D-MAN

Tecnically, there are better drivers available to use for reflex enclosures than the K33. I was suprized when I found out in a previous thread here that it was in fact the same driver as my Khorns use. Frankly, I consider the choice of the K33 in a reflex enclosure to be a compromise. The use of the K33 in a Cornwall was (IMO) purely economical, in that they are already in supply and so the logistics are already in place to supply, support, repair, and replace them in the product line. Also, the use of the same driver allows for most of the same components to be used in the related crossovers again simpler in logistical support. Again, just my opinion... DM

Q-man I'm running a MC300 into my Khorns and I listen to .3 watts (yep: 1/3 of a watt) on the meters. That shakes it up and is enough to "fill out" the drivers nicely. It is quite impressive. However, I have been known to actually turn it up more than I should have when showing off, and even clipped 300 watts with no damage. I turned it down immediately of course, but the point is, unless you are REALLY RECKLESS the horns can take it. I also am using ALK crossovers so there is no extra tweeter protection as there would be with stock crossovers... Go for it! DM

Lowest maintenance: BLACK Best possible resale: Stained natural Bonus on the staining: Women like it better than GIANT BLACK THINGS sitting in the corner (if women have to live around them) ; otherwise, they will be on the dreaded "redecorating list" of things to get rid of... I would stain if it were up to me... DM

minn_male42, Roger that. I was thinking a single cable, of course. DM

CWM, right on! The only POSSIBLE problem with horns is that some people put them in places that are TOO SMALL for them. That isn't the horns fault. DM

I would be suprized if a CAT-5 speaker wire lashup could efficiently handle the current of an good audio system. It is not made to do it - it is for low-current computer network and phone service. Try larger diameter speaker wire in an A/B test and see what you think before settling on using CAT-5. DM

The EV T-35 (if I remember correctly) tweeter employed in the Heritage line is rated to a "flat" max of 15k. I've seen some published at 17k or so, but typically that is not publishing the -db value along with it. One of the issues with the Khorn is (due to its size) exactly where does one put the microphone to measure its 1 meter response? DM

La Scala, by all means. 3-way horns or "bass-reflex" compromise? That's a NO-BRAINER, dude! DM

Malcolm is right. The size of the horn mouth and the length of the horn determine the Fc (without a discussion of expansion rates, etc). Also, I would imagine that the crossover frequency points would also be different, bearing in mind that the respective horns in question have various Fc's. Typically the crossover low freq cutoff point is above (or at least AT) the respective horns Fc. The particular dispersion pattern of a given horn is also determined by the expansion rate and horn mouth employed. Never the less, the same driver can be used on many horns of various dimensions in combination with the crossover points employed. DM

I remember 2 oft-used demo LPs from the 70's... The "Dark Side of the Moon" was considered relatively state of the art in the 1970's. It was used in alot stores to demo stereo gear. IMO it does not even come close to what I now consider a good recording today, even remastered - but the music still rocks anyway. Why is it that virtually ALL recorded BASS in the 1970's has that nasty, flat "seventies" sound? Even remastering can't seem to get rid of it. But I would guess that Chick Corea/Stanley Clarke "Return to Forever" LP to be the late 1970's preferred demo recording when selling stereo gear. At least in Seattle back then... DM

I could be all wet on this, and it could just be a "folk tale"... I have heard that mismatched output impedance results in excessive heat at the output transformer when driven at high volume (i.e., high current levels). I would guess that the difference would be current levels at twice the expected (at the transformer) load. However most modern transformers can handle very high temperatures indeed. Also there is quite a difference between 4 Ohms and 16 Ohms vs. 4 and 8 Ohms respectively... probably not going to be much of a problem. Whereas 4 vs. 8 Ohms mismatch is not much of a problem, any more than that and I would hesitate to mismatch the output on an OLD amp for fear of smoking an output transformer. DM

Tom, I agree with you ; all of my horns are exponential. As I have never really heard a tractrix setup, let me ask you this: in your opinion, is it likely that one could actually hear a difference when A/B'ing a tractrix vs. an exponential (let's say) a midrange using the same driver? DM

NOSvalves, Your new signature looks just fine. I am going to make mine the same. DM

While I think that Klipsch has lost some of its previous lustre (IMO) due to its competition with the 5+ channel crowd, I would say that instead of "looking down on Klipsch as an audiophile company" I still regard the Heritage line as setting the standard in BUILD QUALITY, DESIGN, and PERFORMANCE. I would regard that as LOOKING UP, not looking down. What can one say to the willfully ignorant? DM

