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KT88

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  1. Others may know better but there is probably nothing really healthy inside those old caps regarding dangerous PCB.
  2. T_Evans, congratulations on your new amp. Is the problem with the coax cable also gone? If not, this is usually the only working solution because (or if) there are different ground potentials between the mains and the antenna connection that cause the hum. See below the link. The isolation transformer type works best in my system. https://en.wikipedia.org/wiki/Sheath_current_filter
  3. Bob, welcome to the Forum,, I have Lascala from 1977 and the original AA crossover capacitors are damp and rusted even though I always stored them dry. I wouldn't be surprised that your capacitors don't look very different. Others will know better, but those original capacitors with their incorrect values and high ESR can indirectly affect bass response in my experience. I currently use an AA replacement crossover since 11 years that Bob Crites had built. There are better capacitors out there, but these sonicaps are ok at least in values. I assume that you have connected everything correctly. But maybe it wouldn't hurt to double check if the KHs are still connected correctly in phase. The bass that a Bose 901 can do in the same large room, even if they are closer together, should easily be surpassed by the KH. BTW you have a very nice location and some fine classic cars are to be seen at your place.
  4. garyrc, That sounds very reasonable to me and it goes along the lines of my guess in my thread about the timeline of the K55V versions...until the end of the AA crossover when the K55V was discontinued.
  5. When I compare the frequency response and the specifications of the new PD-5VH with the curves that can be found here on the forum for the K55V (regardless of whether single or dual phase plug), then I would be afraid that the PD-5VH is not so well suited for my AA crossover. But maybe Atlas measured the new driver with a different method than ALK or BEC did with the K55V? Or the new heat resistant alnico material has less magnetic strength, or are they using different, perhaps more massive diaphragms that drop out at 4,500 Hz? One more point that interests me a lot, I had started another thread that has no replies yet. Without hijacking this thread...regardless of the specification of the PD-5VH, is it mechanically possible to mount the old dual phase plug of the soldered K55V (of course the whole part with the thread for the horn) on a PD-5VH?
  6. Jim, thank you very much for the very detailed and valuable information. I have a reason why I would not trade my K77 for K77M...or maybe I would, to keep the balance of the SPL? I would maybe buy them in addition as an alternative solution. It is a pity if the alnico K77 should have become more powerless. But I love the sound of alnico magnets, may be I could try first new diaphragms. Momently I am happy with the SPL of my tweeters even if they are on the „soft“ side. It's about the magic moment when the sound emerges from silence. For example, very quiet string instruments that just breathe. In my opinion, alnicos are much finer and more transparent than ferrite or ceramic magnets. I also have a question regarding the new Atlas PD-5VH alnico in this circumstances, are they identically good as the old K55V single phase plugs and interchangeable without any acoustic difference? Just in case I need new drivers.
  7. I have a 1977 Lascala with original K55 V single phase plug and round alnico K77. I am very happy with it and my question is partly out of curiosity, partly to maybe experiment a bit. But I will be able to restore and preserve the original condition. I have a lot of respect for originality, which I really like sonically as well. My question, or it is also a hypothesis. It is often the case that one measure leads to another measure even if someone would not have thought at the beginning that it might become necessary. That's why historically I wonder if the development of K55 versions happened independently of the development of K77 versions, or if there were interdependencies. Specifically: In about 1979 or around that? the square magnet K77 M appeared. But not because it was progress but because Alnico became too expensive. Only one year later, the dual phase plug appeared in the K55V. Could it be that the interaction with the K77 M caused PWK to make a change to the K55V? Is it possible that the single phase plug simply harmonises very well with the alnico K77? Two things,a) in the whole period between 1977 and 1983 or so? no change was made to the AA Xover, b) in real production the dual phase plug K55V never played together with the alnico K77. It is always very easy to say that a thing is better or worse when you look at it or measure it in isolation, like the sheet of a dual phase plug K55 V. But the interaction of all the components is the great art, you surely know what I mean. So, could playing a K55V dual phase plug together with an alnico K77 be disappointing? Perhaps PWK's intention in developing the dual phase plug K55 V was simply to connect more seamlessly with the slightly louder K77M? and not primarily because of the 9 Khz peak issue (which is not really audible for most people according to information here in the forum)? But the gain was so small that PWK returned to the single phase plug after only one year for the sake of a sensible investment with good reason and equally good sound? I look forward to answers, also very much if some have had experience with this.
