JBryan

BTW, the TT is a Clearaudio Champion II and the amps look like offerings from Bottlehead or custom jobs. The classical guitars suggest what the fellow has an affinity for so SD speakers are right up his alley and I seriously doubt that anyone would go to the trouble of setting up a SD system and then drop a subwoofer into the mix. It just goes against the whole idea of a SINGLE driver set up.To each his own but I never understood the logic behind trying to match subwoofers with horns except in HT where that kind of effect is desired and is an accepted compromise. JMHO. Have Fun -Bryan

The speakers are Cain & Cain Abbeys http://www.cain-cain.com/audio/abby/index.html. They are beautifully built cabinets with Fostex drivers that sound very nice with 8+ watt SET amps. They don't do bass especially well but then again, that's not what the single-driver crowd is going for. Where SD speakers shine is in detail, dynamics and above all else, coherence. All speakers are compromised and all sound "colored" so it boils down to which poison you prefer. The SD crowd will sacrifice frequency extension for some of best imaging and coherence available. Us Hornies have to put up with system-matching headaches (read: noise) as well as extension to get the dynamics and transients we want and the ability to use flea-powered amps. The Cone crowd gets the bass extension and quiet operation but needs more power and loses some of the detail and speed of horns and the coherence of SDs. Which is the best approach to sound reproduction? Whichever one that best emphasizes those qualities you're listening for. Cut Throat had a pr of Auris IIs that have been embraced by the SD crowd as one of the best SD speakers available but he decided he liked his Belles better - go figure. I like the theory behind SDs and would love to put a nice SD Like the Auris in my system so I can hear the difference between it and the Khorn. I think it would be a very interesting comparison. Have Fun -Bryan

BB, Playing records at a party? Dump that demanding, single-play Thorens and get a record changer! Stack a few LPs and forget about it. You can still find a large selection of the better RCs (RCA, Motorola, Sears and Roebuck, JC Penney) at your neighborhood thrift stores (which coincidentally sell records as well!). Most come with their own amp and speakers and if you're lucky, you may score one with a radio. Just spit on the needle to get the dusk off, fire it up and you're off and running. Have fun and you're welcome -Bryan

There are lots of folks on eBay and almost as many stategies to win but there's only one truly effective strategy that works every time and doesn't require special software nor is it time-sensitive. Just make sure your bid is higher than anyone else's at the end of the auction. There, I said it...its out. Don't go spreading it around as most folks that think they're getting a deal on eBay are actually just willing to pay more than the other folks that bid on that particular item. Shhhhh! -Bryan

From what I'm reading, this is definietly NOT the place to discuss the audio preferences of "normal" people. Asking a klipschster why normal folk eschew fine audio gear is like asking a Vermont farmer why texans don't eat pork barbeque. Klipschsters must know their place in the audioworld pecking order.

Max, Jazz is a rare find in the thrift shops here (in Baltimore) and when I do spot an interesting record, its usually not in the best shape. I think the market for jazz LPs is based on supply and I'm guessing that fewer jazz records than classical were purchased in the 50s, 60s, and 70s. As the buyers relinquish their collections, there becomes a glut of classical LPs in the bins while jazz is scarce. ATST, older jazz LPs have become very sought after while classical LPs don't get a 2nd look. I've been fortunate on occassion when I happen upon a stack of jazz records obviously from the same home. It also occurs to me that unlike classical listeners, many jazz enthusiasts didn't spend a lot of time caring for their records as most tend to appear well-played and uncleaned. Through these observations, I also conclude that record care for the most part must have a correlation to income level. The assumption here is that classical enthusiasts have more disposable income than folks into jazz, rock and blues and can afford to be more particular about record care or can at least buy whatever record interests them. The other groups tend to find more utility in records and only buy music they intend to listen to (over and over). The result is bins filled with beautiful classical LPs next to a mixmash of rock, the odd and scratched jazz record and if I'm really lucky, I'll spot a old blues 78 but they are rare as hens' teeth and always beat-to-hell. If only there was a market for Montovani or Herb Alpert... Have Fun -Bryan

Max, Maybe its a reflection of our society on this side of the pond or rather sad commentary in regard to the waning classical music audience but I can't find a beat up record of classical music. I've run across entire collections in thrift shops that were for the most part, in pristine condition. I'm sure the fellows who put together these collections over the years took great pride in them and went to great efforts to keep them clean and well cared for. I'm also amazed that these records lanquish in the piles for days, sometimes weeks before they're finally picked through. The record stores around here specifically ask a seller on the phone if he's trying to sell classical LPs and if so, "don't bother bringing it in" is often their response. They won't even accept the LPs as donations for cryin'out loud! I suppose that's why they end up at Salvation Army. I'm not a big fan of classical music but some of these records just can't be overlooked - the Japanese OBM and Holland pressings in plastic sleeves demand my attention. As often as not, they are on sale (3-10 for a $1). I've bought 20, 50 even entire collections based on the pressing and condition alone - just don't ask me how many I've actually listened to. I guess my point is that the enthusiasts who enjoy classical music and cherished their collections are dying off over here and there doesn't seem to be much of a market for the LPs anymore. OTOH, a destroyed copy of the Beatles' White Album fetches a premium ($5-10) in the same thrift stores. Oh well, just my observation but sad commentary indeed. GO BRIT'NEY $PEAR$!