My cynical outlook is that in order for Stereophoole to do a full review of the Klipschorn would require that Klipsch advertise HEAVILY in that mag. That would also ensure a favorable review... But after IGNORING the Heritage line for so long and then suddenly dredging it back up with a review of any note would SMELL FISHY; revealing the long and shallow tradition of how advertising dollars influence reviews and also that actual performance really has NOTHING to do with the published review. Sort of "Oh, yeah, these have been around for years, but we forgot about them - they sound great, check them out". Now THAT'S some current and informed reviewing going on there! The only possible "save" of a favorable Khorn review (which I doubt) would be to aim it exclusively at the tube crowd. But then, they would just be preaching to the choir... The unfortunate side of this is that there is an entire generation of young audiophiles that haven't even heard of a Klipschorn let alone ever listened to a pair. I don't evision that changing a whole lot until a new publication (with new reviewers) comes out that can discard the old ways and start fresh. DM

It's a free market, dude. They are worth whatever someone is willing to pay. I find that MOST stuff on Ebay goes for much more than its worth. That's the point of an auction - it starts a competitive thing going and THAT drives up the price.

The horn boundary-induced "balloon" effect on the expanding waveform makes sense to me, as there would certainly be drag on the waveform due to contact with the horn walls. Seems to me the center of the wave would proceed slightly ahead of the edges due to said "drag" effect. So maybe the proponents of Tractrix horns have a valid point (except for the bass end)... DM

You might consider some accoustically transparent ceiling- to-floor draperies to visually mask off the speakers (especially if they are in corners) like in a commercial theatre. That really is the only respectable method that I can think of, but done right, probably expensive. Since the speakers are the cheapest thing to replace, perhaps you should consider that instead... sorry. DM

Since you are "down south" my first suspicion is humidity. This can cause intermitant electrical contact which sounds like crackling. Since it apparently "wears off" after a bit of exercise, it seems to also point to humidity. I am making some uneducated guesses here, so bear with me... By switching the speaker wires from one crackling speaker to another, if the speaker itself is the culprit, then the crackling will not move. Conversely you could swap the wires at the amp and accomplish the same thing. The best case is that the crackling issue does not appear on the other speaker. That would point to the internals on the suspect speaker to be the problem. Since the crackling "goes away" after a bit, it probably is a wiring connection or solder joint that is the problem. Speaker drivers having "gone bad" do not tend to correct themselves. I am also assuming that the house is up to "normal" temperatures when you are turning on the equipment and that the gear temp is relatively close to "comfortable" ambient temperature. So, if the amp and source connection prove themselves to be ok, we are down to a crossover network and the speaker drivers themselves. The issue of coldness definately will effect electronics but I am assuming that the interior of you house does not begin to go below 50 degrees? If it does then you could be stressing the active electronics a bit. However, most passive crossover network components will not heat up and cool off like the active gear does, so the effect of ambient temperature is lessened somewhat. However, in all cases, incomplete electrical coupling as in a poor wire, connection, or marginal or oxidized solder joints can have the effect that you are experiencing. I would go there next. IMO, it could be the crossover components, but again, I would not expect the problem to be intermitant in such a case. Look for poor connections and bad solder joints first. Good luck. DM

There is a benefit to DIY Khorns besides saving money... I built a pair derived from Speakerlab plans and I love 'em although they are still just plain old plywood. Couldn't live without them now. Since they are DIY, I change drivers, crossovers, and generally mix and match alot. I built mine in the dead of winter on a covered back porch in about a week. If I owned a genuine pair of Klipschorns, I would be afraid to change them or modify them at all as they are beautiful pieces of furniture as well as an outstanding example of form following function. However, the ugly, fun DIY versions are a tweaker's delight... and everyone who visits admits, although they may not want a pair of plywood jobs in THEIR living room, the ugly things are the nicest sounding speakers that they have ever heard. Damn the torpedoes and full speed ahead... That's my advise. DM

You guys are right on the money... They physically cannot move enough air to reproduce what I would consider "USEFUL" bass, although the drivers are rated to mid-thirties (they look like Lowthers). Might present a reasonably clean soundstage although quite compressed compared to horns. Typical of most British/Euro designs, the good points are: 1) no crossover 2) somewhat boosted "bass" although not what a horn owner would call "bass" ; its a modified reflex-type enclosure 3) single point-source, that is, no time-delay problems in the upper end The bad points: 1) Little capability of LOUD output (i.e., can't ROCK) 2) limited BASS response 3) Little power-handling capability 4) apt to compress dynamics and soundstage 5) expensive 6) demands placement towards center of listening space The benefits do not seem to balance against the drawbacks as far as I can see. DM

