JBryan

Thanks for the update Al - my you've been busy. In regard to the inductor, I was really hoping to try out the Goertz 2.2mH and thought if anything, it would allow the woofer to go higher before cut-off. If the woofer naturally runs out at 400dB then I may just try wiring the woofer directly and see how that works out. Maybe some wool batting and/or bracing the cabinet will tighten up the bass enough to forgo the inductor altogether.

Sorry - double post.

Al K, etc. Quick question -the Type A xover calls for a 2.5mH so I'm wondering what the effect would be (if any) of using one measuring 2.2mH. Does lowering the mH extend the cut-off of the woofer above 400hz? Also, what do the inductors used in the AK-2 xover measure? Thanks in advance for your help, Bryan

bkrop, David Torn is one strange guitarist and I thought he and Tony Levin balanced the jazz influence of Bruford and Botti in B.L.U.E. Unfortunately they got together only briefly and put out one studio and one live album ("Blue Nights"). They played at Orion Studios here in Baltimore and really blew everyone away since no one had heard their stuff. Interestingly, neither Tony Levin nor Bill Bruford has played with King Crimson since they released this album. Maybe Fripp got jealous! I don't have any of David Torn's solo albums so please send me a few suggestions. Thanks, Bryan

Andy, Gentle Giant is at the top of my list but they haven't put out any new music in the last 5 years so they don't qualify in this thread. They did finally release "In a Glass House" on CD a few years ago and have compiled some old recordings but nothing new, There was a tribute CD put together by some interesting folks including Kevin Gilbert and Phil Beane (another Winston-Salem bud) which you should check out if you get a chance. Most of the recent releases just don't stack up to the classic GG albums (Octopus, Power & the Glory, Missing Piece and Glass House being my favs but its hard to pick). Tony Levin's recent album (Pieces of the Sun) is a excellent suggestion but I didn't think to put it on the list. Probably should take the place of John Paul Jones. Thanks, Bryan

OK, one more list and I promise to give it up. Being a native North Carolinian, it would be a glaring omission not to list selections of bands from the homestate that I have enjoyed. Here goes... Southern Culture on the Skids "Live at El Sol" fun Hillbilly/Southern rock with tongue firmly planted in their respective cheeks. Dixie Dregs "California Screamin'" Ode to past glories but I recommend Dregs of the Earth and Night of the Living Dregs as their best efforts. Squirrel Nut Zippers "Bedlam Ballroom" Southern rock meets Swing in a delightful mix of instuments and tunes. Ben Folds Five "Unauthorized Biography of Reinhold Messner" finally put together a great concept album and immediately split up - go figure. Doc Watson "Best of..." DW has been around forever and I remember seeing him when I was just a wee lad. He still gets around although not as much as he used to so I haven't seen him in years. Still and excellent folk/country guitarist. See him while you have the chance. A correction of sorts. The dBs were mostly made up of fellas from NC from time to time but I know Chris and he'll tell you that the band actually didn't get together until they were in NYC. Its a technicality sure, but worth a note. Chris and Peter were more my brother's age and graduated around the same time from Reynolds High. I graduated a few years ahead of Ben Folds and didn't give him the time of day until I met him again in a guitar shop in Winston-Salem. I met most of the guys in the WS music scene there at one time or another - Don Dixon, David Dixon, Chris Stamey, Mitch Easter, Eric Marshall, Steve Catron, etc. Of course, they didn't know me from Adam but it was fun listening to their tales of (mostly) woe and I got enough of an understanding of the music industry to know that if you weren't really drawn to it - best to stay far away. I even spent a brief moment with Peter Buck and Michael Stipe of REM fame in that shop when they were hungry. Those were the days...still have the Bowie t-shirt (that started our conversation) and for the right price, I'll cut it up and sell it off. Sorry for the self-grandiose moment. Have fun, Bryan