Oh sure they're cute now! But kids are destined to break your bank and your heart at some point. All your careful upbringing and thoughtful audio advise may be for naught when the child walks up to you one day and asks for a couple of thousand dollars to buy a SS amp and a pr of BOSE speakers to run their MP3 player through.... SNAP! Maybe the psychology of rebellion can be manipulated. Just tell your kid(s) that they couldn't possibly understand the benefits of Klipsch speakers any more than they could appreciate the nuances of tubes so it'd be best if they looked around for a decent SS amp and pick out a pr of speakers from Best Buy - certainly BOSE would do. Regardless, they couldn't tell the difference and it'll be a shame to hand over your gear to them when there are plenty of audio geeks with real ears and cash. This is why I don't have kids - I'd screw 'em up for life!

What? Nobody here ever heard of Cooper Cable Co.? Of course, COPPER is pretty good too and most everything I said still applies. Sorry 'bout that, -Bryan

ICs and speaker wires should be matched with your system to tune in the sound your looking for. If your system tends to be a bit on the warm, woolly or bass-heavy side then silver cables will add detail, speed and neutrality but they will sound too analytical or "tinny" in a less than warm system. On the other hand, cooper cables tend to add a bit of warmth or "fullness" to more analytical systems. Sometimes its best to combine the two types (and there are others) to essentially equalize your system. I'd definitely suggest cooper ICs with non-tubed CD players and SS gear while silver really shines with tube preamps and most SET amps I've tried. Maybe its just direct-heated triodes that truely benefit from silver since I've been using silver ICs with a pr of 2A3 monoblocks recently and like the sound more than cooper. I like the cooper speaker cables over silver with my Khorns but I have no experience beyond the 1 pr of silvers I tried (Alpha Core) so as always, YMMV. Have fun -Bryan PS In my experience, silver wires image better in my system but its just a minor preference.

SC is my favorite Sonny Rollins album and I often use it as a reference when listening to a new piece of gear or someone elses system. The LP is a stunner and I would rate the XRCD a few steps behind in regard to clarity and detail but still way ahead of the standard offerings. I listen to the RTI (Acoustic Sounds) LP quite often and still can't comprehend how the engineers produced a soundstage from a mono recording (I'm beginning to think it must be in my head). Nevertheless, the LP is very detailed, quiet and "alive" one of the blackest backgrounds I've heard. When someone asks about jazz recordings and mono in particular, SC is one of my first recommendations. Have fun -Bryan

Guys, Thanks for all your help. I spoke with Bob Crites yesterday and ordered a diaphragm from him. He shipped it out the same day. I'll install it as soon as I get it and hopefully get the CWs out of the house pronto. Thanks again! Bryan

My take on bi-amping is that different amps have distinct sonic signatures and for that very reason, folks who attempt to bi-amp are usually unsatisfied with the results. The real challenge is finding complimentary amps and the ideal approach is to use the same amp on the top and bottom. Of course, folks usually want to bi-amp because they find something lacking in their present setup. Adding an amp with more authority in the bass to an amp with airy and detailed mids and highs seems like a good idea on paper but tends to sound disjointed in practice. Likewise, using an active crossover can benefit the coherence of the amps but will not be very effective at combining uncomplimentary amp signatures and adds to the signal path which among other nasties, may increase the noise level. In the end, its the decision is full of compromises and the choice usually boils down to the least of evils but simplicity prevails here and its often easier (if not cheaper) to find a single amp that accomplishes your needs than finding a combination of amps that compliment each other and add coherence to the system instead of taking it away. Just a thought, Bryan

