codhead

Just spotted this on eBay: http://cgi.ebay.com/ws/eBayISAPI.dll?ViewItem&category=39783&item=5816426222 I have one of this guy's ST-70 reproductions. This Mk III looks mighty nice for the price.

"The expansion of the horn seems rather strange. Do you have more detail about it?" http://translate.google.com/translate?hl=en&sl=ja&u=http://www.spnet.ne.jp/~hasehiro/&prev=/search%3Fq%3DHasehiro%2BAudio%26hl%3Den%26lr%3D The Hasehiro website is in Japanese, but the above URL will get you there through the Google translation software. Reminds me of the old saying "it loses something in translation". Not very technical, but there may be something of interest. "Using my broad brush paint, and judging from a photo only, I'd say never trust the japanese horn lovers to come up with a "versatile" design that will do anything else than playing "littl'girl playing a ukulele" with spooking realism." Playing Ani DiFranco's "So What" from her Reckoning album is the most realistic sound I've ever experienced from a pair of speakers, but the thought of Yoko Ono playing the ukulele makes me break out in a cold sweat.

Here's an internal view of my little Hasehiro MM151S horns. They're built very well, being CNC machined from some pretty thick MDF. Don't know the degree to which it affects the sound, but the "horn" seems to be a lot more precise than a large plywood box. I like Tom's comment "Dynamics were about what one would expect from a pair of TV speakers." A lot of you may think that sounds pretty harsh, but I've yet to be impressed with the reproduction of any music that involved amplification in it's original form. Even light jazz like Acoustic Alchemy sounds pretty "pinched" compared with the Heresy. As far as imaging goes, on the right music these have it in spades. But by the time you start adding tweeters (I have the Fostex T90A's) and a sub to make them perform better on a wider range of music, you've pretty much killed the advantages of a single driver. They're certainly fun to play with, but I sure would not recommend them to anyone as their only pair of speakers. Out of hundreds of CD's that I own, there are only a few that I would characterize as sounding good on these speakers. But for those that do, they sound very good.

If you like the sound of Klipsch speakers, I think you'll be very disappointed listening to a single driver Fostex variation. I have 2 pair of them. They sound very nice with female vocals and acoustic guitar. Other than that, I'd prefer listening to a pair of Heresys with a bad head cold.

That auction for the "Swedish Standard" tubes is just insane. I've been holding a RCA Red 5692 up to the screen, and comparing it with the pics. With the exception of a small crimp hole in the top and bottom of the outside plate edges, those are a dead ringer for a late production RCA (probably made under license). Man, I wish I could get $600 a pair for the RCA version!

Erik, Yeah, that was a good screw-up on my part. Reading back through this thread, you actually did say something about the circuit - right before I convinced myself that this was backwards. Had I been paying attention, I would have caught myself right there. When you went on to claim that "a potentiometer doesn't work that way", that really convinced me this was backwards. I went right for the trusty Fluke. Had I continued to read the thread, I would have seen what you were getting at. I once built an AES kit, where the grid was being fed from the potientiometer. I believe the AE-3 kit is still being sold this way today, while the AE-3 DJH (or at least the one I have) uses shunt volume. I also have a passive which runs the signal straight through an ELMA stepped attenuator. I ordered the little Luminous passive, as I want to see if I can detect the claimed sonic difference between these circuits.

Okay, I see what you're getting at. Duh! I just ordered a little Luminous Axiom passive, and it shunts to ground in a similar manner to what you're discussing. I was going from past experience with a preamp that actually used the potientiometer to control the signal. I swapped the pot for one of higher value, but found that even though it helped with low volume settings, it got loud in a big hurry past about 10 o' clock. Finally ended up putting the original value pot back in, and adding a resistor in addition to the pot, which worked a lot better (essentially the same result as an inline attenuator).

Actually, you have it backwards -- sorry, but it's the truth. A potentiometer doesn't work that way, Codhead. The greater the value of the potentiometer, the LOUDER the volume will be at a given level... Erik Well, I've certainly been wrong before. But I respectfully disagree... The top meter reading in the attached photo is a 50K audio taper pot at full volume. The meter reads .6 ohms, which means you'll be getting most of the signal out that you put in. The bottom meter reading is with the volume turned all the way down. At 43.7 K ohms, the signal is significantly smaller. An easy way to verify what you're claiming would be to make up a couple of interconnects. Put a 1 ohm resistor in one, and a 50K ohm resistor in the other. If what you're claiming is true, the music is going to be louder when played through a 50K ohm resistor than it will be through a 1 ohm resistor!

I'm a little curious. If this is a D-75 vs. a D-75A, it could be a fairly old amp. I purchased a recent model D-45, and found it to sound very nice on Corns. None of the midrange "grain" I experienced with the little Teac. Is it possible that components in these amps "age"? You often hear about folks "freshening up" their tube gear, but rarely do you hear of this practice applied to SS amps. I know my D-45 sounded a lot smoother on Corns than my mid 80's Yamaha gear. A look inside one of my Yamahas revealed many carbon resistors with the colored bands burnt beyond recognition, and the phenolic circuit boards not faring much better. Add to this improvements in components and manufacturing technology, and I would not be surprised if there is an audible difference between recent and early versions of these amps.