I've also compiled a list of what I consider progressive music selections. I'll try to keep it brief... King Crimson "The Power to Be" - a nod to the past but fresh stuff from my all-time favorite band that's still in business Bela Fleck & the Flecktones "Outland" - outstanding sonics and exceptional musicians makes this one of the most played CDs I have. The best jazz banjo/bass combo out there. Adrian Legg "Guitar Bones" Brilliant guitarist with a refreshing sense of humor. Catch him live. Europa String Choir "Starving Moon" Ethereal and moving. Where I think progressive music meets modern "classical". California Guitar Trio - "Pathways" these guys actually mix several classical (mostly Bach) pieces into each album along with pop tunes and Frippesque tracks. Very engaging and truely ecclectic. Kenso - "25th Anniversary Concert" another great progressive band that's been around forever and nobody's heard of them. Of course, they're from Japan and rarely visit the US so... Pekka Pohjola "Pihkasilma Kaarnakorva" OK, he's not from around here either and his best work is 20 years old but its still excellent progressive music and its just been re-released so it counts. B.L.U.E. "Upper Extremities" a fine example of progressive jazz with Bill Bruford and Tony Levin of King Crimson fame mixing it up with the jazz trumpet of Chris Botti and the "out there" guitar of David Torn. John Paul Jones "Thunderchief" a spotty album at best but it shows promise and its a nice contrast to hear progressive from an ex-Zeppelin member. Happy the Man "The Muse Awakens" as yet unreleased album but I've heard every tune and its pretty much a continuation and update of their great 70's stuff. Can't wait! Ok, that's enough. One more comment on Genesis' Lamb LP - its certainly my favorite Genesis LP (a close 2nd is Foxtrot) but JEEZ! I have several copies of the album - Japanese, German, British (Holland) & US and I have yet to hear a good recording. I chaulk it up to the band's (read Peter's) fickleness and the industry's half-assed approach to recording. Lots of overdubs and splices, often on reused tape made for a very veiled, dull and noisy recording. The remastered "Archives" sounds much better but still nothing like the one-take recordings of the 50s and early 60s. Oh well, still a brilliant album.

Wow! Just checked into this thread and I must say, it seems as though there's a lot of commonality in the members' choices. The last 5 years must've produced only a handful of acceptable/accessible pop, jazz, etc. I listen to a very few albums with any regularity but here's my list of the underated and overlooked in popdom: Uncle Tupelo - "Anthology" (they've disbanded but the release is new so it counts in my book) Wilco - "Yankee Hotel" (this is where most of Uncle Tupelo ended up) Mike Keneally - "Live in Japan" (ex-Zappa guitarist and a fun guy to party with) Flaming Lips - "Yoshimi Battles the Pink Robot" (I still like "Clouds Taste Metallic" best but a nice album NTL) Adrian Belew - "Salad Days" (nice live compilation of past works and he just released "Lone Rhino" & "Twang bar King" on CD - both highly recommended) Bill Nelson - "Whistleing While the World Turns" & "Big Atom" (very ecclectic pop but always entertaining) Morphine - "Bootleg Detroit" (a good taste but I like "Cure for Pain" best) Tom Waits - "Mule Variations" & "Blood Money" (he still sounds fresh) Kevin Gilbert - "THUD" (his last album - such a waste) All Mighty Senators - "Music is Big Business" (recent album from Baltimore's own Funk/Soul band. Great live show!) I know that's 10 but I came up with a dozen more so where are you gonna draw the line? This is just a list of recent pop artists- there's more.

Direct drive TTs' speed is considered more accurate than belt drives because the motor and shaft assembly are directly coupled to the platter. Of course, that's the biggest complaint too - direct drives transfer much more vibration to the platter than belt drives. Both TT designs offer a compromised solution so its just a matter of preference. I prefer belt drives but then I've only heard the mass-produced variety of DDs from the likes of Sony and Technics.

Forgot to mention...on really dirty, scummy, nasty, "I wonder where this has been" records, I give them a really good scrub with an Orbitec 2 before I put them on the VPI 16.5. Gotta keep those wands clean and pristine...

I readily agree with rinsing with distilled water - regardless of the solution and especially if you're going to use alcohol on your records. I have the 16.5 and prefer the Disk Doctors Miracle Record Cleaner and a pair of his brushes. Both can be found at http://www.needledoctor.com/. I use 1 brush to scrub with the solution and 1 to use with distilled water. I also use an extra wand assembly on the 16.5 - again, one for cleaning, 1 for the rinse. A bit anal but it prevents contamination and I'm too lazy to clean the wand after each step. Additionally, I use a static gun before and after cleaning the LP and use a 2nd mat for side 2. Onced cleaned, I put the LPs in fresh rice paper sleeves - good call Kelly. At $15-25, a carbon fiber brush is a must have for just getting the everyday dust of - don't forget to ground yourself. Works for me.

