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  1. A very nice place to live, Andrew, saw some pics at google maps, reminds me on Island oder Norway a bit.
  2. It looks like the beautiful and suitably large room always had these Jubilees in mind. They blend beautifully and are not foreign bodies. Or did the Klipsch carpenters also build the room?😀
  3. Strangely enough, there is a sound profile that is very comparable for such different constructions in terms of the depth of immersion in the recording. I would like to mention four very different speakers that are comparable in this respect. In other respects they are not comparable (sound pressure, physical sound and others). Why do I think that is. My candidates are the tiny BBC LS3/5a, the coaxial and analogue time aligned Tannoys with Alnico magnets, the Quad ESL63 (and newer Quad electrostats) and the Klipsch Jubilee (I only know my Underground Jubilee, but in this respect the new Heritage Jubilee will be similarly good, maybe even better because the crossover frequency is even lower). The LS3/5a achieves the goal of glorious spaciousness because the two drivers are very close to each other. At a distance of three metres, it's like an almost point source. The Quad ESL 63 achieves it because (while exciting a foil) they define a starting point of sound and from there electronically mimic the travel time of the speed of sound to the edges of the foil. The Tannoy have a distance between the bass cone and the tweeter horn or be its diaphragm which, when the tweeter is connected with its polarity reversed, exactly compensates for the phase shifts of the crossover and is therefore time aligned and coaxially point aligned. The Jubilees have achieved that exactly in the range of the crossover frequency the radiation characteristics of the bass horn and the K402 are identical. This equal radiation of the frequencies in the transition area of the bass and the K402 is very important and a different constructive approach to the impression of a point source. In addition, time aligned is achieved digitally so that there is no difference in time of flight. This is (to my ears) less important for a floating sound like strings. But it can be very important for impulses like a snare drum to sound real, expressive and very powerful "all of a piece and as one event". But briefly to the other aspects of these four different constructions. The LS3/5a has sounded beautiful for over 50 years, but very quiet and without deep bass. In the sound range of female voices and violins, it is a little piece of heaven. The Quad ESL63 open a window into the concert hall, they are "you are there" but decidedly can not "they are here". They lack the power and intensity for that. An orchestra can sound breathtaking, but a drum stand tom sounds like you can only hear the drum head but not the drum body. The Tannoy are already very powerful and with a little tweak it is a beautiful experience. I like them because they achieve the effects discussed above without digital help. They are very good for brass, vibes, piano and voices. Drums and bass sound very nice and natural but a bit chastened. Unless you take a Tannoy Westminster full horn (not mine, only listened to at dealers places and fairs) which I only like if I have a long listening distance, and they are very expensive. Now the Klipsch Jubilee. They are breathtaking point source, they have no limitation of power and sound pressure, they are more "they are here" but they can also "you are there" very impressive, they have the least limitation as far as all music genres are concerned, and unlike a Tannoy Westminster they sound very complete even from close listening distance. Actually, only advantages. Ok, they are very big, they need a digital interface and to enjoy classical music a very high quality K402 driver is necessary, like the TAD 4002 or the new Celestion of the Heritage Jubilee (plus their wonderful additional phase plug). I have also listened to my UJ with passive xover, it is nice but not the full exploitation. Anyway somehow all these four designs have kinships due to the approach to point source radiation. Maybe a KEF LS50 is also one of them but I haven't heard it yet. All speakers had individually matching amps when listening.
  4. TBH I love listening to the Canterbury without the ST200. But then the sound is very focussed on one listener, just as in the studio it is directed towards the sound engineer at the mixing desk. The Tannoy immerse you in the recording, similar to the Underground Jubilee. A LaScala or even a BBC speaker lets your own room resonate. Both have their appeal. When the Tannoy is combined with the ST200 super tweeter, it transforms the monitor into a room-filling hi-fi speaker. This is advantageous when several people are listening. I don't want to go too deep, but the sound of the bass is tighter and there is more timbre. I would like to say that the Underground Jubilee does not demand that you can only hear properly at one point. In fact, you can hear very well anywhere in the room. The Tannoy can't do that. My point was that the Tannoy (for one listener) and the Underground Jubilee (for multiple listeners) immerse you into the soundtrack. This is the white paper regarding the meaning of the super tweeter. https://www.hilberink.nl/tannoy/tsupertweeter.pdf
  5. http://truefi.blogspot.com/2013/06/the-tannoy-speaker-design.html
  6. I think it is worth to give this thread a read. I can admit that a huge bass reflex speaker like the CW4 thanks the current and low impedance of a good solid state amp. You could fine tune the sound by trying some tube pre amps (with a fitting output impedance to feed the power solid state amp). It is for many people confusing to think that a high efficiency of a speaker means you could go in any case for a low watts tube amp but that mostly works only if the bass of a speaker is a (cone damping) horn as well like LaScala etc.
