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Everything posted by KT88

  1. As a teenager in the 70s who was already very interested in hi-fi and music, I had three listening experiences that have shaped me for the rest of my life. Klipschorn, BBC BC1 and Tannoy Alnicos. Crazy enough, I had a system in the 80s where I combined a Klipschorn bass that I built myself (only chipboard, I didn't have any more money) with 2 Tannoy HPD 295 10" drivers in a normal bass reflex cabinet that I built myself. The amp was self-built, it was analogue active. The Tannoys kept their xover (similar design to Klipsch with autoformers for the mid/high horn) and I cut off at about 200 Hz. This was probably one of the best I've ever had. This old love has survived to this day, because all three speakers illuminate the music from a different side. My main speakers today are a BBC LS3/6 from Stirling Broadcast from 2016, a Tannoy Canterbury 15“ from 1994, my beloved La Scala from 1977, my Klipsch UJ from 2008 and a Stirling Broadcast LS3/5a in the small room. Yes, and there's also an old ESL57 that I bought second-hand almost 30 years ago. The ESLs are impressively transparent, but not for me in the long term. If I could only take one pair with me to the desert island, it would be very difficult. Probably the old 1977 La Scala and I'd smuggle the little LS3/5a in with me.
  2. This is what the BBC realized 50 years ago with their speakers.
  3. Overtones of a fundamental tone work wonders to the ear and to the brain. My LS3/5a go down to 75Hz and I don't miss anything when I listen to jazz or classical music. The son of Peter Walker (Quad ESL) Ross Walker said in an interview thirty years ago, "if you miss bass, step with your foot in a big cardboard box to the rhythm of the music".
  4. Maybe the thread opener will get in touch again. If he is interested, he will. Yes, it happens in forums that someone wants to know why something sounds thin and is bombarded with Fourier analyses.
  5. At which frequency did you do the ESR test? I am just curious but also the experts need the frequency to judge your measurements, I think. Did you also measure the capacitance which is the basic information? Just as a check, you have to disconnect both wires of the capacitor before measure it.
  6. No thread drift please but I'm not sure if I agree with you on this point. The way you talk about the JJ preamp tubes is a little too harsh for me. I like them and they need some break-in time themselves. They are not "cheap" but the only 12A/ECC tubes that are still made on original Telefunken machines from 1972. Of course I respect if your taste is different. But, and now I come back to the thread...Klipsch La Scalas core properties do not depend on certain tube brands.
  7. Very funny that it's only been online for a few hours, as if it was made for this thread here... You can't describe what a LaScala is about more credibly than in this scene at 1:45. PWK and Miles Davis. BTW Herb and Steve have such a good connection with each other...one thought leads to the next and the story is in the air. They actually review their lives when they meet up again, but then there's also an interest in the new, in innovation, in the here and now. So the headline of the video meets exactly this. Two blokes you'd love to have in your home for an evening of listening.
  8. That sounds very logical and understandable. It proves what philosophy PWK had in terms of loudspeakers. They were certainly not mini monitors that you put on the mixing desk. Ok, they also have their justification, but it was not PWK's intention. PWK wanted to reproduce the authentic sound of an acoustic event in your own home with as little loss as possible. The same loudspeaker could also be used outside the home. Of course, you have to adapt the sources, you have to use compressors at a live event, just as you have to do with a vinyl record or CD. So this is also the same in both cases. There's no difference between home recording and public address in terms of not using the same best speaker.
  9. "Need" sounds as if it wouldn't be complete without a subwoofer, as if a sub would have to be added after two days at the latest. In my experience, this is not the case. Unless it's lowest pipes organ music or earthquakes in movies, I personally don't see a compelling need for a sub. You can certainly add a sub, sooner or later. But when I listen to jazz, rock, classical or pop music, I don't miss anything, at least in the rarest of cases. Buying a La Scala is a complete and well-rounded choice in itself. Familiarisation and musical preferences play a role. By the way, apart from the lowest organ pipe registers, organ music sounds absolutely goosebump-inducing on the La Scala.