  8. I'm getting some old circa 1981 K-55V with solder connection and dual phase plug tomorrow which are not tested. Just out of curiosity and in case there is more damage than maybe the diaphragm...could I buy new PD-5VH and mount the old dual phase plug on it? I mean, of course, the whole part that is screwed to the horn and where the phase plug is mounted in. Or are these two versions fundamentally different in their dimensions and in the geometry of the screws etc.? On the other hand, could I combine the dual phase plug with a vintage magnet from a K-55V that only had the normal phase plug? Many thanks.
  9. Since 1.5 years I am very happy with Tidal MQA via a Bluesound Node i. The difference between MQA and CD res is audible if you compare the same recording. BTW the Bluesound also offers excellent Tunein sound quality.
  10. With BBC specifications, it is the case that not all manufacturers and all decades of production are comparable. There are specifications, but they are sometimes interpreted within the margins or even exceeded. I have Stirling Broadcast LS3/5V2 built and licensed to BBC specifications. Still, they sound somewhat different than old Rogers, for example. You can't put two LS3/5a from different manufacturers or decades left and right together to make a pair. Back to Klipsch. As I write this I am listening to my beloved 1977 Lascala. I think it would be foolish to build new Klipsch that sound like these old darlings.Today there are other recordings, other music, other generations of ears. Still, I maintain that old Chet Baker or Bill Evans records sound subjectively better to me on these old speakers. But new recordings sound better on new versions. Another point. It would be nonsense to prescribe a fingerprint of a 1970 sound and build a new speaker to sound like it. But there are basic things to consider. Does a new Lascala sound better for any music? Does it sound as good as the old Lascala all the way down? Does the thin outer wall of the old Lascala perhaps sound better on a cello because it resonates more and is more lively? I mean yes. But isn't the same thin outer wall a big problem in dry pop recordings where resonances are more likely to interfere? I mean yes as well. This leads to the very old fundamental question, regardless of the age of the speakers...is there one speaker that does everything equally well? I have also Jubilees since 13 years. But for some recordings I like more the way how a smaller speaker integrates my room more. No matter how very good the Jubilees sound regardless. Isn't it nice how much you can get into it all:)
  11. Ok, that is bad news if the basics are not right.
  12. I understand your point very well. I have a 1977 Lascala with a Crites AA Xover. I also still have the original crossover, but the capacitors are not really good in values anymore, at least the capacitance values are not correct, if only measured with a handheld meter and 9V. The Crites crossover uses modern capacitors. But the original sound I remember differently. My guess is that not only the material is different but also the Q factor. The new film capacitors sound very accurate but too sharp with the K400 and K77 Alnico. I live very far from the Klipsch factory in Germany (but I have been to the factory in Hope :). I also believe that Klipsch no longer gets the original PIO car run capacitors. So my question to the expert, I want to give the Russian KBG- mn PIO types or the K75-10 types a chance. You hear very good things about them in many forums (for what it is worth) and you can get these types for 10 to 20 USD. To just try it out would be worth it with. The Q factor should be identical to the old PIO Klipsch capacitors (for a 1977 speaker). What do you think?
