boom3

No, you didn't "take it in the shorts on shipping". $250, for professional packing and careful shipping-if that's what you get-is about right. I bought one pair off e-bay and was charged $150 for shipping via FedEx. They were very poorly packed and were damaged in-transit. The seller was a gentlemen and refunded half the shipping cost. My second pair was bought from a fourum member. These were packed by Craters & Freighters, in double-walled boxes on a skid, via motor freight. That shipping also cost $250, but they arrived with nary a scratch.

4% efficiency is very good for non-horn speakers. A classic acoustic suspension system might be 1-2% efficient. I think Paul once said that Klipschorns were 25% efficient, but the memory is old. The big Bozak gets that efficiency from lots of cone area to move air and a large baffle to support radiation down to a relatively low frequency. I still would rather have my Corns, though!

I take it these are spoken for?

You have my sympathy, and I am sure you hear the wake-up call... Crackheads, and now in rural areas, those addicted to Oxycontin, will steal anything-repeat anything-to buy the drugs. Oxycontin addiction and resulting theft is rampant in many rural areas of the U.S. Even in areas where people never locked their doors...and to their shock, they find that it's *not* "drug crazed hippies" (a favorite bogeyman that long predates OJ's or Scott Petersen's use of the phrase) but the family next door, or middle-aged people they've gone to church with. The Oxycontin jones is just that strong. When I park my car, even here at home in the Redneck Riveria, I never leave any money in the pull-out tray. Don't care to have my window smashed for a dollar's worth of coins.

I seem to recall that any magnetic material will have a sudden 'knee' in the BL curve where it goes into saturation. A memory from an old textbook. Has anyone tested the air core copper foil type inductors? As we alll know, sometimes the added DCR of an air-core is a disadvantage in woofer circuits.

Welcome to the Celestial Cornwall Club. I have 4 CW IIs from the mid-80s. There are many of us who rank them second only to Klipschorn. I built a variety of speakers over the years and, partly due to the requirements of HT, dismantled what I had and acquire 4 Corns within the space of 6 months. Not everyone has a 24 x 16 living room to accomodate Corns (or K-Horns), but if you do, the results can be very satisfying indeed. I am using a Yamaha HT receiver, with the active processing, and it sounds very good. I sometimes turn off the processor and use the Pure Direct mode as well. One of these days I'd like to try tubes with the Corns, although a tube HT set-up would not work in my present environment. I am also blessed to have a spouse who is thrilled with the Corns in the HT set-up.

Cats seemed to be attracted to Klipsch Heritage. As witness my avatar. Also see HiFiLit site (not added to in a long time alas), under Klipsch, Paul's 1951 article "How To Get The Best From a Klipschorn" shows two cats lounging atop what looks to be a Pilot tube type receiver, digging the warmth, next to a K-horn. Other forum members have posted several pics of cats inspecting LaScalas, roosting atop Cornwalls, etc.

---------------- On 5/25/2005 5:02:50 PM BS Button wrote: This is what I understand served as the basis for the Heritage line for years. What or how many ply's? and where do you get it? Thickness was 3/4", correct? BS ---------------- http://www.woodcraft.com/ has sheets up to 24 x 30 inches http://www.woodnshop.com/hardwood/Baltic_Birch_Plywood.htm has sheets 5 x 5 ft Baltic birch is metric so 5 x 5 ft sheets are the largest I've seen. The second link has 3/4 inch 13 ply which is about as good as it gets...I can't exactly speak to what Klipsch used (thickness and plies), but it was high-quality plywood. Paul told me in 1978 that he used Russian plywood, although he didn't like their politics.

This thread just won't die (which is a good thing, since I just noticed it... My favorite stripper, in the days when they actually sang their own songs and danced, not just twirled around a pole with looks of utter boredom, was Bubbles LaFem on Bourbon Street, New Orleans. Bubbles was a protege of Evangaline the Oyster Girl who emerged from a (no surprise) oyster shell as she began her act. Once in a while, when Bubbles had had a few too many cocktails in the dressing room, she would conclude her act by throwing off her (legally required) g-string. Then the audience of conventioneers, frat boys and jaded old hangers-on would discern that Bubbles was more like "Buddy". The frat boys would run screaming into the night, convinced their orientation had been compromised, Bubbles would be hustled off stage for some coffee before the next show, and the conventioneers would have something to tell the lodge brothers back in Peoria.