Silverfox, I think the point of the rants is that the seller "pulled" the speakers at the last minute and the feeling is that he/she did so because they weren't getting the price they wanted. Its all speculation of course, and will remain so until the seller comes forward and explains himself. eBay and all auctions have rules and when a seller puts an item up for auction, they agree to those rules and are obligated (except for eBay apparently) to follow-through with the transaction. The only reasons for "pulling" an item is; 1. a glaring misrepresentation or 2. damage or failure occurring after listing. Because eBay provides a certain amount of anonimity to the process, some participants eshew any obligation or responsibility when faced with a outcome that does not meet with their expectation. eBay markets itself as an internet auction but allowing actions like these suggests otherwise. I've been to plenty of auctions and have never seen a seller run up at the last moment and pull an item that's being bid on. Even if the auctioneer allowed the transgression, it would just be too difficult to face the bidders - what would he say? This kind of behavior speaks to the growing lack of courtesy on internet. The faceless participation in online chats and auctions seems to bring out qualities in some morally-challenged individuals that wouldn't be tolerated in normal group interaction. Maybe the selfishness, dishonesty and aggressive bantering will subside as ethics are developed and adopted on the net but I wouldn't hold my breath as this is simply a indication of the insecurity and fear that permeates our society at large - BOO...HISS. Just a thought -Bryan

Thanks for the offer Gary but I don't plan on hanging onto these CWs very long. I bought them for a friend who is unable to repair them. I'll take a look at the tweeter (K-77M) tonight or (yawn!) tomorrow and hopefully I can source the part(s) and get these puppies out of here before the weekend. Thanks again, Bryan

I tried another approach and determined that it is definitely a bad tweeter. I removed it from the network and hooked it up - NOTHING. I guess its blown and needs a new diaphram but I'll have to try a few tricks first. Any suggestions? I read in the archives that someone in FL supplies them at a reasonable cost but don't have the contact info. Does anyone have that fellows info or know a good source? Thanks for all you help -Bryan

Thanks! I am leaning toward putting up the drywall and in addition to the advise I've received already, a little direction from Artto would be most welcome. The Khorns sound very open and airy in the room but I've always wanted the bass to be a bit tighter and more pronounced (then again - who doesn't). If isolating the room is the ideal then I really like Klipschfoot's idea of setting the studs on their side and doubling up on the drywall sheets - I just hope that the carpet will fit. I installed the acoustic tiles on the ceiling and made sure that they were well-secured and didn't vibrate or buzz. The wall behind the sofa is just paneling over studs and is by far the "loosest" wall. I should drywall that area regardless. Does anyone here know a good way to test the room? Thanks again - Bryan

So far so good. Is the goal here to seal off the room from the rest of the house? I wonder if that may actually work against me in that the Khorns like big spaces and given the room's smallish dimensions, would it be a good thing to make it smaller? I used to have a pr of B&W 801s and they didn't work in the room at all - way too much bass bloat. As it is, I can play the system quite loudly without hearing it outside or upstairs (too much) so sound-proofing isn't necessary unless it really benefits the sound IN the listening area. Just wanted a bit of clarification - Thanks.

Patrick, Sorry to hear that your recent forays into the market haven't produced better results. I know of several folks in my area (Baltimore/DC) that have CWs or other Heritage speakers they want to sell but they're not about to deal with packing & shipping. I've seen quite a few Klipsch speaks for sale around SF in the past few months so you may want to keep an eye on the classifieds in that area and plan a road trip if necessary. If you do head east, drop me a note and I'll see if I can arrange a few visits for you. Just be patient and keep the cash in hand and the right speakers will eventually find you. Have fun -Bryan

Thanks Guys, I realize that the room isn't big enough to properly accommodate the Khorns and there's the rub. I'd like to install drywall and spruce up the place a bit but I also think that with the drywall, I may reduce the size of the room as far as the speakers are concerned. As I understand it, the paneling is all but invisible to the Khorns' lower frequencies. The waves pass through the wood and bounce off the masonry with moderate absorbtion so the speakers "see" most of the basement instead of just the smaller listening area. I'm especially concerned with the wall immediately behind the sitting position (back of the sofa) as I'd imagine that I'd get the worst reflection there and that can't be good. When I'm feeling tweaky, I use a +3" thick panel (4'x5') filled with various absorbtion materials behind a tapestry but the benefits (or drawbacks) aren't very apparent. I'd really like to find a way to test the effects in the room before I commit to drywall. I'm happy with the set up such as it is but I'm just as sure that there's plenty of opportunities and options for improvement. Thanks for the advise, -Bryan

I've had electricians in my basement! I finally was able to get rid of them but not without considerable damage to my walls (and carpet and ceiling tiles...). The aftermath has left me with options. Should I repair the mess and move on or should I take the opportunity to redo my basement? To preface, the basement is L-shaped 30' x 26' on the long walls with 7.5' acoustic-tiled ceilings. The listening area is situated in an area approx. 20' x 16' with the stairs along the listening wall. The Khorns and listening position are in a 14' equidistant triangle with the speakers pointing at the listener. The walls are made of 1/2" wood paneling attached to studs approx. 4' from the cinderblock outside wall. The floors are concrete covered with foam padding and carpet. Should I pull the paneling and replace it with drywall? Should I insulate between the studs or leave the paneling in place and put drywall over it? Is there a benefit to leaving the paneling in place over installing drywall? What are the considerations and other options involved in this decision? Thanks for the help and advise and I'm sure there'll be other questions as I work my way through the archives. -Bryan