  13. KT88, your comments about the New Sensor company worry me some as I've pretty much resolved myself to buying new production tubes vs. NOS simply due to cost. I understand that most if not all original tube manufacturers are gone and their equipment with them but is it really THAT hard to produce a new tube in this day and age that is the sonic match of NOS? As far as I know, the New Sensor company also provides Electro Harmonix which has a good reputation, especially for 12AX7 etc. My specific experience with the KT66 led me to the JJ company. That means that it is good news and really convenient to know to have new production of high quality tubes . I never said someone has to buy overexpensive NOS tubes at all. Just be careful which of the new ones are worth it to go. In case of EL34 there are much offers. And TBH, it seems, that the EL34 is not to difficult to built, so we have a lot of options. And also, the EL34 is a very good sounding design as well as it´s smaller brother, the EL84 is also. Look for winged C or other brands, In this case the gear of New Sensorcompany should be right. A EL34 is not so critical as a KT66 is.
  14. My basic question is, does it matter if a tube, say an EL34, comes from a place like Audiotubes.com (Brent Jesse) or a musician supply site? no, if it is the same brand and time of production. The grading system I referenced above has no meaning to me so I was wondering if someone here spoke Musician and could translate. Tubes may differ in their operating points, in their amount of remaining air molecules, in their choice/geometry/design of materials considering plate and cathode. All has an certain impact on the character or quality of sound. At the end of the day, one dealer i.e. for guitar amp tubes may buy a big # of stock from different manufactures plus some NOS plus some used tubes. If he is clever he will just not "sell" tubes, he will earn some more money if he can offer a pre selection. And with this preselection he can dial in those mentioned marks plus some others, like optical impression, looks of carton, image of brand etc. Then he must find categories we can understand as consumers, like cold vs. warm, early break up vs. clean etc. There are tibe brands now in the market which arose from those work of selection. I.e. Grooce Tubes is such a case, they never produced only one single tube by themselves. Summarizing, it´s a all in all heavy stuff to get a step of knowlede in, like to become experienced with wines. As the other guys on this place here recommend, take advice from experienced and competend dealers. Another story is, if you want to enhance your own kowledge. If so, do it separately from your current needs for tubes. It will take long time and is based on much personal experience. In my view the market place is like a jungle. I had one personal experience when I needed new tubes for old Quad II amps. Originally they came with KT66 from Genalex. This tubes are famous for long duration and best sound in their applications. Today they are very expensive as NOS. This also know some clever marketing guys. Therefore a new KT66 Genalex appeared last year in the market. Very cool stuff I thought at the beginning and was happy to get a pair for a reasonable price. Then I looked at the web and found numbers of serious warnings against this tube. They have NOTHING to do with the quality of the originals. They are made by order, somewhere in Russia, and then sticked with labels and naming from the glory past days. The company who has discovered this possibility to make easy and fast money is called New Sensor, or so. They make the same trick with labeling old Tung Sol brand, Golden Lion and may be some others. They just bought the trade and brand rights. The quality is not much worse or better than former Sovtec gear, which was the predecessor brand made in the same Russian factories. Only a phone call with a competend dealer helped me to take the right decission: The new KT66 from JJ, Slowakia, which is the former Tesla brand and loction of production. That tube is not named after the original but very steep built like the original, with same materials, same geometry, a lot of research and stripping down some more NOS Genalex etc. I never would have found it without the experts help. Regarding your question how to compare musicians criteria with hifi criteria, read between the lines i.e. if you go i.e. to angela.com (just for your entertainment) you may find some nice descriptions about tubes brand character. But be aware, they like to sell stuff, there is no open critics against anything they sell. In generall, my view is that Musicians gear dealers tend to describe very subjectivly, and hifi dealers tend to overprice some good tube gear. Musicians shops will deliver what you need for your hifi, but the criteria are different. To get the right overdrive on the guitar an early point of nice distortion is helpful. For your hifi this could mean, that the sound gets anemic.
  15. Yep, but if you listen i.e. to Ravel´s piano concert in G major you don´t need that slam, which is probably requested when listening to Count Basie or Billy Cobham.
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