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Everything posted by KT88

  1. I have the impression that it can't work like that. When a loudspeaker is actively driven, no passive xover should be in the way. In the case of the Heresy IV, this means that someone would have to run an active crossover with three outputs and three power amplifiers per channel. Or the tweeter remains passive. Then you only need two active channels for each speaker. In no case should the passive crossover of the bass remain in the way. Please read this before you go on. One must take into account that the passive crossover of the Heresy IV was designed and developed very long and meticulously. The normal procedure of a manufacturer today is that during the development first the parameters are determined in an anechoic room with a measuring microphone. But here we are already at the finished loudspeaker. Before the manufacturer already knows how the individual components, bass driver midrange horn and tweeter horn behave individually. Efficiency, radiation pattern, phase response and much more. Based on these parameters, the components are selected and together they result in a composition that must be right. Let's get back to the measurement in an anechoic chamber. The result is the basis for how the active xover is adjusted. Transition points, SPL of each driver, slope, the correction of overshoots and too quiet spots in the frequency band, which Q for which correction and much more. You need to know all these parameters! if you want to run the new Heresy IV active. But nobody will give you this information. All this effort is made at the manufacturer because it is not about one speaker but maybe about 8000. When everything has been carefully determined what it needs in settings so that it is perfectly tuned active then a passive xover is designed with the help of software. The software determines the values of the parts and the circuit as a whole. Then it is built according to these specifications. But that's not all. After the passive xover is built is heard for a long time. It is compared with the active settings, parts of the passive xover are exchanged, different values of resistors, coils capacitors, different interconnections are tried. In the end it is the ears of the engineers and sometimes even panels with test subjects who all exchange their subjective sound impressions with each other. In the end an optimal setting is found. I hope you realize how much work and knowledge is needed to realize a beautiful result. All I'm saying is that it's a fallacy to think you can just throw away the passive crossover and replace it with an active crossover without having a clue what you're doing, just the point of bass/tweeter separation. In addition, you have to have an active crossover hardware that controls many parameters at the same time. These are sophisticated devices with many intervention points, Q, slope, shelf and many of them. To sum it up, either you have access to an anechoic room (alternatively you can do some of the measurements outside), a good measuring microphone and many more things you need, a year of spare time or you will be happy if you accept the Heresy IV as it is, passive, and you buy a high quality amp and you will be happy and enjoy the Heresy as it was designed for you.
  2. BTW here comes one of my first posts at the Klipsch Forums, same speaker in the old appartement, a narrower postion as seen in one of. the photos. The benefit was that the room was longer and a bit higher. At that time I tried with an ALK universal network but now I am happily back to the original AA xover.
  3. I had the Lascala in another apartment a little closer together because the room was a bit narrower, as in your photo. Both in the other apartment and now, where the speakers are a further apart, the sound was/is excellent. I personally do not need a subwoofer. The natural and powerful sound reproduction does not need a sub. Of course, the bass is not very deep, but the Lascala never sound thin or if something would be missing. The tones of a double bass are extremely natural. Voices and the midrange are the absolute strength of the Lascala. The K400 connects seamlessly to the bass...all of a piece. The low E string of the double bass is not quite reached but it does not harm the wonderful musical enjoyment. Perhaps the secret lies in the fact that although the horn mercilessly stops supporting at higher basses, you can still feel the low notes, albeit more quietly. It is not a brutal cut but a gentle creeping out of the bass because you can sense direct bass through the doghouse. The ear reacts sensitively to abrupt cut offs but it forgives very benevolently a steady drop in sound energy. I would also always leave my Lascala as they are, no calming by bracing the side walls, no sterilization. Wes Montgomery, Chet Baker and Vladimir Horowitz visit you at home. BTW of all things piano, the Lascala is the master of piano reproduction...and I know a great many speakers. I have a pretty good piano in the next room, piano music is via the Lascalas authentic especially in the left hand very real (in the right hand anyway). This photo I took just now.