BTW, I just bought a used Music Hall MMF-7 for my brother-in-law. I haven't set it up yet but it looks very nice for the $. The Music Hall and Pro-ject TTs are built side-by-side in the same factory in Czechoslovakia - or so I've heard.

I've spent some time researching my next TT so I'll chime in for what its worth. I presently have an Oracle Delphi and while its a very detailed and musical, it lacks the last bit of "umph" in the bass. I've owned several TTs and listened to quite a few more (VPI, Avid, Townshend, Nottingham, Basis, Rega, Music Hall, etc.) and here's what I've learned. In GENERAL, suspended tables offer more detail and tend to be more laid back while non-suspended tables have more pronounced, tighter bass. Suspended TTs are obviously more difficult to set up than NS but don't require as much vibration control and damping. NS TTs are less expensive for what you get but the price doesn't include the stand or platform that must prevent vibrations from affecting the bearing and cartridge. NS TTs can be mated with more tonearm and cartridge choices while the suspended TTs tend to work best with pivoted arms and higher compliance carts. Ideally a heavy, damped stand coupled to a concrete or otherwise stable floor would be the best set up for a NS TT. If that option isn't available or preferred then a suspended TT on a rigid stand or wall mount would be a better way to go. My system is on a concrete floor and I would really like to go with a NS TT as my next choice. I'm always looking to add more bass into my set up and I think a NS TT with MC cart would balance very well with a tube pre/phono, SET amp and Khorns. I'm looking hard at the offerings from Teres Audio (http://www.teresaudio.com/). Tables and Kits can be had from <$1500 to something like $6K for their lastest TT. I've only heard good things and its rare to find one on the used market. Here's a 265 on A'gon (http://cgi.audiogon.com/cgi-bin/cl.pl?anlgtabl&1071577404&2&3&4&). Its been upgraded from a lower model but its still very nice if too expensive. Clearaudio's focus has always been to exactly reproduce the signal/music and to squeeze out every last detail. Some folks feel (myself included) that CA is too detail-oriented and not very musical and their gear a mates better with warmer, more laid-back systems. I had a Clearaudio Gamma S MC (.5mv) for a while and found it to sound very sterile-sounding in my system. Its a very exacting and detailed cart but I felt it was a bit of overkill in a system which was inherently detailed and forward to begin with. I went back to the less-detailed but warmer Shure. I've heard mostly good reviews about the Shelter carts and would really like to give one a try soon. Let me know if it doesn't match well with your system. I've heard some folks have rebuilt entire systems around the 901 so it must be exceptional (or they're just plain crazy - its a toss up). Just my opinions mind you. Hope this helps and have fun, Bryan

Hold on fellas! Chiquita and Dole labels are fine if you just want to hear the banana-label effect but truth be told, they are pretty standard fare compared to the more esoteric offerings by Banco. Though some 'philes purport that its the glue that makes the tweak effective, I think the real difference lies in the print colors. Regardless, the glue used by Chiquita and Dole is simply a generic blend while Banco uses the original tried and true blend (with actual horse hooves) and while I have no idea what the other 2 use to produce the reds and blues on their labels, the orange and yellow colors on the Banco label are made of .9999% pure vegetable dye. Banco enthusiasts claim that the reflective resonances of the dyes help to offset the somewhat over-damped quality of the glue for a stunningly detailed image, with tight, articulate bass and smooth, extended highs. Best of all, in this instance, the point is moot for the size and gauge theorists who are constantly arguing over the virtues (or lack thereof) of large diameter and thicker labels as all brands listed source their paper from the same company. As always, YMMV PS Save yourself a lot of time and trouble while positioning the labels on the speakers and use a level. The "dots" must be perfectly flat (regardless of your floor) in order to be properly configured. If you don't use a level while positioning, you might as well not go to the trouble as you won't be able to hear enough difference to justify the effort. Just my 2 cents...Have fun.

