JBryan

Also, its a shame I didn't know of your sale before you came down to B'more this weekend. My wife's cousin is looking for another pair of Heresys to complete a HT system and it would've been fairly easy to drop them off on your way to pick up the CWs. Oh well, timings everything I guess. Good luck and let me know if you're heading back down to Charm City anytime soon, Bryan

Refinishing a "63 Fender PB - are you kidding me?!! I realize it will look better if the finish is destroyed but it won't sound better and a beat up but original '63 PB sells for almost twice that of a refin'd one. Of course, its your guitar and to each his own but I have a '61 PB with chips, dings, missing paint and scratches that I cleaned up and have displayed on my wall while a refin'd "59 PB lanquishes in its case in storage. This reminds me of a show on TV a few years ago (Antique Roadshow, I think) where a couple had brought in a late 1700's American Highboy. They told the appraisor that when they bought it, it had been painted black with chips and scratches galore. They spent something like $3K to have it refinished to show off the piece's beautiful wood. They were quite proud of the piece and when the appraisor told them it was worth @$15-20K, they were patting themselves on the back for their find. The appraisor then added that the piece was from an area in the NE where it was common pratice of the period to use black paint and if the couple had not refinished the highboy, it would be worth upwards of $40K. He went on to berate them for not researching the piece before they acted and basically said that they ruined it historically. Needless to say, they were stunned and crest-fallen. I'm sure you're aware of the situation and I'm not trying to preach but I just wanted to express an opinion - take it for what its worth.

The flourescent ballast could be the culprit but from your description, it sounds like there may be a rheostat or condenser on your circuit. Look around for a dimmer switch, refrigerator, dehumidifier or A/C unit nearby. These things create very dirty power and can produce a lot of noise in audio systems. If you have a meter, check the outlet for variances. You may have better luck with another outlet. Also, make sure the speaker wires and ICs are not close to any transformers, outlets or power cords as this can corrupt the signal. Good luck, Bryan

My brother-in-law had the same problem. We went to Rad Shack and picked up a ground filter for his cable connection. <$10 and problem solved - couldn't hurt to give it a try. Have fun, Bryan

Mark, Just for the record, Bo Brooks has moved "down-y harbor" (Baltimorese) to an upscale community (Canton) and has revised its menu and prices accordingly. As Thomas Wolfe said, "You can't go home again" but if you do, BB is no longer in the Hamilton neighborhood. The crabs are still excellent though!

In the late 50s, recording engineers were still using the techniques honed for mono recordings. The mike setups were very basic but also well thought out and proven. Not a lot of isolation was used so the mikes had to carefully placed. Also, as the others said, the musicians usually recorded a track together with minimal retakes and almost no overdubbing. Sometimes it was for the aesthetics but more often than not, it was to save $. And the equipment utilized tube technology - from the mikes through the amps and mixing console which added warmth and intimacy to the sound. In the late 60s and 70s, SS consoles replaced the older equipment mainly because of the expense and almost constant maintenance required by tube consoles. SS equipment wasn't necessarily used because it resulted in a better recording - it was just more convenient, versatile and easier to use (kind of like CDs compared to LPs). Also, as overdubbing and splicing became more popular with the artists and isolation techniques became more sophisticated, the benefits of group recording was negated and more responsibility for the finished product fell into the hands of the engineers who spent a good deal of time splicing pieces of the track together to worry about such details as clarity. PInk Floyd's DSOTM is a great example of too many pieces spliced together. The whole album sounds veiled and lifeless compared to those early 60s jazz LPs. On a brighter note, the recent interest in quality recordings and the use of digital technology has pushed the industry (well, some of the participants at least) to strive for a better sound. Some studios have even gone to the extent of restoring some of the tube consoles and mikes to recreate those great recordings.

