boom3

This guy took 15 pages to say what Paul usually said in four of five...trying to engage the supposedly informed readers of Stereophile. Yes, he makes some good points, but those of us here are saying "Really? No S---?" to all of it. He quotes that law of 400,000 nonsense again. It also was called the law of 500,000 in the Badeimaff and Davis book in the 50s. Just like "inventors" who rediscover well-established acoustic principles (and even get patents on same, an ongoing scandal), this horse-hockey keeps coming up. Anybody ever demonstrate this with modern filtering to see if there's any validity? Of course not. Still, it's surprising that Stereophile would allocate so much space to a viewpoint largley (if not totally, to be fair) at odds with their house opinions and the agendas of their advertisers. A Class B discussion of a Class A topic.

No, not yet...did replace the mid cap with a Solen unit though...will go all the way and mirror image when I do. So many projects, so little time

I have a study that is 11 x 14, and there's a lot of furniture in there as well as my desk. I use two Dalhquist DQ-10s to listen to music at moderate volumes. It works very well. The room is just too small for another pair of Cornwalls.

Don't forget your drains as well as your supply pipes. Running water is no good unles you have drains that also work. I had just moved back south in 95 when we had a cold snap that brought our temps to 15 F just for two days. My supply pipes were fine, but my washer drain was frozen and so I had a cold, soapy mess to mop up after the washer drain backed up.[+o(]

Let's not overlook the Bipolar Express-really gives you the highs and the lows[]

tantalums. The hysteresis will give you time to run the icebox for another beer between notes!

My company went through the ISO Cert process about 6 years ago. Since we do (in part) avionics, our existing QA structure was pretty good and ISO was necesary to document that fact since we needed the ISO to get contracts, particularly in Europe and the Pacific Rim. People now realize that ISO doesn't guarentee quality (it was never meant to) and in certain parts of the world the cert is meaningless due to cert process corruption.The on-coming initative is called Capability Maturity Model Integration. CMMI started as a way to gain control of software progarmmers and benchmark the capabilities of various software houses, relative to each other. It is now being touted as a way to benchmark every kind of manufacturering and service. Even (drum please) disaster relief. I'm entering the training pipeline for CMMI, so it will be interesting to see how it is adopted by non-software concerns.

Yee-Haw! A new General Lee! Wonder if J.C. Whitney still sells horns that play "Dixie"! (Jessica Simpson not included)

Heil also made a full-range AMT briefly. The regular AMT, when scaled up, had severe cavity resonances. The bass AMT was this weird contraption of clear plastic disks driven by carbon fibre rods. The reviews were not enthusiastic. A long-ago ish of Speaker Builder featured a homemade AMT coupled to a horn. An interesting and commendable project. Paul told me once that the AMT was a good transducer if operated in a unipolar manner (with the back enclosed) but he still felt traditional horn drivers were the way to go.

Thanks for posting these, however...These aren't Heil patents, they are related to the Walsh (Ohm) reproducers. The Heil was the Air Motion Transformer (AMT) which was pretty good, although sheer economics finally doomed it. Compared to other transducers, it was just too expensive to build in a commercially viable manner. Ohm is still making a variation of the Walsh driver, although it has gotten very little critical attention lately.

Once upon a time, there was a company called Component Research Corporation (CRC) that made hermetically sealed (glass to metal) capacitors in teflon, polystyrene, polypropylene and other high-end dielectrics for the military, NASA, and other critical applications. They published a very interesting catalog that was an education in the performance and testing of non-Mylar films. It was available in the old EEM master parts catalogs (now replaced by the web, I suppose) Their usual line of caps was cylindrical, in a natural aluminum color, with the value and other information printed in black ink. If you find any of these, hang on to them, they're golden. Sadly, CRC went under last year and I am not sure of who has taken their place in the market. I don't remember all their dielectric codes but J11 was teflon. Their tolerences tended to be conservative. All the plus or minus 5 per cent CRCs I've ever measured (some with lab grade LCR bridges) were closer to 2 percent tolerance. At the time they were in production, their speaker crossover value caps were pretty expensive, much moreso than the GE motor caps. There are still retailers selling CRC caps, one is DF Sales, http://dfsales.com

http://hyperphysics.phy-astr.gsu.edu/hbase/sound/soucon.html excellent menu design

"Son, don't wait till the break of day, cause you know how time fades away..." "Old man, look at my life, I'm a lot like you were"

Balderdash. This is some (poorly informed) person's attempt to put two channels in a blanket chest. The "provenance" quoted in the ad reeks.