  7. I had a similar experience to svberger last week. For 22 years I have 1993 Tannoy Canterbury next to Klipsch speakers. (As with my LaScala, I had restored the xovers last week to their original condition, also with polyester caps, I corrected youthful sins, and achieved the best result for my ears). The Canterbury is comparable to the Cornwalls in that both have large bass reflex cabinets with 15" drivers. Since one week I listen to these Tannoys for the first time ever with a transistor amp, a Quad 306. I should have done that much earlier. The timing, the percussiveness, the speed of the sound, the bass control, all that. I have now read that these drivers were "made" for transistor amps. The older models, Red, Silver Gold Monitors were 16 ohm and made for tube amps. Even though I had heard the Canterbury with my 75 watt MC275 for many years, the 50 transistor watts of the 1985 Quad 306 now are different in terms of cone control. At least that's what my ears say. At Abbey Road Studios in London, it was always my driver in Lockwood cabinets with quad transistor amps where all this famous albums like Dark Side of the Moon were recorded. The control of the big cone in the big cabinet is much better with the solid state amp. I think it's similar with the Cornwalls. It's not the whole truth if one is only tempted by the efficiency of mid tweeter horn but bass reflex speakers. As has been said here, a bass horn has much better self damping and actually always works very well even with weak tubes. I haven't forgotten that I'm on the Klipsch forum here but I am concerned with the effect of the solid state amp in a comparable speaker.
  8. I had the following experience with my 1977 LaScala. The diaphragm of the K55V driver had changed in sound (as I suspected before the replacement diaphragm and could hear clearly afterwards). The diaphragm had hardened and another member here had the same experience posted and measured in this forum 10 years ago. The old diaphragm reproduces the lower frequency range below approx. 1200 Hz too quietly. With the new original Atlas diaphragm, the K400 sounds more powerful, rounder, softer and less peaky. The tweeter was slightly different in my case. The original diaphragm is wonderfully intact to this day. But the Alnico magnet had weakened. A specialist company remagnetised my K77 over a year ago. It resulted in a plus of 1.5 dB and correspondingly more highest frequencies. As long as your original K77 diaphragms are running, please leave them in. Anything you can get today is worse than the originals. Maybe this will change again in the future.
  9. It's the same game with my Tannoy ST200 supertweeters and the Canterburys. There is a template for the spacing but I do the fine tuning by ear. The picture is from the web but it corresponds to my constellation which is not set up at the moment.
  10. I just listen and the distance between the midrange horn and the tweeter horn that pleases my ears is chosen. Very simple. Of course, you can't just place the two voice coils on top of each other because then you would ignore all the phase shifts of the crossover.