  4. I understand it differently. Your tweeter part of the passive crossover lets only the weak current of the high frequencies as highpass to the tweeter. That the strong signal of the basses is unwanted and filtered out does not mean at all that it was not amplified. But it was amplified. It is there, only it does not find a pickup/ a load and therefore the OT can be broken by sparking. The crossover can not subsequently control what the amplifier has previously amplified in terms of high-energy bass frequencies. Imagine heating up a flow heater but without the controlling cooling by cold water flowing in. And you say, oh I need only very little warm water. But the water heater keeps on heating. Then it will melt.
  5. Considering your photo, the lascalas will work well if they are in the same position. However, you may find that they need to be angled less in order to imagine a perfect stage.
  6. So all very good choices! I also have a 2021 Bluesound Node streamer with Tidal MQA and a lot of Tunein Jazz Stations, a Meridian G8 cd player since 20 years and a vinyl player then Downstream Mcintosh tube gear.
  7. Thank you for your plausible answer. I fully respect your criticisms of the sound of your Cornwalls and it is your personal and therefore true impression. Thus, your attempts to change have a motivation that I can understand. I don't want to defend everything concerning the Cornwalls. Still, a few ideas. It is a speaker that can be dependend in the sense that it will show whatever it is fed. What electronics are you using, transistors or tubes? Both can sound very good but weaknesses also become apparent. Another factor is, one thread is just about how much break-in time a Cornwall needs (I personally think that after 50 hrs most of it is broken in). Additionally, it may matter what kind of speakers you had before and what you are used to. I listen to my old 1977 Lascala for over a year.... Before that I had speakers to BBC specifications, Stirling Broadcast LS3/6 and the famous little LS3/5. On the one hand they are very strong in timbre and they don't have unpleasant freq ranges.On the other hand, such types lack the dynamics and liveliness of the Cornwall. It depends on many factors, of course also on the kind of music someone likes. In no way did I mean to deny you critical ability. It was your modification ideas that irritated me a bit especially when I didn't know why in the first place.
  8. Did you have moments of joy listening to your new cornwalls? Was there anything you didn't like about listening to it? What motivated you to take the speaker apart? Did you have specific ideas about how the sound should change/improve? Do you know what specific action you took for what specific reason? What improvement is the plugging of damping material supposed to bring about? What improvement should the modification of the terminals bring about? What experience do you have and on what knowledge base should all changes be made? Wouldn't it be better to respect a product that is the result of 60 years of development? And instead it would be a nice hobby if you build your own speakers parallel to the existing Cornwall 4, with wood materials from the hardware store and a driver set with xover from Walmart? Then you can fully realize yourself, test all the possibilities and listen to good music with beautiful sound of the Cornwalls while you tinker with your new individual speakers. Seriously, sometimes I think that fantasies of the alleged improvement projects actually have a destructive component. I respect very much that you say in your last post that you leave the Cornwall as they were created. And I am very happy that this forum has helped you not to do things that are not logically understandable. Actually we are all sometimes a bit tempted to change things without really knowing why this or that measure should make us happier. The desire to change for the sake of change. This is a problematic phenomenon especially with acoustics...we pretend to want to improve something but as a consolation because it is very difficult we imagine that we enjoy the change. To sum it up I am very happy that your thread has caused a rethink with you.
  9. So, Crankysoldermeister gets 50 cent from Travis because he has read my „elaborated“ post in „Cornwall 1 bad crossover help“ and 6 cent from you on top which is a bargain or does he get 50 cents from Travis and another 56 cents from you? So he would become rich.
  10. I have great respect for Japanese guitars, including very good ones from the 80s. Some say that the first Scuire Stratocasters made in Japan were in part better than some American ones at the time. Even if the materials of your Sigma are laminated wood, the motivation of the guitar makers in Japan was full of ambition. Your Sigma is probably very wonderfully musical.