Didn't PWK design the LaScala as a PA speaker first and then "purdified" them for the home audio crowd? I also see Chorus-like speakers in movie theaters but that application isn't really considered PA is it?

Nice job Kelly! Sonny Rollins' Sax Colossus is one of my favorite jazz LPs and I would certainly recommend it to anyone wanting a taste of jazz. I started listening to jazz when I found a sealed box of the Smithsonian Collection of Classic Jazz - 7 LPs for $2. Figuring I couldn't go wrong, I picked it up and was absolutely wowed by what I heard. BTW, the recordings are very nice - not the finest by any stretch but fairly detailed, quiet and for the most part, excellent staging. The selections on the box set run chronologically from the earliest recorded examples of Scott Joplin, Bessie Smith and Louis Armstrong through the works of John Coltrane, Miles Davis and Ornette Coleman. I listened to the entire collection several times through while I read along in the booklet. While its not the final word in jazz history (it basically peters out around the mid-seventies with emphasis on the late 40s through early 60s), it offers a wonderful overview and critique of the basics and some of the more popular and influential artists. Its a fine learning tool for anyone who wants a starting point and I would suggest this set over the Ken Burns' series- especially if you can get it on LP. Getting back to Sonny Rollins, I heard a couple of his pieces on the Smithsonian set and was so impressed, I ran out and picked up 3 of his albums - Our Man in Jazz, Way Out West and Saxophone Colossus. I enjoyed all 3 but SC really struck a nerve and was the catalyst for my quest into more jazz. I now have 100s of jazz albums and I still listen to SC quite a bit and recommend it to anyone who wants to hear a good example of recorded jazz. On another note, the album also was my first serious foray into mono. I didn't realize that the LP was in mono and might not have purchased it had I not been so taken with SR's work. Upon first listen, I noticed the difference but I heard the instruments "placed" around the stage. I had always thought that mono recordings basically sounded like the music came from a single point and I might as well listen to them through a clock radio. How wrong I was! Mono recordings can have tremendous imaging and a great soundstage. I now find myself seeking out mono recordings and I have pulled all my mono records, cleaned them up and am enjoying them again for the 1st time with a whole new perspective. I'm sure many already know this but for those who haven't discovered the sublime properties of mono - give it a listen and hear for yourself. Sorry for the rant. I'll step down from the soapbox now.

The MC-30 is my favorite McIntosh amp though I never spent much time with the MC-75. Very smooth and liquid - similar to some EL-34 amps. My only complaint was that they were a bit light in the bass but that could well be attributed to the speakers (Bozak). I bought a pr years ago at a HIFI shop in Durham, NC. Paid $300 and sold them a couple of years later for $500 which I used to buy a MC-2100 - though I made out like a bandit. Who knew?! I also wish I had held on to a couple of Telecasters but selling them seemed like a good idea at the time. Still have the 2100 and Bozaks and listen to NPR through them every day with my coffee. Wouldn't mind finding another pr of 30s but $1000+ is pretty steep for what they are. Damn those collectors!

Nice paint job - you may have to pay a little extra for that one. The fronts seem to have trim outside of the veneer. I could be wrong but that doesn't look like any Khorn I've seen. Maybe its a kit or a Speakerlabs version. Check the back carefully for any variations in the design or hopefully a decal. Also, look at the drivers to see if they were offered by Klipsch. Without the woofers and with all the work to get them back AND the fact that they may not even be Klipsch, I'd have to really think this project through before puting a price on them. Have fun.

To each his own obviously but I wish the SET skeptics would quit citing the amps' inablility to handle deep bass or complex passages. Its not the amps' fault - they're pumping it all out in spades. The blame lies with the inefficiency of most speakers - including Klipsch. Unfortunately, this isn't a perfect world and matching the speaker, amp, preamp, sources and wires is a long journey and often a hit-and-miss experience. It usually boils down to determining what you want from your audio system and where you're willing to compromise to get it. At the moment, I'm finding what I want by sheding watts and simplifying circuits but one day, I may well decide that SET is a futile effort and start looking for my audio nirvana in parallel, PP and god forbid, SS designs. My tastes are constantly changing and I'm pretty sure I'm not alone in that. Anyone who has commited to one piece of gear and made their last audio purchase has either retired from the journey or is simply being delusional. Just my thoughts on the matter.