The advertisers won.

I can get you close, but not drop you off at your door. I have the Scott 333B (tubes) from about 1964. It's a good unit, good sound. I've never had an outdoor antenna attached, only rabbit ears to pick up the college radio stations here. I had it professionally realigned and measured. The AM section doesn't work well since one of IF transformers has a shorted cap inside that only can be fixed by an identical unit. Some day I will replace all the jacks on the rear apron since they have some corrosion and can only be cleaned so much.

I have a lot of respect for Linkwitz, even if I don't agree with everything he espouses. He's right on the money in this phrase: "Parameters like phase linearity and cabinet diffraction are sometimes overrated. " I recall reading coverage of some major show-maybe it was CES-in Stereophile. There was a squib and picture of two proud guys with their creation. They had built a die-cast baffle for the MTM me-too design, "assuring phase linearity". I thought, "Well, congratulations. You have solved two system design problems. Driver alignment and baffle rigidity...the first a very minor issue and the second achievable by far less costly means. Oh, and BTW, if you change your drivers you're probably looking at changing your dies, hope you have the budget for that." Never heard of 'em again. Linkwitz is one of the last scientists in the loudspeaker industry (along with Keele, Allison, Kantor and a handful of others). The rest are marketeers.

Dow is the stuff to use. The GE consumer products have changed over time, for the worse IMHO, and I don't use them for technical applications. The bad thing about using viscous sealers to mount parts is that when you go to remove them, you must slip a blade between the component and the mounting surface, and the 'glue' stays on both pieces, pretty much forever. This is why I use clips or wire ties (with cushion tape if mounting capacitors) for my projects.

Dow is the stuff to use. The GE consumer products have changed over time, for the worse IMHO, and I don't use them for technical applications. The bad thing about using viscous sealers to mount parts is that when you go to remove them, you must slip a blade between the component and the mounting surface, and the 'glue' stays on both pieces, pretty much forever. This is why I use clips or wire ties (with cushion tape if mounting capacitors) for my projects.

I can't give you the whole magella, but I can share this: In the past, some tube amps, primarily in large console radio/radio-phonos, used the field coil of the electrodynamic speaker as a choke for the power supply. That is still possible, but it requires a custom design of the amp to permit the fieldcoil to do 'double duty'. AA is a very busy forum, and even within the subsets like Hi Eff, it takes a while to find useful info. I'd suggest going to a cybercafe or library with a fast connection and doing your searches there.

How soon is Bose going to sue Polk over this?

Commander Cody and His Lost Planet Airmen, and Albert Ketelbey's tone poems, such as "In A Persian market"

I had another thought...try Pictorico. They make printing media that has a microporus ceramic coating, (also sold under other names). I have had wonderful results from all their media. The Photo Gallery High Gloss (PGHG) film is the very best media for printing photographs. http://www.pictorico.com/

I was crazy before I was fat, so, so much for that cause-and-effect!

My house was broken into about 8 years ago. They took about 10 dollars in change but also took a pad of checks I had left in my dresser. Although my credit union made it up to me, it wes a pain to have to deal with all the worthless checks they hung all over town. One of the thieves tripped himself up...wrote one of my checks to WalMart for a VCR, and signed *his* name. Then he tried to get a cab driver to return the VCR to WalMart for cash so they'd split the proceeds. Between the bank (guess WalMart didn't notice the mismatch signature) and the cabbie ratting him out, he was caught. Moral: Lock up your checkbook and blank checks, even at home.

Try the Epson paper, but, from having owned two Epsons (1270 and 875) their ink does take longer to dry than my current Canon S9000. You can put the prints in a warm place, like the back of a CRT monitor, to speed up drying. Both of the Epsons were cranky and prone to head clogs. I went with Canon and get wonderful results with very little tweaking. I did have to replace the head just after the warranty ran out but since then (knock onwood) it's been fine.