Novus Plastic Polish. I think there is more than one type.

blimycapn wrote: "I understand that some Corns had crappy horns and some had nice horns" I don't think any of the Cornwalls used "crappy horns". There were at least three shifts in mid horn/drivers I know of. This has been the subject of several threads here. IMO, if you like the sound of the 63 K-horns (assuming they are stock) you will probably want a pair of Cornwall Is, which were manufactured up til the early 80s. These use the same K55 midrange driver and K77 tweeter as K-horns of the same era, and they will match the sound of your K-horns well. There has been a lot of discussion here about the various flavors of the K55s Again, see the thread for what we _think_ was the cut-over to the so-called 1.5s. In the early to mids 80s, Klispch went to a plastic mid horn, flush mounted, with a Heppner-designed K52 driver, and a flush-mounted Heppner-designed (I think) tweeter, the K79. This created the Cornwall IIs. I have two pairs of 1986 models. There are partisans in both camps, however, I think the Cornwall IIs with the K52/K601 mid and K79 tweeters are markedly better than the Cornwall Is or 1.5s. If you are trying to match your 63 K-horns, get Cornwall Is. If you want to create a second system, get Cornwall IIs.

This looks like a Brociner design. Some of these have been used for single Lowthers http://www.hifilit.com/hifilit/Brociner/model4c.jpg

33klfan wrote the following post at 10-30-2005 9:34 PM: "What happens to the caps that they will need replaced? How hard is it to change the caps, that's capacitors right? I don't have any experience with doing this kind of thing unless it's not too hard. Other than "in your face" what else is the difference. Like are the highs mids and lows better?" I was speaking of the input caps in the phono preamp. I think other posts on this thread are thinking of the power supply caps. The preamp caps are tiny 10 uF (relying on memory here) electrolytic caps that block DC and very low frequency AC at the inputs to the preamp. Anywho, if you are not comfortable with working on electronics, refer it to a service tech. The film cap replacements will be significantly larger than the electrolytics and a bit of finagling will be required to make them fit. Yes, I noticed a difference right off. Considering that the input signal from the phono cart is measured in millivolts, I doubt that the dielectric in the tiny alminium electrolytic caps had enough voltage to form properly. I noticed cleaner bass and treble. I eventually replaced all the electrolytics in the tone control circuit also, but the improvement was not as marked.

I had a 1979 Pioneer SX-1250, and it was wonderful. I think this was top of the line at that time. I substituted film caps for the electrolytics at the the input to phono stage (this was my pre-CD era). The phono stage is buried in a little metal box under the tuner, BTW. After about 12 years, it developed a power supply problem and I put more money into it than was wise. I scrapped it and got a 1992 model Pioneer that was pretty bad. I traded it for a 1975 Sansui Quad receiver, which I kept until I got a Scott 333B tube tuner, Sumo Electra pre-amp and Polaris power amp. Now those units power the Dahlquist DQ-10s in my study, and my 4 Corns are driven with a Yamaha 2500 HT receiver.

Not to worry, when the Cornwall III is released in January that topic will be hot again! []

Dvorak Symphony No.9, "From The New World". Royal Concertgebouw, Nikolaus Harnoncourt, conductor. Teldec 3984-2524-9. Available from Amazon. This is one of my favorite orchestral pieces and I have heard it from many other orchestras. This recording must rank with the Telarc 1812 as a DVD-A masterwork. It is perfect in pacing, mixing and overall sound. If I have one caveat, and that is minor, it is that the bass gets a little mushy in loud passages, which may be due to drum baffling, miking, or simply hitting the resonance points of my CW IIs in my living room. Some DVD-As make individual instruments sound too airy and unfocused, not this one. Imaging remains satisying without resort to tricks in the mix.

Grisman was a close friend of Jerry Garcia's from jug band days when the "urban hilllbilly" movement was floating between the oh-so-urbane Beats and the Hippies of later years. If you want to hear one of the best folk albums of all time, pick up Shady Grove, a collaboration between Garcia and Grisman shortly before Jerry's death.

Thanks!

Ummm, no, I meant the current (2005) Klipschorn network....

Dman, this is all good info. What are the slopes of the current Klipschorn network?