2 things to be concerned about: PATENTS and COPYRIGHTS Plans to anything cannot be PATENTED. Only processes, materials, products, formulas, and methods can be patented. Plans being PRINTED MATERIAL fall under the COPYRIGHT laws, and only under certain conditions. Copyrights do exactly that - they protect the OWNER OF THE RIGHT TO MAKE COPIES of the printed material from being the printed material COPIED or REPRODUCED without permission. The Klipschorn PATENT expired in 1965. Patents last 20 years at most; sometimes less, depending. There is no PATENT infringement involved in selling plans for Klipschorns on the internet as the plans themselves are not covered by the patent, nor is there copyright infringement (covers printed material only) as they are MOST LIKELY not a COPY or REPRODUCTION of Klipsch-produced printed plans (they would have to say KLIPSCH on the plans and also be COPYRIGHTED to KLIPSCH along with the year of copyright AND be current). Even ORIGINAL Klipsch-produced plans can be sold legally, even if currently copyrighted -YOU JUST CAN'T COPY (I.E., REPRINT OR REPRODUCE) THEM AND RESELL THE COPIES IF THEY ARE COPYRIGHTED AND THE COPYRIGHT IS CURRENT. Copyrights last longer than patents and can be renewed where patents cannot, so that possible copyright infringement would be the only possible problem. Unless they actually are actual copies of Klipsch-printed and Klipsch copyrighted plans and the copyright has not expired (which I would doubt), there can be no legal issues with this. I am unaware of any plans sold commercially by Klipsch after 1975, or at least I was told then by Klipsch-CO that Khorn plans were "unavailable". I am not sure of the copyright "length" in that copyrights can be renewed a number of times. Also copyrights do not require the government to issue or grant anything. Simply affixing the ©notice, year of copyright and who the copyright belongs to is enough on the printed document in question. Same goes for the Speakerlab (Seattle) plans which I believe are still available from Speakerlab who is still in business. They are copyrighted (my copy says 1978) so REPRODUCING a copy is indeed copyright infringement, but selling (or reselling) a Speakerlab-printed and copyrighted set is perfectly OK as you did not REPRODUCE a copy of said plans without permission. Does this make sense? P.S. Speakerlab is a LATE 1970's company that is still around founded well after the Khorn patent expired. This rumor surrounding Speakerlab and Klipsch really needs to go away. There were NEVER any lawsuits concerning the Speakerlab "K" which was a comercially available Klipschorn knockoff offered in either finished or kit form. I wish they still sold them! Klipsch, Speakerlab plans or anybody else's corner horn plans are perfectly ok to buy unless they are unauthorized copies of currently copyrighted plans owned by someone else... DM

Al, I am with you guy. Remember when the likes of Kenwood, Harmon-Kardon, Marantz and most of all of the "good" stuff from way back used to be American? Now all of it is mostly cheap plastic junk from Japan. In general AMERICAN, ENGLISH, and CANADIAN are the only brands of audio gear that I would recommend to anyone now, and that even SIGHT UNSEEN and UNHEARD. It's a safe bet. DM

I think that DJK's right. I have not heard of a TRUE digital amp. Switching amps are of course only PART digital, and I am unconvinced of the merits of that, but I haven't actually heard one, so bear that in mind. A digital amp would have to convert the (usual) ANALOG signal to DIGITAL for amplification and then BACK to ANALOG for the speakers - what could be gained by doing that? Unless, of course, you are talking DIGITAL speakers! Seems to me I've seen those advertised somewhere! I may be all wet on this, but it goes against the little common sense that I think I have... DM

Wrench, 2 possible benefits that I see: a) I have always taken the position that individual components are USUALLY and EXPECTEDLY better in quality and performance than the typical single consumer-level component trying to do "it all" at a particular price point. This, of course, assumes some informed shopping around, etc. As an added benefit, the separate component can be changed without replacing the entire system, which for "us tweakers" is the real under-lying bonus. The possible drawbacks: a) You increase the AC requirement at the particular location with its enherent logistical issues. Sometimes, this causes a real nightmare (or rats nest) at the "stack". Adding another separate to the equation adds the requirement for another set of interconnects, and that IMO unless very good cables are added, you may lose more than you gain, or the dreaded alternative (if it works out better than you imagined): suddenly your other gear(s) performance is suddenly revealed to be less than desirable... It's a tough call. Another approach would be rather than going the separate DAC route, why not just replace the current player with a "better" one... I would go for the separate as a matter of course if it were me. Good luck and may you enjoy your choice! DM