mikebse2a3

You will always be welcome at my place Heinz.. 👍🙂

@Flevoman The speakers are spaced about 13ft/3.96m center to center (ie: tweeters) and the listener location is approximately 9ft/2.74m from the plane of the speakers (ie: tweeter). IMHO on good recordings both Vocals and Instruments are realistically focused and the sense of locations in the sound stage are very natural in width and depth with a pretty holographic feeling on some of the best recordings. On some recordings I do feel like the piano for example might feel magnified some while others are fine but if I place the speakers closer together at the next best (SBIR) speaker location spread (@ approximately 11ft/3.35m) then I feel like on some recordings the piano is a little to small so my preference is for a natural or slightly larger than life piano for example. Image/Soundstage Depth on some of my recordings can feel like it goes back nearly 20ft/6m and my room width is nearly 20ft and Image/Soundstage can often fill that space when appropriate yet if I play a mono recording it is very tight and focused in the center between the loudspeakers. The speakers truly appear to be silent while the music is playing all around them on good recordings. I enjoy this setup so much that I recently mapped my room/setup so that has I experiment with different setups, loudspeakers and room acoustic arrangements I wanted to absolutely and easily be able to recreate this setup relatively easily. 🙂 miketn

One of the most critical aspects of integrating my La Scala AL5-ME in this essentially square room was adjusting for the SBIR (Speaker Boundary Interference Reflections). Movements in relation to the wall boundaries of as little as a few inches can make or break the smoothness of sound reproduction below 300Hz. Listening to a good recording of an Acoustic Upright Bass I find to be a valuable tool in loudspeaker placement as it pertains to reproduction of frequencies below 300Hz. As can be seen I have the La Scalas well into the room and yes it does reduce the LF extension versus corner loading but it is very smooth detailed reproduction and the soundstage/imaging is excellent with the speakers totally disappearing as the sound sources. Note: While I can and do enjoy the La Scala AL5 on their own in this setup with music I mostly use the KPT-1502-HLS prototype sub (Located Behind My Listening Position) with them or even my Underground Jubilee’s because of the increased realism that comes from frequencies as low as 18Hz adds to music reproduction and Soundstaging/Imaging. miketn

Heck some people think a Heresy is to big…😆 Depends on what you mean by “practical” and “normal sized” but don’t kid yourself they can sound awesome in what some would call a normal sized room.. 🙂 I’ve used (3) KPT-904 with K402/K510 cinema HF in a 2900 cubic foot room and it was pretty awesome IMHO. miketn

Heinz I checked the driver wires which appear to be stranded tin coated and they appear to be slightly loose in the 18ga “stranded stripper slot” and tight in the 20ga “stranded stripper slot” so I would go with 18ga IMHO. miketn

I agree that there is a learning curve with Active DSP (which like any powerful tool can be used for good or bad) and that is part of what has always drawn me into this hobby was that I enjoy the challenges of learning and experiencing new things. While I like reading and learning from others the real fun and understanding comes from actually experiencing something myself. The active DSP approach is an awesome tool that gives me a playground that helps me understand how we hear and experience sounds. miketn 🙂

Mark….. I believe you are probably correct as far as the behind the screen tuning.

Roy would have to chime in here for accurate information about the cinema systems mono-operation with passive crossovers. I believe there will be “real limitations (even though it can still sound very good)” in a Passive Network System (to achieve the mono-amp operation) versus an Active DSP Crossover System when it comes to optimizing the Loudspeaker as well as the System/Room Optimization. I’ve heard Roy say in the past that even some of the DSP Program recommendations are a starting point for them to then fine tune the loudspeaker/room installation. Cinema Brochure (2016) cinema-2016-brochure-v03.pdf KPT-Jubilee 535-B (Bi-Amp) Data Sheet KPT-JUBILEE535-B-Data-Sheet-v05.pdf miketn Page 7 from the brochure talking about passive options for some of the systems.

The “Signal” is the Power Supply being modulated and can only be as good as the power supply. Even if we can’t measure it but we repeatedly hear the difference then most likely we haven’t measured all thats audible IMHO. miketn🙂

Hey Maynard I guess we agree to a degree… 😄 I consider all the electrical components of the power supply to have the potential to affect the sound including the Power Transformer, Rectifiers and Capacitors. The (Power Transformer + Rectifiers) are in parallel with the (Power Supply B+ Capacitors) as well as the (Audio Output Transformer + Tube + Bias Resistor/Capacitor) and thus the quality of the Output Signal will be a reflection of all the components in the power supply. I have replaced the standard silicon diodes often used in amplifiers with Hexfreds for example (the standard silicon rectifiers turning off and on can create noise that can be audible in my experience) which resulted in an impression of increased clarity and removal of some higher frequency edginess to the sound. miketn 🙂 I’ve done a simplified drawing of the “Little Sweetie” for a different visual impression to hopefully show why I would consider the Quality/Characteristics of the rectifiers as well as all of the power supply electrical components will play a part in the resulting sound of an amplifier.

I would disagree since it is the power supply(which obviously includes the rectifier) that we are modulating (regardless of the amplifier’s design type) and the power supply performance is an important part of the quality of the amplifiers output signal. miketn🙂

Cary CAD-2A3i push/pull amp (with choke and bias modifications I addded) for the Jub LF Audio Electronic Supply AES SE-1 with 2A3 tubes (I built from a Kit with slight modifications I implemented) for the K402 HF (This was Cary’s Kit Division back in the early days) These amps setup along with the: Musical Fidelity CD-Pre24 EV DX38 was what you listened to in the Hope Lab in 2007.

Thanks my friend 🙂

Awesome work @John Warren as always and thanks for sharing…!!! miketn

I enjoyed your video…… well done 👍 ST35 is my favorite Dynaco…. The 6BQ5 and 7189 based amplifiers (provided they have high quality output transformer) offer some of the best sound reproduction and imaging that I ever experienced on my Klipschorns. miketn

@Idontknow Yes….Thanks for sharing the video… The Heritage Jubilee is the greatest tribute I could imagine for PWK due to the Sound Reproduction and Ground Breaking Engineering …!!! Thanks Roy and Klipsch..…… miketn 🙂

Blast from the past pictures…🙂

Here are the CARY CAD-2A3-SE single ended mono amplifiers. Man it’s been way to long….. I really like these with the LA Scala AL5-ME

It’s been a few years since I have played with my CARY CAD-2A3-SE and CARY CAD-2A3i amplifiers so I performed a VARIAC and LIGHT BULB CURRENT LIMITER slow start just for precautions. The La Scala AL5-ME and 2A3 amps are an extremely enjoyable combination IMHO. miketn Here is the CARY CAD-2A3i push/pull amplifier and slow start setup.

@HotGlass Here are your pictures converted to JPG so they don’t have to be downloaded for viewing but will remove them if you don’t want them reposted just let me know. GLWS 🙂 miketn

Run a Resistance Check on your positive wire and negative/ground wire for possible high resistance connection or break/corrosion.. miketn

To disrespect PWK on the Klipsch Forum is about the most stupid action I’ve ever seen here….!!! miketn

Why are you even posting here except to TROLL @Travis In Austin and @Chief bonehead check the BS from this “Fool”

Happy Birthday PWK