  11. When it comes to the type of jazz guitar accompaniment (in this case, also the type of soloing) I would like to share the piece below in the link. Surely some of you will know him but some may not so much. The Canadian Ed Bickert, one of the most exceptional jazz guitarists in my view, the recording is from 1974 with Paul Desmond, Ron Carter and Connie Kay. Here the guitar has to do a bigger job because it is the only harmony instrument and no wind instruments. Sometimes Ed sounds like a Fender Rhodes (the chord play, not the „sound“), sometimes like violin pizzicato e.g. at 2:52. He has a beautiful jazz sound that comes from the heart but ironically for decades he only played his Telecaster (with humbuckers) as in this recording. I read somewhere the story that Jim Hall was supposed to play on this record but he suggested that his old friend Ed take over the part. So we have this beautiful recording with Ed. Also, I absolutely agree with you, CBM, one should not "fill up" everything with too wide fat chords. Gives the recording a try
  12. So by now you are also convinced that Tidal MQA is a really good thing. I've the new Bluesound Node 2021 for a few months now, which is a clear step forward from the older Node 2i. MQA is classes better than CD quality, although that's already good with Tidal.
  13. To the best of my knowledge, I would put it this way: With passive bi-ampimg, i.e. when both amps get the full signal from the pre amp, I would not be sure if the tube amp that sits in front of the HF part of the xover would not suffer. If about 90% of the energy is absorbed by the LF section then the output transformer before the HF section of the xover would run largely without a load connected. This could lead to sparking in the OT. It is a different story with an active xover, i.e. when the crossover sits in front of the amps. In this case, the tube amp for the HF part is supplied exclusively with the HF signal. The OT gets only the part that is called from the voice coil of the tweeter and no load that runs "into the void". This way I used a tube amp for many years and it was without any problems. I would like to ask others who understand more about this to post whether my warning about passive bi-amping a HF section with tube amps is correct or not.
  14. BTW it is sometimes a pity when famous guitarists change brands. Sometimes it goes well. The great sounds George Benson had when he played Guild guitars on his early CTI albums. I also liked him on his Super 400. When he started playing Ibanez...I wasn't so sure. Of course, Benson is an outstanding guitarist for me who is as at home in jazz as he is in pop. I just think of an album (in the 90's?) with McCoy Tyner as an outstanding jazz album. Of course he also sounds good on the Ibanez because it's GB, his fingers make the sound. For me it was a big disappointment when Eric Clapton switched from Gibson to Stratocaster. His sound and playing on the Beano album with the Lespaul is unforgettable, and his ES335 in the time with Cream was also great. Shortly after that he played Stratocaster. Sorry this is just my personal opinion but EC sounds absolutely awful on Stratocaster and that for many decades. I love the sound of a Strat in the right hands but EC and Strat is for me a big disappointment to aversion.
  15. Worldwide internet radio is a true enrichment of my life. I always liked FM but now it is so cool. In the past we were happy if FM was possible in good weather to get a Dutch station. Nowadays it is so great what is offered. Bluesound has embodied Tunein without ads. Here my current selection.
  16. BTW CBH I sent you a private message to another topic some days ago, I am not sure if you have seen it?
  17. This is a very sad story. The picture of your destroyed guitar moved me emotionally. Of course, life goes on but this is one of the things that do not have to be.
  18. You had fantastic pieces in your hand. I think you made a good choice with what you kept. I would be very interested in your Guild, especially since I have never played an acoustic Guild. Certainly I think your old D28 was an incredible guitar.
