mikebse2a3

Looks like $8498.00 a pair including stands.

@EdPhiladelphia What is the Klipschorn Model # you are looking at..? On many models the Top Section is held on with (2) L-Brackets with Wingnuts. The Grills are also held on with (2) L-Brackets with Wingnuts.

@Dr Morbius What is the Klipschorn Model # you are looking at..? On many models the Top Section is held on with (2) L-Brackets with Wingnuts. The Grills are also held on with (2) L-Brackets with Wingnuts.

Did you see the video available in the link in the OP’s first post? It explains why this speaker came about very well IMO.

I see this collaboration as a work of art with a distinctive sound and look which will speak to those who appreciate it’s unique qualities. I’m sure it’s not cheap to make those horns, stands or cabinets and thus limited production all add to cost as well as the engineering time spent by Roy again for a very limited production. Everyone has their value system and speaking for myself I see real value here and to each their own as it should because nothing is for everyone. miketn 🙂

Congratulations to Roy and Devon…!!! I enjoy seeing people do what they love and this feels a lot like the way it was with the UJ where a bunch of guys got together and made friendships because of the love of audio and horn speakers. miketn 👏🙂

I thought for an improved visual comparison that if I combined the chart information with the response curves of the different L.SHELF Filters it would add clarity as to how changing the Yamaha SP-2060 L.SHELF (FREQ: Parameter) affects the frequency response and which comes the closest to our reference EV Dx38 L.SHELF frequency response. NOTE: Where the (0.00dB Point) and the (-10.00dB Point) are in the EV Dx38 and the Yamaha SP-2060 and you can see how the bandwidth of the Yamaha SP-2060 is wider than the EV Dx38. With the Yamaha as the L.SHELF (FREQ: Set-Point) is changed downward the (0.00dB Point) and the (-10.00dB) shift downward as well.

I agree and mentioned to Roy at the time I heard a small difference and that it reminded me of when I would experiment and bypass the L.SHELF @ (FREQ:2.5kHz) (LEVEL: -1.00db) Filter when using the EV Dx38 but I definitely thought it was nice sounding in the short time we had with it. Now after all these years we know one reason why some perceived a difference I believe. miketn🙂

Here are the simulated Transfer Function Curves of the LF and HF of Roy’s EV Dx38 Program Parameters and the Yamaha SP-2060 with the suggested Parameters I have posted. I know it takes some efforts to compare these graphs since the editors present them differently but if you look at the 1kHz, 2kHz, 5kHz and 10kHz points you can form a sense of how small the differences are now with the suggested programming I have provided if someone wants to use Roy’s original voicing.

NOTE: With a L.SHELF FILTER and specifically this one with it’s (LEVEL: -10dB set-point) the frequency spectrum levels are bound/locked between it’s (0.00dB and -10.0dB) Levels. The Yamaha SP-2060 L.SHELF Filter’s Q/Bandwidth appears to be wider than the EV Dx38’s L.SHELF Filters so the effect is as you lower the L.SHELF (FREQ: Set-Point) the upper end of the spectrum rises closer to the 0.00dB level and the lower end of the spectrum reaches the -10dB level at a lower frequency point. The Bandwidth Shape is fixed and just shifts/slides its level effects to different frequencies points. If you look at the Differential Data in my charts for the different Yamaha SP-2060 L.SHELF (FREQ: Set-Points) you will see the level effects at the 1kHz, 2kHz, 5kHz and 10kHz points. As far as any shrill sound that could be many things (like for example if the LF isn’t balanced properly with the HF) but with this knowledge he has the option to try these different set-points and pick whichever he likes best. He will now have a reference point and can experiment for the sound he prefers. Also we all know some recordings are shrill and they have to be ruled out as the possible issue as well because high resolution systems will expose recording faults easily compared to lower resolution systems. miketn