---------------- On 4/28/2005 2:49:23 PM D-MAN wrote: A horn is a acoustic pressure-reducing device. An acoustic transformer. (snip) *** Yes, I hope we all know this. What I hoped for, am still hoping for, is that the K&A engineers, through the good offices of the Moderators, might notice this thread and contact some of these other disciplines. Maybe also those of us that are in engineering and/or science fields might foster this cross-pollination. Part of creativity is taking seemingly unrelated facts, methods or arts and finding new, legitmate, testable correlations. Maybe a few the "mustard seeds" will find fertile ground.

---------------- On 4/28/2005 12:12:56 PM D-MAN wrote: The issues of air flow and sound wave propogation are quite different. Horns are not intended to move volumes of air from one point to another as would an air flow conduit of some sort. Sound waves are both positive AND negative (compression and rarefaction) rather than a consistant and constant flow of a large volume of air in a single direction. Durations are therefore very short in time and change directions of air movement. In the case of horns, the effect is NOT an continuous air flow coming out of the horn itself, but a vibrating sheet of air the size of the horn mouth. The limit of air movement (vibration) is constrained by the excursion of the driver cone (in the case of bass horns). DM ---------------- Horns are air conduits, so I disagree with your first point, and I will amplify below. Yes, sound waves are positive and negative, as we all should know, and the advanced modeling and computing power that aerodynamicists (sp?) have access to should accomodate that. I intuite that below some frequency-what I call a critical frequency (Cf) -any acoustic duct (horn, T/L what have you) acts more like a pipe constraining a fluid. Above that critical frequency, wavelength effects come into play, and we need to start pondering reflectors and numbers of folds. My view (I will not dignify it with the label of theory or even hypothesis)is that below the Cf we are dealing with a 'leaky' pressurized vessel and the mechanism for calculating flow effiency-a function of impedence matching between input (throat) and output (mouth) are well known in the fluid dynamics world. We've been trying since the Nine-Teens to approach this from an equivalent electric circuit model, and it's just not robust enough for the job. Our horn design programs are really glorified spreadsheets cranking out results from the formulae of choice (Rayleigh, Marsh, Keele, etc). Their software and techniques are simply more powerful than ours, so why not lay the questions before a fresh perspective with more modeling and simulation horsepower?

There was a message posted recently about (as I recall) the 'wavefront' model versus the 'transmission line' model of horn design, with some comments about reflectors at the corners of the folds. Got me thinking... I've long been associated with engineers who work on high-velocity, high-volume air handling systems, and a thought has occured to me. First off, all us horn guys (myself included) are too close to the problem. We have heads full of Klipsch, JBL, Voigt, etc and we always refer to the problems in light of past commercial designs. I think horn theory needs study by engineers (M.E.s) who are adept at air flow, not hi-fi (E.E.) types. Sound flow is air flow, after all, and high-velocity, high delivery airflow is studied by engineers using very sophisticated modeling and analysis tools. I would hope Klipsch would lead the way in interfacing with this discipline of engineering, which deals with fans, blowers, propellors and air delivery ducting. It's a very significant business segment, one that dwarfs the horn loudspeaker industry.

I have had two Epsons, and I will probably never buy another one. My experience was: Both (1270 and 875)were very touchy, prone to head clogs, and were difficult to tune for accurate colour. I bought a Canon S9000 (new model is i9900) and it is very easy to use and requires very little colour tweaking. Epson photo printers reputation is based on the high-end wide carriage models used by pros who have the time, software and money to get the wonderful results the high-end models are indeed capable of. The Canon uses 6(now 8) colour carts that are individually replaceable. If one is printing casual 4 x 6 snapshots for the family, the cost per print is nearly irrelevant now. Mass market processors that still use silver chemistry generally produce mediocre results. The labs that have gone full digital from either disk or scanned film to print achieve more consistent results.