  10. As I said, both if the speaker is brand new.
  11. I agree with Flevoman on all but one point. He's right, the LaScala need time to get used to the performance. Both go hand in hand. The ear has the valuable gift that the bass treble balance becomes more and more even after a few days. You will learn to appreciate the La Scala bass psychoacoustically. In the end it is much more information than with a direct radiator. The La Scala are as big as an elephant (half an elephant) but when it comes to placement they are mimosas. Just a cm here or 2 cm there makes a difference....once you have familiarised yourself with the La Scalas, let's say three weeks. Only then will fine tuning really make sense and it will be productive and worthwhile. The point where I don't quite agree with Flevoman is that you have a nice amp. If you want to change, I would do it after six months at the earliest. Otherwise you'll have a mishmash of new variables that will be irritating.
  12. but therefore even more the possibility of clipping and damage drivers this way.
  13. Are you sure it is not the amp? Just try to check by swapping the left and right channel.
  14. BTW Hifishark (link below for a La Scala search) is a meta stereo gear search engine which I have used several times with success. One can get a daily update about such gear you are looking for. Here you can see the price expectations from everywhere on the planet concerning a La Scala. I think you really made a good deal. https://www.hifishark.com/search?q=klipsch+la+scala
  15. In your case, I would think that you would find it well out experimentally. You don't have a direct rear wall, which the Hereseys actually need for bass reproduction, but you do have the subs. So I assume that you are primarily concerned with the stage, the spatiality and a balanced, room-filling sound - room-filling at least from your listening position. Spontaneously I had also thought that the Hereseys are a bit too close together in your drawing, maybe you actually start with an equilateral triangle where the listening distance remains the same and the speakers are further apart. That would be my starting point. From there I would try to see if it sounds too far apart or if it's just right. The way I see it: Mono recordings should still come clearly from the centre and not sound too wide and bloated. On the other hand, it shouldn't sound too compressed to the centre if it's a stereo recording. I like to use two very different types of recordings to get it "right". Of course, you have to bear in mind that everyone has their individual preferences within a certain framework. That's why my post can only be taken as a kind of general suggestion. The first type of recordings are typical 1960s Bluenote or e.g. Riverside Jazz recordings...often e.g. a saxophone from the left channel and a trumpet from the right channel. Maybe a piano and or drums from the centre or a third horn player. All instruments, no matter where they are placed, should have the same energy and the soloist from the centre should not sound broader or softer. E.g. Art Blakey "Moanin" with Lee Morgan and Benny Golson. Once I have solved this task, I take a second recording where the spatiality and the overall body of the orchestra are important. Good classical recordings, e.g. from Deutsche Grammophon or others such as Decca London or Columbia, are suitable for this. something like a piano concerto or violin concerto. But also recordings like Dark side of the moon... With both types of recordings, I can optimise the angle of the speakers to suit my taste. This is where my experience speaks for itself: it can be different for every speaker! I don't know the Heresey, but I would bet that I wouldn't aim them exactly at my face. Many speakers sound best when I can see something of the inner side walls at my listening position. For example, the small BBC LS3/5a which I love very much are only angled about 7 degrees, that's not just my impression but general knowledge over the decades. The larger BBC LS3/6 are angled more so that I can only see two fingers of the inner walls. My Underground Jubilees stand in the corners of the room and are angled at 45 degrees like a Klipschorn but less works also.. My old 1977 LaScalas are angled in such a way that I can see a good hand's width of the inside wall, so they are not angled in too much. I would assume that it might be similar with the Heresey, at least as a starting point. But that's exactly what you'll be trying out. In the end, your listening taste will decide, but perhaps I could contribute something to the start of your experiments. I wish you lots of fun and success.
  16. Thank you for your kind reply, Kevin. Yes, I found the symbol on the net sometime in 2007, something like drawn in the style of a Precision Bass PU.
  17. Yes, this is the generation. I also think it's a serious TT. But most buyers have never experienced analogue and they won't with this TT if they are comfortable using the bluetooth output. Good that there is an analogue rca output, but not without preamplification or did I read that wrong? Because if you have a nice vintage receiver you would get more beautiful sound if you use its own phono mm input.