The simplicity of an SET design puts the focus on the first few watts - primarily the first watt. In my opinion, its not the amp's inability to "handle" demanding music, rather its the speakers' inefficiency that prevents the music from getting through to the listener. I think its the circuit's simplicity that allows the signal to follow the shortest, least compromised path and that's where the SET's finesse and "magic" come into play (again - my opinion). Complaints about the lack of bass in SET amps may well be attributed to the fact that the listener's woofer is less efficient. I tried a 45 SE amp with the CWs but it just couldn't drive them to respectable levels without noticable distortion. On the other hand, I get plenty of volume and bass with 300b amps hooked up to Khorns, I just prefer the 45 in my system. In my experience, the lower the watts, the more detail, finesse and extension (although frequency extension might be more attributable to a better power supply and transformers than wattage). In a perfect world, someone could build a speaker that would produce 120dB at say, 1/4 watt. I'd image that there would be plenty of SET converts then.

The '85 CW checks in at 101dB efficiency whereas the RF-5 is 99dB and the RF-7 is 102dB. Pretty close specs but I guess I could see where the CW might have lost a bit of dB with age and dust. I would definitely suggest checking those wires for corrosion (black = loss).

My somewhat limited experience with the Legend and Reference series tells me that the newer Klipsch designs sound better with SS equipment than the Heritage series. Not to suggest that the L & R series don't sound good with tubes - in fact, I think the Reference's sound is definitely improved with tubes (don't have any experience with the Legend stuff and tubes). I have spent enough time with the Heresy, CW and Khorn to say with some confidence that they are not the best match for SS. I agree with those who think they sounds thin and "honky" on top with all but the best SS equipment (I used MAC, Audio Research and Crown). I'm guessing that Klipsch and Co. developed the newer designs with SS amps in mind. Of course, you'll never know for sure until you hear them for yourself and if its a good deal - where's the harm? Have fun, Bryan

I haven't heard them outside of the showroom so I wont dispute your findings but if you like the RF series better than the CWs, I wouldn't bother with any mods as the basic sound, imaging, etc will be the same and you won't be any more impressed by the moderate refinements. I did find that the CWs sound more defined with tighter bass when they are placed against or near the back wall or preferably, a corner so if your room requires a nearfield set up, then you may be better served by another speaker. Besides, there must be plenty of folks around here that can enjoy and appreciate the CWs. - Bryan

Thanks for your thoughts Mike. In the words of Tom Waits, "You must be reading my mail..." I've never read a review from an experienced listener such as yourself that so closely matched my impressions - needless to say, a very satisfying read. I've heard the AGs on several occassions and my experience was much the same as yours - especially in regard to the coherence of the drivers. Each time, I could discern each driver and the sub sounded like a different component altogether. I heard the Trios in a large room at the HE Show a few years back and walked all around looking for a spot where all the drivers mixed well but I never found it. The mid/tweet drivers are essentially a chambered cone speaker with a horn in front (hybrid). The AG line has its good points compared to horns (namely Klipschorns). It is much easier to match with other components and filters the noise better; it tends to have a more laid-back presentation and isn't nearly as "beamy"; the sub certainly goes lower and as a result, the speakers sound fuller. Of the 3, I liked the Duos best followed by the Unos. I'm also looking at Bruce Edgar's offerings but I'm hoping to keep the Khorn's bass bin and incorporating one of his 350-400Hz horns and possibly a tweeter to extend the high frequencies beyond 20kHz. I also trying to keep the same xover (type A) with only minor changes. Just wanted to acknowledge Mike's spot-on impressions and add my 2 cents. Thanks, Bryan

I, for one, enjoy reading heated debates between the audio factions. Its often funny, sometimes mean but always entertaining and occasionally someone will say something intelligent. The more I read, the more ignorant I feel about audio. There's just so much equipment out there - and so many diverse opinions. Further, no one can predict how a particular component will sound in my system in my room. Opinions and reviews are an excellent resource and I will certainly acknowledge those "gurus" who pointed me in the right direction but what seemed to be a great-sounding piece to some folks, didn't make it my set up. There's just too many variables involved with the decision-making process beginning with what's going on between the listener's ears. Often, its not just the sound of the gear that influences the decision. That's why you'll find great gear on such places as Audiogon and eBay. Perfectly decent pieces in many systems but for whatever reason they just didn't satisfy the owners' specific aesthetic needs. Since I buy and sell most of my gear on Audiogon - I'm happy with the arrangement. Have fun, Bryan

