boom3

Honesty

Stereophile thrives on change. Last year's favored equipment, which threw them into a gleeful tizzy, is, this year, unspeakable and relegated to the trade-in market that milks even more money out of the misled. Klipsch Heritage, OTOH, is all about continuity. Stereophile can't be caught recommending a 60 year old design, that's anathema to their MO of moving the goods for the advertisers.

If you need a piece of furniture that could be, with some effort, remodelled into something else, it may be worth it. From an audio perspective, this console is worthless. The only possible value would be in the tubes, but if you pay over $20 for this you're wasting your dough. In fact, in many cases, people will pay to have consoles like this hauled off. Now, if you run across a Fisher console, that would be a different story! []

I can't comment on the price, since I have no comps. The reviews I remember from the 60s and 70s said that it created a wonderful soundstage, but the low bass was lacking. That's not surprising in view of the short bass horns and the lack of coupling to the floor.

My first pair of Corns, bought off ebay, was packed by a storefront operation for $99 and shipped via FedEx Ground. They arrived with several crushed corners, dings and one cut from a cargo hook or box cutter. At least I got the shipping charges refunded to me by the seller. My second pair were bought from a forum member who took them to Craters & Freighters. I think the shipping was $250. They were beautifully packed on a skid and arrived by motor freight, without a scratch on them. You only have one chance to have them shipped without damage, so go the Craters & Frieghters route. And yeah, $2K is too high. Expect to pay about $1K including shipping.

double post

One of my favorite watering holes has 2 LaScalas, in corners, up at the ceiling/wall juncture,along with a mix of other speakers, the club is relatively small and does not have a dance floor. The primary DJ, whom I've know for years, actually knows who Paul was and is a bit of an audiophile himself. Years ago I frequented a bar that had one of the best sounding systems ever heard in such a small footprint. It's hard to make critical musical evaluations while intoxed, but this system was very fine. It had a JBL subwoofer in a huge wooden cabinet, a midrange and tweeter horn hanging over the bar and pointed out into the room and four identical main speakers spaced along the walls. Those main speakers? Bose 901 Series IIs. Go figure...

Welcome! My listening room is 16 x 25 and I have a Corn in each CORNer. No, I think your room will accomodate Cornwalls just fine. IMHO, pick up a pair of the last of the Cornwall IIs (86-90 will be first two digits of the serial number). I don't think Cornwall horns, especially in the last of the II series are all that 'hot'. This is heresy [] but that's what tone controls are for!

I have the Telarc DVD-Audio. It's superb, with the choral parts usually left out of other versions. I grew up listening to Antal Dorati (sp?)'s version on a Mercury record BTW. Cappricio Italian (sp again? its early!) on the same DVD-Audio is wonderful. If it doesn't make you want to dance, there's something wrong with you!

Hotel California

Apex Jr. has the 8 inch Klipsch K-1077 woofers for about $37 each, also they have T/S parameters. I don't have the URL right now but Google Apex Jr and it's there. I've bought a bunch of stuff from them and they're a good outfit.

No, I have a 100 uF cap from another project that I will try...it is just an ugly composite of several caps but at least it's neatly soldered to a PC board. I'm looking for 500 uH Hepta Litz inductor. I have a foil inductor of the same value, but I'd rather try the litz after looking at the Q diagrams posted here not long ago.

I have looked via Search and did not find a conclusive answer...is there an American distributor for the Solen Hepta Litz inductors? I don't like the idea that Ihave to give my SSN to complete the transaction, and yes, that what it says on their website. thanks!

Thanks!

For the K-horn, pleeze!

Would anyone who has the Klipschorn with the K-401 please measure the support at the rear of the horn and post the dimensions? Thanks!

Thanks, whatever you can provide will be welcome. The Chart Store is interesting but for a researcher who needs one chart, a membership of $129 is a bit steep for information in the public domain.

Hey Johny, Do you have a chart of mortage interest rates since 1970? It would be useful for a non-audio project of mine. Thanks!