The difference between the Yamaha SP-2060 L.SHELF @ (FREQ: 5.46kHz) should be easily discernible in comparison versus the Yamaha SP-2060 L.SHELF @ (FREQ:4.00kHz) because it covers a very wide bandwidth with up to -2.75dB lower higher frequencies versus the EV Dx38. I doubt anyone would call it dramatic but audible for sure. I would look at it as a type of treble tone control and for this reason someone might find they prefer one over another depending on program material, room acoustics and listener preference and even such things as manufacture driver variations. This is mostly useful in that it gives someone a reference point that is very close to Roy’s voicing of the UJ when using the EV Dx38 and if a change in voicing is desired this gives someone a good reference to work from as they tweak the sound to their preferences. miketn

Here are the DME Designer Windows with the UJ + K402/TAD TD-4002 for the Yamaha SP-2060 program recommendations I have made. miketn

While helping a friend with his Underground Jubilee system I identified some characteristics of the Yamaha SP-2060’s L.SHELF Filters operation and I wanted to share this information for anyone interested in using the Yamaha SP-2060 specifically for the Underground Jubilee (ie: UJ + K402/TAD TD-4002) and would like to implement Roy’s original EV DX38 program as closely as possible using the Yamaha SP-2060 to establish a reference listening point. This will allow a repeatable reference basis for experimenting later for those that would like to experiment with other tuning options for their unique listening rooms and personal taste. While using DSP Programs designed on one brand of DSP many users have become aware that especially the SHELF FILTERs may not give the same Transfer Function Output Curve when using the same set-point parameters of the original program and thus new set-point parameters have to be established and implemented to achieve a matching Transfer Function Output Curve or at least a “very close” match at a minimum and that is the case with the Yamaha SP-2060. In the past I have verified the following as it pertains to the L.SHELF FILTERS of the following units: EV DX38 to EV DC-ONE use the same set-point parameters for L.SHELF FILTERS for an exact match. EV DX38 to XILICA XD-4080 set-point parameters must be changed for L.SHELF FILTERS for an exact match. EV DX38 to Yamaha SP-2060 set-point parameters must be changed for L.SHELF FILTERS for a “very close (+0.75dB/-1.50dB)” match with the recommended parameters I suggest but not exact. In the specific case of the Yamaha SP-2060 experiments I used the Yamaha DME DESIGNER software to develop the L.SHELF set-point parameters to simulate the Transfer Function Curve that most closely matched the simulated Transfer Function Curve of the EV DX38, EV DC-ONE and XILICA XD-4080. miketn This is Roy’s original EV Dx38 program for the Underground Jubilee with K402/TAD TD-4002 and my Yamaha SP-2060 set-point recommendations developed using the Yamaha DME Designer software: The following three papers document the variations from the original EV Dx38 Transfer Function Curve when using the Yamaha SP-2060 and varying the (FREQ: Set-Points). Note: The original (FREQ: 5.46kHz) EV Dx38 set-point has the largest deviation when implemented by the Yamaha SP-2060 while the suggested (FREQ: 4.00kHz) set-point achieves the best match in my opinion when using the Yamaha SP-2060. Here are the EV Dx38 and XILICA XD-4080 simulated Transfer Function Curves I used for comparison with the Yamaha SP-2060. These are the Yamaha SP-2060 simulated Transfer Function Curves as the (FREQ: Set-Points) are varied to find the best match to our original reference EV Dx38 simulated Transfer Function Curve.

What an interesting and great story the UJ have and it makes me smile to remember and have been one of the many who have supported them and been adventurous enough to step out of their comfort zone through the years to own them. I’m happy @Flevoman has joined the adventure. 🙂 Thanks PWK and to Roy for the many opportunities you gave us to join, learn and share in the adventure..!!! miketn

Heinz considering the capacitors are rated at within 5% of specified value yours are really good at 2.5% within spec. Another factor I believe should be taken into account is that It’s very likely that the HF drivers themselves have a much higher tolerance variation in performance within their specifications thus I would be really surprised if this was an audible factor. My thinking is if Roy specified 5% tolerance for the capacitors (and yours are only 2.5% off) then I believe it’s safe to assume that any variation within that range will still give you the sound he has designed for. Of course it can’t hurt to bring them up to 13mfd 🙂 miketn