Gary - Please put me on your list. I'm in Baltimore and would like to get together with other audio heads. I also have a few friends that while not Klipsch enthusiasts, are into audio - especially tube equipment. Griffinator - Sorry to hear of your upcoming surgery. I have a friend who is dealing with back problems similar to yours. His doctor recommended surgery but he's trying everything else first. Exercise and diet seem to help but he still has flare ups occassionally and ends up bed-ridden and in pain for days. He knows he'll have the surgery eventually but like myself, is afraid of hospitals. Best wishes for a successful procedure and a quick recovery.

Thanks!

Never heard of Home Products United but I'll have to check them out. I have been to Sound Works a couple of times looking for new gear but like Gary said, they tend to push the lastest trend. I think they were into Audio Physics at the time and dissed my ProAcs even though they still carried the line. I mentioned that I had just bought a SET amp and the salesman launched into a 10 minute tirade about how SET was old technology and too distorted to listen to. He also suggested that the tube craze was a passing fad and felt sorry for the folks that will be stuck with useless and worthless equipment once the supply of tubes ran out in a few years. His comments would've been OK with me and certainly he's entitled to his opinion but he's the one who asked what equipment I was using and responded to everything I said as if I was looking for a tricycle in a speed shop. He not only questioned my preferences and interests but trivialized them and treated me like I was clueless (he could've been right but that's not the point). I looked around the shop and saw several pieces of tube equipment but of course, none were hooked up and there was no SET gear to be found. I thanked the fellow, left the store and haven't been back since. It seems that there are precious few audio stores in my area (Baltimore/DC) that offer the audio gear I'm interested in and most of the salesmen must read from the same pamphlet - "Tubes are bad...SET is a lost cause...Horns suck". They must sell something 'cause they're still in business but the few times I pop in, I see the same gear on the shelves. Most of my audio friends have tube gear, several have SET amps and horns and aside from the occassional IC or cartridge, we buy all their gear over the internet. It'd be nice to hear a piece before purchasing but after researching the product and reading the reviews, I can get a pretty good idea of what to expect and rarely have I been disappointed. I wonder about the demographic that some of these audio shops cater to and what kind of personality would appreciate the attitudes of these salesmen (everyone I've met has been male). Sorry for the rant and thanks for your time, Bryan

Interesting preamp ...where's the site?

The Zerostat works great for me and when used in conjunction with the VPI record cleaner and a decent cleaner and brush (I use Disk Doctor), its pretty much all you need to get the best performance from you LPs. If you're getting static after playing your LPs, you should check the ground wire from the TT for continuity. Also, if you're using a ground wire from the tonearm cable, you may want to try grounding the table's subchassis instead. That really solved most of my static problems. Have fun, Bryan

If you're going AV you may want to check out the Outlaw Audio gear at http://www.outlawaudio.com/products.html. Good reviews and great prices. I heard the 770 amp/950 processor combo with an Atlantic Tech speaker system and was very impressed. I ended up with the 1050 - 75w/ch, 6.1 receiver with bass mgmt and preamp throughput for combining 2-ch and AV. Bought it used on Audiogon for $300 and it mates nicely with efficient Klipsch speakers. They've also put some of their older gear on clearance if you're not into the latest, greatest. Have fun, Bryan

Interesting but shipping from Hawaii can't be cheap and why isn't he offering insurance as an option. Maybe I'm reading it wrong... Cool amps though.