  11. Marvel, since you have already removed your tweeters and mounted them on an extra board, please rotate the tweeters 90 degrees for fun. Did you mount the tweeters from behind on your new small baffle? This should be the case because the T35 is a diffraction horn and only radiates really wide in the horizontal plane this way. I would be very curious to hear your sound experience if you simply set up the tweeter vertically. It could be that this fried bacon hiss is gone or minimised. See the link below for EV's specifications and instructions for the T35/K77 (M in this case, but it applies to all versions of the K77). https://mypicsonline.net/archive/archives.telex.com/archives/EV/Horns/EDS/T35A EDS.pdf
  12. OK, the topic has already been discussed at great length here in its own thread of the link below (and other threads in the past). I say this so that this new thread does not get too distracted from its topic. I didn't want to activate such a discussion at all now. My point is rather that one should have many sound experiences in one's life. In my case, it's decades in the rehearsal room, standing next to a drummer, next to a bass player, knowing the sound on stage. I know PA sounds, of course, from very good to not so good to terribly bad. But first and foremost I would like to underline what @robert_kc also says, the experience of natural instruments and voices in our concert halls, and there are some very good ones in terms of acoustics, are a fantastic basis of experience that you remember well unconsciously or consciously when you listen to your recording at home. Likewise, the sound in a jazz club can be educational. And even a really good sounding rock concert via PA can be very good as an inspiration for the imagination of the sound in your own living room. If two people listen to the same music over equally good gear in comparable rooms, e.g. Pink Floyd at home, I bet that the person who was at a live PF concert before will experience the music as emotionally deeper and sonically fuller. Perhaps those influences are similar important as analog vs. digital.
  13. Mike, I've thought about that too. Somewhere in the basement is the rest of my original AA crossover. I unfortunately sinned 20 years ago and out of stupidity changed some parts of the original AA and lost a coil (the one for the bass) but the T2A should still be there. This is an interesting task to compare the sound with the original T2A Autoformer. Thank you very much!
  14. Thanks for the tip, Dave. I know the method some speaker manufacturers use to attach the caps with a hot glue gun. Maybe I use it because I have one of those.
  15. I ask the experts like @deang @captainbeefheart and of course all others about a phenomenon I observed (or rather heard) during the last listening sessions. Some days ago I posted the photo above of my AA xover. I was spontaneously very pleased with the sound. A very precise and analytic sound, especially in the treble. I had never heard percussion cymbals shimmer and vibrate like that when they move back and forth in the air. But there was another less good impression mixed into the sound experience more and more. It took two days before I was sure that something didn't sound right. It was an emotional problem. Especially in the midrange I had the impression that the sound was too thin. It sounded overdamped and not relaxed, as if the diaphragm of the mid horn was prevented from decaying naturally. It occurred to me that the new polyester caps might not be of the same quality as the ones I had used before - even though the capacitance values are now very accurate. I also thought that maybe it was a mistake to connect caps from different manufacturers in parallel (I did not get all three necessary values from one and the same manufacturer). Ok, there may be some truth in that but that was not the core issue. Now I had an intuitive idea, at first it was not logical. I remembered that some time ago I had read the following article about cap resonances. Please, it is very unimportant which company published this. I am only interested in the principle of cap resonances: https://www.humblehomemadehifi.com/download/INFO_ClarityCap_Technical_Report.pdf If you like, please scroll down a bit to the heading "Mechanical resonances". It is so that one reads everywhere that caps should be firmly mounted so that they do not absorb the vibrations of the speaker cabinet etc.. That may be true. Following this motto I had three cable ties tightly fastened around the caps as you can see in the first picture above in the first post. But this led to the negative sound effect. I only know this now because I have removed the outer cable ties on the left and right of each cap. See photo below. Now my hypothesis. Caps have to deal with two types of vibrations. One is to protect them from the outside. But how do you deal with the mechanical resonances that they generate themselves when an AC voltage is applied? The white paper from Claritycap is about how this company minimises these self-generated mechanical resonances. But I was wondering how to deal with it when you have a cap that generates this kind of resonance anyway? My (unscientific) guess is that the cap has to vibrate. I have to protect it from vibrations from outside but it should vibrate "freely" which it generates itself. I was impressed by the comparison in the white paper of caps with electrostatic speakers. Now that I have removed the additional cable ties, it sounds natural again. You have to believe me, it's not a small difference. How to do it to get the best compromise would have to be narrowed down by experts…if I am right. I have lost some of the detail and clarity that I had with three cable ties when trying to achieve a very pleasant and natural sound with only one cable tie. I think this problem is easier to manage if you only have to fix one cap (JEM). Therefore, my post is an additional hint that one should not get into complications and better use a single matching cap from JEM. In addition, it could be a hint on how to fix caps optimally in general. Maybe you could embed the caps in foam before attaching them to allow the self-resonances but still reject the external resonances?
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