rust on the iron, small pits and stains on the chassis, and every scratch and ding -- or the same amp shot with a poopy camera after a going over by yours truly with emery, blood, sweat, and tears? Ah yes, my 299b sitting in Craig's garage collecting dust (and God knows what else), while I scratch and scape for bucks to have something better than good done to her. I would really love to do those Blackgates, replace the power cord, add binding posts, and maybe squish another suprise or eight in there. Having Craig dump everything in there that I can think of, and adding some premium Amperex or Telefunkens into the preamp section -- will still bring her in substantially lower than a very good modern used push-pull. Hey folks, this is a complete no brainer here. I don't know, that Cary "house sound" is pretty damn good though.

This is very simple. All these guys need to get together and sue, sue, sue. This is an easy win. Bastards.

Is the high pass on the svs actually adjustable? Usually it's only the low pass which is adjustable. Most high pass crossovers in subs are set at at 80, 90, or 100. If both the high pass and low pass are adjustable, I would set them both at 50. If only the low pass is adjustable, you need to find out where svs has it set, I would then also set the low pass to match it. As always, there will be different opinions on this -- but when I had the RB5's, I just always thought it sounded better setting the low pass within 10Hz of where the high pass was set. I think alot of this also has to do with the crossover slope. Most subs are now running 24db/octave -- which is what mine was. I don't know what the svs is. At any rate, I would set both high pass and low pass to the same setting -- and then fine tune with the volume control on the sub. Find something with some good bass in it, turn up the sub until you can hear it, and slowly (very slowly), back off the volume until you CAN'T hear it -- then walk away. It's best if you can have someone do this for you, while you are sitting at the listening position.

I was in the process of looking up some of the amps he'd had in his house when Kelly posted the bomb. I did catch the deal with the 6SN7, but decided to let it go. Must have been tough going from Passlabs to Bryston, from Cary to Jolida, then Jolida to ASL. Actually, that ASL probably sounds pretty good, I just thought it was a bit over the top dragging Cary through the mud.

Thanks guys. I was looking for a picture to post to hold you all over. I came up with these instead.

7lbs, 11oz. Not to bad looking as far as babies go. He has the terminally pissed off look I usually walk around with. He came flying out of there 25 minutes after we got to the hospital. Damn, it was close. She always does it like this, and it scares the hell out of me every time. His life will be one of struggle. He showed up with the cord wrapped twice around his neck. Debbie had to stop pushing for 5 minutes while the doctor untangled the mess. An eternity -- pretty nerve racking it was. There was also some fluid in his lungs, as he didn't spend enough time in the birth canal getting all of the fluid pressed out of his lungs. Respiration hovered around 100 for about half an hour -- when an x-ray was ordered. The x-ray came back and his lungs looked worse than full blown pneumonia. Respiration finally went down to 65, then 45. Lungs cleared after about two hours. All is well with Debbie and Ian, but dad feels like he had the crap kicked out of him.

Well, like you said earlier, much of this does come down to subjectivity. You are right about that. We all don't 'hear' exactly the same, and this I'm sure sometimes accounts for the choices we make. I did sell the Bryston, and currently have an Aragon 4004 MKII -- which I think sounds better than the Bryston. However, I certainly wouldn't characterize the sound of Bryston as 'bad'.

I don't know, but I really noticed when comparing that first 15 minutes in the Abyss. There is that scene while the sub is diving down, and then crashes into the cliff face. Those stones break loose and start to roll down the side. The RB5 just does that kind of thing with an extreme amount of intensity. Kick drums in music just WHACK, and it's the tightest sound I've ever heard from a ported design. It was a complete riot comparing them to my Magnepans I had at the time. My son and me just start laughing. I immediately sold the Maggies and got a good powered sub to go with the RB5's. Now I'm listening to ported floor standers (which I said I'd never do), and 9 watts (which I also said I would never do). I think I've completely lost my mind.

Bryston is 'bright', yet Klipsch has 'clarity'. Consistency, thou art a jewel. My statement regarding Bryston was in the context of buying it used, as opposed to buying it new. My statement had nothing to do with comparisons as they related to sound, regarding ASL or any other tube amp. If you run a Bryston amp with a good tube preamp -- it's a very involving sound. I ran the 3B-ST with both a Sonic Frontiers Line 1, and my current AE-3 DJH. It took a 15 wpc, class A, zero feedback, push-pull with KT-88's to best it. The problem with Bryston is the same problem Klipsch has. Uncompromising clarity. Team the Bryston up with a less than perfect preamp -- and it'll let you know about it right quick.

Single woofer designs tend to be a bit more coherent than dual woofers. Also, the RB5 crosses over to the tweeter about 300 cycles lower. I've owned the RB5's, RC7's (which I used in two channel), currently own the RF7's, and also have Heresies. I don't need measurments, I've compared the speakers myself. I also commented on these findings with an email to Bob Gassel at Klipsch -- who agreed. It was actually BobG who said the only speaker more dynamic than the RB5 is the LaScala. At any rate, a pair of RB5's and even sub par sub, completely smoke the RF3's and RF5's.

We need to know the important stuff. Budget Room size Listening habits

After all this time, it has finally sunk in that with horns -- "watts" has almost no relevance at all. It means practically nothing. I guess if you have a listening room the size of a gymnasium -- you might want to go with 8 watts. This was posted by jnorv in the cable thread on the previous page. It's from an interview with Bruce Edgar. "We've done power measurements with the horn system, and for the most part, the system will loaf along at a couple of hundred milliwatts of power. In fact, it's very hard to get a watt into it. A good loud sound level is only about 50 milliwatts in acoustical power. People have a hard time comprehending this, but actually air is a pretty poor conductor of sound. In fact, a jet airplane engine is essentially 1 acoustical watt. A loud sound in a living room is about 50 milliwatts. Well, if you have a horn speaker system that's maybe 25% efficient, the amp only has to deliver 200 milliwatts to the speakers, which corresponds pretty much to what I've measured. It's amazing how little power goes into a horn system, and I think that somewhat explains why wiring makes a difference. If you just have copper wire, the amplifier sees a very low resistant path to the speakers. When you start putting other metals like silver and copper together, you may see contact potentials between different types of metals at these very low power levels. When we tried silver, it seemed to have a colored sound"

Sweet.

A man of fewer words.

I'm on my period. The Cary 'house sound'? Detailed, grain free, punchy, and imaging to die for. Of course, as you well know -- I've owned them all (well, Kelly thinks so)

I'm not 'pissing', I just know you can buy slightly used for almost half the price of new. I bought my Welborne Apollos for $1650, and those amps went new for $3400. I bought my AES AE-25 Superamp DJH for $1350, and that amp new sells for $2500. I bought a Bryston 3B-ST for $850, new, it went for almost $2000. With the deals floating out there at Audiogon, it just pains me to see someone shelling out that kind of money for a run of the mill push-pull.