No experience with Tenor or Atma-Sphere but I did have a Transcendent T8 stereo amp hooked up to my Khorns for awhile. As already mentioned, they are lightning fast and detailed and the 25w/ch was more than enough for the Khorns. The amp was stable, quiet and handled the impedance flux quiet well. I checked its bias every month and it never needed adjustment and the amp never got too hot. On the down side, I thought the bass was pronounced and a bit flabby and the overall sound just didn't have the realism or sparkle of SET amps so I sold it. I'm sure the OTL monos would sound better and it was a fun experience. Just my opinion, Bryan

Sonic Frontiers made some good gear but their designs tended to be a bit too complex, they used circuit boards which sometimes failed and they put out a lot of hybrids which usually received good reviews but because they sat on the fence, didn't draw much interest from the tube and SS camps. Just for the record, I've had several pieces of SF gear (although no amps) and never had a problem. SF stopped production a few years ago but the Anthem budget line is still produced.

If you're looking to hear the difference between SS and tubes, a good tube preamp is a wonderful idea and if you're willing to try used gear, you won't have to spend a lot of $ to try it out. There are a lot of tube pres out there that will match the rest of your system. You should first try to determine what sound you're looking for compared to what you already have. Do you want your sound to be more open, warmer, detailed, quieter? If you like the sound of your present pre and just want to hear the difference of tubes in your system, then you might try to borrow a pre or get a loaner from a dealer. If all else fails, you can often find a nice pre on the used market and if you don't like what you hear, you can get most of what you paid back. Have fun, Bryan

as you may well know, there are 2 major schools of design out there - suspended and non-suspended. There are excellent TTs in your $ range from both designs. Generally, suspended TTs tend to offer more air, and are more forgiving on unstable floors but can be more difficult to set up. By comparison, non-suspended TTs tend toward tighter bass and are practically usable out of the box but need to be placed on a very well-damped table or they will absorb vibrations and are more subject to foot falls. Where will the TT be located - what do you put your equipt on, what flooring do you have and how stable is it? It may be necessary to mount a NS TT on a wall rack and you have to consider that cost as well.

My wife is great! She thinks the Khorns look cool and has even given me a room for all my bad habits. Its in the basement but that actually works for me as she goes to bed early and I can listen to music at high SPLs without waking her. The only compromise is that she has her exersize equipt in one corner. Other than that - its all mine. The problem that keeps cropping up between us is that my stuff is accumulaing at a rapid pace and I have long since run out of space in that room. The walls are completely hung with guitars, all the furniture has LPs inside and audio equipment on top and most the floor has been taken up with guitar amps and speakers. She enjoys listening to music through my gear but can't understand why I keep moving stuff in (I haven't figured it out yet either). Without her permission or even a discussion, I have begun to store the excess in the basement's other rooms. A small room once devoted to wine storage and her jewlery bench is now floor to ceiling guitar cases. LPs, spare audio gear and their boxes have made their way into the utility room - so much so that I can no longer get to the outside door (fire hazard?). She's calm and collected but has begun a calculated campaign to "clear out the basement". She now insists that I stop bringing in new stuff and strongly suggests that I sell those items that I don't have a use for. My problem is that I like to buy stuff and I'm philosophically oppossed to selling it - I mean why did I buy it in the first place if I'm just gonna sell it? Her biggest gripe is the speakers and she is adament that no more speakers - especially "those big Klipsch" are coming into the house. I certainly understand her position and I seem to be coming around as I haven't brought anything into the house in a couple of months - not that I haven't tried to rationalize it. In the end, her reasoning is correct and I should start moving out the surplus as there's some nice items that I haven't hooked up or even looked at in years. Certainly someone else could enjoy this stuff and I could use the $ to upgrade my system and who knows - the Khorns may sound better with more air space. Of course, I could also sell everything, secretly buy another house and start the process all over again... Sorry for the rant and have fun, Bryan

Michael, Of the 2 speakers you mention, I'd suggest the Chorus IIs as the Heresys don't offer a lot of bass for rock and heavy orchestra. On the other hand, if you listen to jazz, vocals and chamber music mostly, the Heresys may suit you quite nicely and they image really well. Of course, if you can get them and have the space, Klipschorns would be an ideal match for your equipment followed by the Cornwalls. Just my opinion and you did ask for it afterall . Have fun, Bryan