  18. My father had a Dual 1229 around 1972 and there was something magical about this record player, I loved its sound. A few years later he swapped it for a Dual 701 with direct drive, a completely new thing back then. At that time, people were intoxicated by the new and the supposed progress. To be honest, I missed the wonderful sound of the 1229. Because the 701 was newer and more expensive, it "had" to be better. But not for me. There is "objective" data and subjective experience. The 1229 was always my favourite because of its emotionality. A little later, my father swapped his Dual 701 for a Revox B790 with a tangential tonearm. Once again, it was the belief in progress. I personally found the B790 tonally even colder and more sterile in sound than the Dual 701. This is not to say that my father and I didn't had a good relationship. I have a lot to thank him for, including his introduction to jazz and classical music. When you see that I come from Germany, Cologne, you ask yourself, how could my father have grown up with Jazz in those dark times in Germany? He did not, but in 1945 the Americans appeared (fortunately) and occupied his parents' house and turned it into an officers' mess, He worked for them as an interpreter at the age of 17 because he was one of the few who had learnt English at grammar school. Among the Americans was a doctor who had stacks of jazz records with her. So he not only learnt to love freedom and democracy, but also jazz. I wish you every success in your search for a nice 1229. As they say, it will find you.
  19. A few friends and acquaintances sometimes listen to music with me, not at the same time, usually one of them comes along. I like the exchange with them, they are very different types of listeners. It's a special experience, sometimes it reinforces listening as a shared experience and it's like telepathy, at least the idea of it. But sometimes it's also distracting and I can't enjoy a piece as if I were alone, then I'd rather open a beer and leave the music in the background. Sometimes the shared experience, whether it's good or not quite so deep, is like music is a seismograph for togetherness. One of my friends is a classical pianist, and that's where it works best because he doesn't like to talk about "technical" things or "sound". I'm very happy that my wife shares my hobby, even though she's more of a bookworm.
  20. It‘s always the proof what the wife says👍😀 Plus they fit very well in your room, congrats.
  21. I am 64 as well. Even if I have a MC 275 with a C22CE which I used only in the last 20 years I bought and restored two years ago some 35 year old British Quad current dumping sand amps because that was the nice sounding gear of my younger years which now enjoys me again.
  22. And disconnect the two diodes that are connected in parallel to the tweeter. You don't need them, and they make the sound a little bit harsh. It is sufficient to interrupt them at some point so that they are no longer in parallel in the circuit.
  23. Sorry, I hadn't seen your question about the cables at the time. I can only speak for myself. I'm not demanding when it comes to power cables. For my stereo room I use an old-fashioned screw-in melting fuse instead of the house fuses with a switch, so that it can not swing and vibrate. Apart from that, all my power cables are completely standard, no mains filtering or anything like that. It's the device itself that can sometimes make a difference. I have a Quad 606 amp with an old-fashioned transformer. This filters the mains current better than the successor, the Quad 606 Mk2, for example. This has a toroidal transformer whose weak point is its ability to transform AC voltage up to 400 Hz. But I'm not too concerned about the whole issue. As far as the speaker cables are concerned...30 years ago I attached more importance to them. I still have Kimber 8TC and 4TC from back then, back then it was an ok price, today 2x3 metres of Kimber 8TC cost over 500 USD. Yes, it should be a decent speaker cable, but no hocus-pocus. Recently my daughter and her husband bought themselves a nice little stereo, a Bluesound Powernode with Stirling Broadcast LS3/5a. I recommended Canare 4S11 as a speaker cable and I listened to it on my system. It sounds very good and costs about 8 USD per metre. Because it has such a good reputation, some dealers on Amazon now want an absurdly high price for it, so some attention is needed. Here is a fair price, but in Europe. https://www.audiophonics.fr/en/bi-wiring-amping/canare-4s11-star-quad-speaker-cable-copper-4x208mm-o107mm-p-11708.html Canare is a leader in TV studio equipment, cables, connectors, etc. Japanese. The rca cable from them is also very good, the L4E6S https://www.canare.co.jp/en/products/cable_assemblies/index.php?tid=9_030 You can see that good quality for professionals is also good enough for the home at a fair price. Regarding banana plugs I use Deltron 579 and 550 (depending on gauge) to my highest satisfaction, it gives a very controlled connection, is silver plated and cost ca. 1.5 USD at Mouser the piece. The most important thing, apart from a overall good quality as a basis, is that the hearing adapts very quickly... as long as nothing is disturbing or annoying, after two days you have completely forgotten the difference between good 10 USD cables and 150 USD cables.
  24. It's a bit funny, your room seems familiar to me. Dixie is very cute and unique, but when I see your LaScala (mine from 1977), the Tele, the ES175 and some Mcintosh gear, it's like coming home. Of course you have much more music gear in addition in your lovely room. I just have one guitar amp in my room, a Matchless Spitfire reverb since 20 years.
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