"I have a volt meter that can test caps, but in lieu of that, clip jumpers across the 2 uF cap to the tweeter, it it works, the cap is bad. If not, suspect the autformer winding for the tweeter. To test that, unsolder the lead and clip it to the squawker's autoformer terminal. If it works then, you need a new autoformer. Klipsch will sell you one, I think. And there is another source, if necessary. " Thanks John, I'll bypass the cap and hope that's the problem as I don't particularly want to source another autoformer. I have several caps which can replace the existing 2uf and I guess I'll end up replacing the matching cap in the other xover so I maintain balance between the speakers. I have a Hickok tester that tests caps but I've never tried it on a cap in a network and don't know if that would skew the measurements - although I would think it'd have to. Could I just test for continuity between the leads or is it necessary to desolder first? As you may have ascertained, I'm trying to avoid pulling out an iron if at all posssible. Thanks again for your help and I will let you know how it woks out. -Bryan

I picked up a pr of '76 Cornwalls and I have a couple of concerns. First, one tweeter doesn't work. Well actually the tweeter works fine (I hooked it up directly) and I couldn't find any loose connections or bad solder joints so I'm wondering if it could be the cap. Its a type B xover - can someone explain how to check a cap or offer advise or suggestions that would help me diagnose where the problem is? Also, if it is a cap - where do I find a replacement? My other concern is with the woofers. The CWs have consecutive serial#s but one woofer is marked K-33B and the other is a K-33E. Other than a slightly larger dust cap on one, they look the same - same size square magnet. Could this have been done at the factory or has a woofer been replaced. Just curious and thanks in advance for the help -Bryan

I was just sent this note from the seller.... we were discussing different drivers and options for the top end of Khorns. Other than that - no affiliation. "Killer sounding Khorns here: http://cgi.audiogon.com/cgi-bin/cl.pl?spkrfull&1076806577 Not pretty, but awesome sounding. These actually do things the Uhorn/AERs couldn't do. They sound far better off axis. The mids are incredible and as extremely close to the AERs. There is a slight loss of immediacy as compared to the AERs but when all other things taken into consideration, tough to complain about the sound of these monster Khorns. Can still get the AERs however and still love what they can do. The Oris would be my only suggestion but the things sound plasticky after living with the Uhorns. Maybe some damping. These Klipsch TSCMs opened my eyes to what amazing overall sound can be had by an optimised horn speaker system. I've had Khorns, but these TSCMs are on another level. Now we're competing with the best. Amazing." Have fun -Bryan

You can hold the record in your hand or place it on the platter. I hold the static gun about 10 - 12" away from the surface of the record and slowly squeeze the trigger - don't let it "click". Then I release the trigger just as slowly. I repeat the steps 2 1/2 times, ending with a squeeze and then point the gun away from the record to release. You can play with this method depending on the amount of static you have to deal with. I use the gun with the record on the platter because I think that it has the benefit of reducing static from the TT area - and I'm lazy so I have the record spinning. Some people use the gun before playing the record, some use it after and for some, before and after does the trick - its really up to you to determine which method works best. I mostly do it before to release the dust for the carbon brush. If I hear a tic or pop when I touch the arm or if it sounds like I'm separating socks when I lift the record from the platter (yes, I do the laundry in my house), I'll shoot it again. There's definitely a ritual involved with spinning vinyl and for some, its just too much of a hassle compared to the convenience of CDs, hard drives or tapes (anyone remember those?). I was out of records for a few years when I first moved to B'more and at first, I didn't like having to go through all this for 20 minutes of music. I really got spoiled with CDs and tapes - so plug and play. But once I got acclimated to it, the rewards were worth the extra work. The differences between digital and analogue was obvious to me and became even more noticable as I moved up the audio ladder. An interesting phenomenon that I've experienced is that when I first got back into vinyl, I noticed every tick and pop - much more so than I remembered and it was quite irritating but the more time I spend listening to records, the less I notice the surface noise. I still try for the cleanest sounding records but the occasional minor tick doesn't even faze me anymore. Its similar to my friend's situation. He lives in a loft apt and his equipment is in the living room, surrounded by the kitchen and the furnace. I can hear the ice maker pump water and drop ice and I almost jump when the furnace kicks in but he is totally oblivious to all the peripheral noise. I guess you can get used to anything eventually. Have fun -Bryan