Gary, Good to hear that all is well. We lost power @11:00pm Thursday and our phone and cable shortly after. I was expecting lots of rain so I bailed out the sump well and kept a vigil for a few hours but the buckets o' rain never fell. It wasn't until the next morning that I realized the cause - our neighbors tree had snapped in half and took out our lines. Ripped them right off the house! Friday, we threw out some food in the refrigerator and took the rest to a friend's empty condo, drove around a bit, found a new restaurant (Caribbean Grill & Houka Bar- excellent babaganoush and kabob!), read by flashlight and went to bed early. Saturday am, the BG&E crew showed up and within an hour, we had electricity. I spliced the cable line myself and other than the phones, we're back in business. OAN, I received plenty of calls (on my cellphone) from friends and family who had seen Baltimore on tv and thought we were one big flooded disaster zone. Fact is, most of Baltimore was unscathed by the storm and looked perfectly normal. There were areas that got pretty beat up and that where the news crews went - if you just watched the news, you'd think that all 3.5 million of us Baltimorons were out of power with waist-high water in our living room. I'm thankful that the storm didn't do anymore damage and I'm hopful everyone made it through safely. I'm a bit more jaded about the news but I'm sure that will fade eventually. Thanks for all the prayers and kind thoughts, Bryan

I've concluded that wires and ICs help to EQ a system by emphasizing or de-emphasizing certain aspects of the signal. Also, the extent of the effect is predicated on the sensitivity of the components. A few years back, a friend got caught up in the wire wars and purchased some AQ speaker wire to replace his 10+ year old zip cord. He invited me over to help him with the changeover and we listened to his McIntosh MC2100 amp and Infinity speakers through the zip cord and then the AQ wire. To his dissappointment, we really couldn't hear wasn't that much difference and certainly not enough to justify the price ($200). At best, the AQ smoothed out the highs and maybe added a bit of punch to the bass. On the other hand, he helped me move in a pr of Khorns and we listened to them and a SET amp (3 w/ch) through some Monster Cable while we moved the other speakers. Once we hooked the Khorns up to some Cardas "garden hose", the differenece was obvious to both of us. There was more definition and separation, tighter, deeper bass - overall we heard more detail and extension from the Cardas than the Monster. My friend concluded that the Cardas wire was responsible for the more noticable difference but I figured it had more to do with the components than the wires. Just my take on the matter. Have fun.

BTW, I got the Electro Harmonics on eBay. I found a matched quad was considerably less than retail. Triode Electronics is having a sale on EL34/6CA7 tubes at http://store.yahoo.com/triodeel/6ca7el34.html.

Congrats on the new purchase. Chaulk up another convert to the world of tubes. I agree with your choice on the EH "fat boys" - especially if your looking for a fuller sound. I hear the Chinese tubes are pretty good although I haven't spent a lot of time with them but the Svets offer more detail and musicality. They were my favorites when I had a Music Reference RM9 - sounded great with jazz. A few months ago, I tried the Chinese, Sovtek, Svets and EH "fats" on a Dynaco ST70 and the EH and Svets really shone through. To be fair, I bought the amp for my cousin and the seller included all the tubes except the EH's which I had just bought. Only the Sovteks had any real hours on them so none of the tubes were broken in. Anyway, the Svets sounded sweet with good detail and nice highs but the EH seemed to boost the midrange and had more bass though maybe a little loss of detail. I guess in my situation, the Svets are more suited for jazz and vocals while the EH rocks. Of course, YMMV. Have fun, Bryan

Jeff, Whereabouts in central NC? My brother-in-law lives in Cary and he's looking for a pr of speakers. The Belles may be too big for his needs but I can always send him the pics and info and let you guys get together. My aunt lives in Chapel Hill and her boyfriend was very impressed with my horns and may consider them as well. I also have a friend in Greenville who is always looking for horns. Try to get a bit more info (serial#, mods, repairs, condition, finish and veneer, etc. ) and post it or email me. Thanks for offering them on the forum and keep us informed. Be safe, Bryan

FYI - The "G" on the 6V6G stands for Glass. That suggests a fairly early version of the tube. Later (@1940), the designation changed to "GT" (glass tube) and GB (glass bulb).