Hold on guys, I think some of you may have this backwards. If you bypass the pot with a piece of straight wire, what's gonna happen? You're gonna get a whole lotta output. Nice if you want to turn your preamp into a "tube buffer", but kind of useless if you want to use your preamp for the function that God intended. So what's the impedance of a piece of straight wire? Pretty close to a short - or zero ohms. Remember, as the impedance numbers get bigger (like 100K) less signal gets through. So if your preamp comes with a 100K pot, and that's too much signal for you, you'll have to come up with something with a bigger number (like a 200K pot). If you install a 50K pot, you'll just add to your problems. Remember, when you turn that knob clockwise (the loud direction) the ohms are heading for the zero end of the scale - i.e. more signal is getting through.

I think the new T-Bird failed because it was a bad implementation not a bad idea. I wonder how many potential buyers were put off by the insanely small trunk, I was. I was the target for the car and I would have bought one but the trunk was far too small for such a car... Like your trunk comments. I keep thinking of a Goodfellas type of scenerio. "What was youse thinkin', Jimmy. We'll never get Fat Eddy in the the trunk of your T-Bird." "Shaddup and get me the saw."

Larry, I have 2 pair of 300B amps (one is the Welborne DRD), a 2A3, and Cornwalls. All are tube rectified. I also listen at moderate levels, but I have to admit that I don't have very much Jazz (maybe 15-20 selections). From my experience, it's pretty hard to pin a sound to the tube type. Overall, I'd give the 300B a slight edge in bottom end, while the 2A3 seems to bloom a bit more on the mids. These amps are sensitive to tube selection (both driver and output) which further complicates describing the sound. I just added Cornwall I's (still have Chorus I's as well), and have found that both the 2A3 and 300B seem to make the Corns sound a little hot in the mids. My 211 SET (SS rectified), Dynaco ST-70, and Crown D-45 SS sound a bit more balanced from top to bottom. This leaves me scratching my head, as my Heresy I's have the same mid drivers and don't exhibit this trait. Maybe I'll swap the K-55's, and see what happens. One thing I don't like about the Welborne DRD is the 6N1P driver. You're essentially stuck with a single Russian tube - no rolling allowed. Sure wish it used the 6SN7.

LMAO!!! That's the funniest response I've seen in months! Never mind things like future parts availability, workmanship, material quality...

BEIJING (AP) - Tens of thousands of Chinese marked the 56th anniversary of Communist rule in Beijing's Tiananmen Square on Saturday...

"With all the current whining about the presumed price it would not surprise me if Klipsch is re-evaluating the future profit success of the CW release." It's kind of funny how some folks characterize the questioning of seemingly inflated retail pricing as "whining", even though these same people most likely have no intention of purchasing a C III at these prices. I would be very interested in the C III, should it prove to be a good value. Sorry, but I just don't subscribe to 100% margins every time a pair of hands touches a box. At over 2.5 times the rumored retail price of the H III, any semblance of value seems to be missing. I think a couple of analogies from the automotive world are in order here. If a new Chevrolet is as fast as a Ferrari, should it be priced the same? That's the same logic I see in many of the responses. Regardless of performance, the Chevy is still built like - a Chevy. There's a big difference in fit and finish - just like some of the speaker brands I see being compared to Klipsch. Don't forget what happened when Ford reintroduced the last iteration of their venerable Thunderbird - at over 2 times the retail price of the previous model. They were not exactly flying off the dealer's lots, now were they? Did Ford repeat this mistake when they redesigned the Mustang? Nostalgia only goes so far. If they are considering selling these at $4K, I sincerely hope that Klipsch does re-evaluate the future "profit success" of the CW release. Perhaps they can take a lesson from Ford, and just settle for "success" instead.

Poof! Off to Germany. I just hate to see nice vintage gear heading overseas. Oh well, someone rescued my Cornwalls from Deutschland. Heh, heh, heh.

"Is that the Banana phonostage on top?" Yeah, and it's cordless too. Clearly a product that's ahead of it's time!

Hi Seti, I'm listening to a 211 amp as I write this. Can a SET amp beat a p-p in bottom end? I used to call my Wyetech Topaz "Ike" and my Air Tight ATM-2 "Tina". Tina eventually found a new home.[]

I think this is the back panel of the Peach.

" since the mid 80's .. Codpiece ....???? hell, Crown's made the D series ....since the '60's" I've got a feeling that the new ones might just sound a bit more... refined. Last SS amps I bought were a pair of '85 vintage Yamaha M-80's from a place called the Far East Trader. That was the electronics store at Subic Bay, Philippines. I was stationed at Clark Air Base, but the squids always had a better audio selection. That little D-45 easily steps on my old Yamahas for sound quality (not quantity). That's okay, as they'll have a new home soon. Bet the guy that's buying them opens the voice coils on his cheap little speakers within a week - maybe less. BTW Duke, thanks for your posts about Crown. This is something I probably never would have considered. That Crown Reference 1 is starting to look pretty nice.

"Hey! that sounds like it might be my amp! Is it black?" LOL... yeah, sure is. You missing a bunch of flat panel TV's too?

You ought to contact this guy... something tells me he may be interested.

Here it is. AOL is not the fastest, and it's a 1Mb file. Worth the wait if you want to see a real scam! http://www.members.aol.com/threetriodes/ebay1.pdf