1st order networks would be (almost) everyone's choice IF all drivers had intrinsically smooth but fast rolloffs beyond the crossover point. If you use 1st order networks, your drivers must have superior performance one octave beyond the crossover point, at least. You can see how complicated this gets with midranges, who must have good performance below and above their respective crossover points. Let's not forget that one aim of crossovers is to protect mids and tweets from significant power input at or below resonance. The smoothness of a first order crossover is fine, but I'd rather not pay for it with frequently blown mids and tweets. For two-way designs, many prefer the Linkwitz-Riley 24 dB/octave networks. They are especially valuable if you are crossing over to a dome tweeter being operated just above its resonance in an WTW or MTM system. Phase shift in crossovers is an area in which I do not pretend great expertise. There is a school of thought that crossover phase shift, apart from the gross shift of 180 degrees (requiring a reverse connection of polarity) is not audible. Network phase shift, the argument goes, is swamped by loudspeaker and room behavior of all kinds. Some think just the contrawise. The reduction of overall efficiency due to greater numbers of crossover elements you ask about is called "insertion loss". All networks have this to one degree or another. It is a factor compensated for by selecting the efficency of the individual drivers. In our horn world, a drop of even 3 dB of "efficiency" is not nearly as serious as it is in the moving-coil direct radiator or planar driver world. After all, if the K-horn midrange is nominally attenuated 9 dB by the autoformer (this was the old setting), we have 9 dB to "play with" if our experimental network has a slightly higher insertion loss than an A or AA or whatever. Martin Collom's "High Performance Loudspeakers" has an excellent and low-math treatment of crossovers.

Once in a while, what we call brick and mortar stores will have old Klipsch gear...mainly antique stores or charity thrift stores here in the U.S. Some of our forum members have made some incredible finds in such places. Your best bet is really the online stores. Even if an auction has ended, click the See Seller's Other Items...sometimes stuff gets mis-catagorized and audio gear winds up under a different heading. Some of our forum members have Klipsch gear for sale from to time. If you post a specific request here, somebody on the forum may have just what you need, without the hassles of an auction.

If you have fast enough air flow and a narrow slot opening, you can get a reed effect at a given frequency. With the Cornwall, the air flow is so low a Mach number and the vent opening so large this is not an issue. In the early days of T/S'd "bass reflexes" we were impressed by the jets of air coming out of the ports as the woofers throbbed to heavy metal. We now know that's bad thing...a crude rule of thumb is, if you can feel air coming out of the port the port is probably too small. I can barely feel any air coming out of my Cornwall ports, except at very high volumes/low frequencies. I really doubt any turbulence created by this "mismatch" between the vent opening and the inner tunnel makes any difference.

Hi Trey, You have a PM thanks

Try the Rolling Stone site. I don't know how far back they go, but I bought a 2003 ish (non-audio related) from the site and it was delivered promptly. I can quote several passages almost verbatim...which is a tribute to how my brain stores info I really don't need . If you are looking for stuff about the culture of K&A (at that point in time), that's the article for you. PWK was his usual reserved self about his own life, and the technical stuff is at a Sunday-supplement level. At this time Klispch was still making the Heritage line almost exculsively and was just starting to explore PA and Heritage derivates like the Forte.

I have seen it posted here before, so a search may turn it up It was not an equipment review per se. It was more about Paul, the culture of K&A, the history of hi-fi, etc. The reviewer owned LaScalas.

Good heavens, NO! None of the above! The throat splitting wedge existed well before the 60's. See attached 1957 Klipsch brochure showing a cut-through Khorn and note the splitting wedge in the (at the time 6x13") throat. Also, it is a hard-surface 45 degree reflector, not a phase plug! No phase correction going on there - let me ask, how is it correcting phase issues? Well, it's doesn't and it never has and never will! Also in 1962, when Klipsch switched to the from the EV woofer to the CTS, the throat cavity was experimented with, and ended up being narrowed to the 3x13" that we see today. Some Khorns left the factory with additional wedges (evidently experimental) in the throat area AS WELL AS the traditional splitting wedges. I want to say that forum member LarryC had a pair, if I remember correctly. He removed them - they sounded BAD. DM Soooo...what was/is the Type G Motorboard ?...and what, pray tell was Paul talking about...I'd like to think he knew his own design...