  19. CBH I think you would be, after what you write about guitars and music and about yourself, one of the few to whom I would sell this Artist Award. (I mean this symbolically, this is not a sales ad). Because I would not bear it if a guitar that accompanies me for over 40 years in not so loving hands would come. I had already hinted at it in the previous post, my relationship to the AA is somewhat ambivalent. In no way is it a guitar that you listen to while playing and being delighted by the rich round and colorful harmonies that emanate from it. You have to work hard for every beautiful note, to put it somewhat theatrically. It is a tool in the hands of a good player who really has to shape the tone. Even if one's own pleasure in the "beautiful sound" of a guitar could be a narcissistic weakness, it is also the case that a beautiful sound can invite new sound experiments. Unfortunately, the AA (in my case) does not. She can reproduce ideas you have in your head before but I have not the feeling that her feedback would be really inspiring. I sometimes have the feeling that the tuning, i.e. the inherent resonances and the wood tone of this massive construction are more determining than the key and chords I play. Maybe I mean it a little bit like that when you hear Freddie Green sometimes in the Count Basie orchestra. He plays all kinds of chords but you always hear a single wooden tone. As a solo instrument, the AA is incredibly powerful. The sound comes before the band. The single coil DeArmond has a super attack and impulse. But as you rightly say you need a very suitable guitar amp. I used to believe that a "soft" amp could be the solution, for example a Polytone. Unfortunately that was not the case. The Polytone filtered out the soul of the guitar. The 1981 Fender Concert with 1x12" worked best of what I have. Your experience with vintage amps, e.g. single ended triodes could still help here. The AA, like the L5 comes from a time when the guitar without amp had to prevail. They were only later equipped with pick ups and electrified. Quite different an ES175 which you can not compare because it never has such a power in the sound but it has this mellowness that gives so much beautiful sound when listening, think of Joe Pass before he switched to Ibanez, but also when listening while I play myself. Gibson had developed the ES175 as the first guitar for electric sound. But I must also say that the Wes (L5 with just one pick up) has this wonderful mellowness. Also, the PAF helps bring that round warm but very defined tone across. The AA remains a challenge, at least for me, and I played it for years mostly in the 80s. Also a barrier for me is the very long neck scale. and I had to have the AA re-fretted a few years after buying it because the frets were ground very flat even though the guitar was only 6 years old. So every note and every chord buzzed if I didn't always press the strings with a lot of force.
  20. Your guitar seems to be very exceptional, the combination of sustain block and solid top. I have three solid top guitars, Wes, Guild Artist Award and this very strangely cool ES446. The 446 is very close in size to your guitar, but it has no sustain block. I can imagine how nice your guitar sounds with jazz, probably a great combination of naturalness, timbre and super attack. My old Super Reverb was very similar to a Bassman but with reverb and tremolo of course. I play a (reissue 1998 with PCB) Bassman, nowhere near as good as your 1959 model although I'm not as big a critic of PCB as some other people are. Although the 4x10" arrangement is the same as the SR, I find from memory that the 1965 Super Reverb that I stupidly sold when I was 19 was the better sounding amp eben if my Bassman offers the option to play with rectifier tube or silicon as insert in the tube socket which makes a difference. In the living room I play a 15 watt Matchless EL84 Spitfire, wider front model with reverb coil. In the rehearsal room, next to the Bassman, a 1981 Fender Concert (bought new in 1981) with Weber „Chicago 12“ (it's supposed to be a mix of Alnico and Ceramic, I have not searched how it works, the goal is that the driver sounds like alnico but copes 60 watts. In addition a Marshall Blues Breaker 2x 12" combo from 2010. But as with guitars, it's way too much and I only want to keep one or two amps. As they say, the last shirt has no pockets, the era of consuming is over, I want to keep only the essentials. i gave my son a new production Fender Princeton with PCB 12 years ago. And to be perfectly honest, I like it more than any of my other amps. It sounds so nice at home and it has just enough power for the rehearsal room. It's nicer when this whole amp is singing and slogging than when I take a preamp or pedals to overdrive.
  21. So. the first question was what is in this black suitcase. I started learning guitar in 1969 when I was 10 years old. At 15 I played in the first band. I really wanted a moped at that time. My parents were worried because our streets are very narrow and my moped had to share the road with heavy traffic and many trucks. So my father had the idea (because he wanted to secure my life) to give me a Lespaul if I renounce the moped. Oh, I preferred to play guitar instead of riding moped and I immediately agreed to this exchange. So in 1975 I got a 1974 black Lespaul custom as a gift from my father. I was very very proud and pleased. I played this guitar every day until I was 21 years old. Together with a used quite old Fender Super Reverb. This amp was cheap at that time because transistor guitar amps were so on vogue. It was to this day my very best guitar amp I ever had. I know today that this Lespaul custom was not the very best quality...the top cover was made of seven! pieces. It was painted black. Already 10 years later you could see that the individual pieces of the top got grooves in the varnish and that the individual pieces sank differently. But that doesn't matter with this guitar...it's the beautiful memory that counts...of the gift, of my father, of the many years in the rehearsal room and at concerts with this guitar. I still have it today and I am still as proud as when I was 15 years old, Unfortunately, I was a stupid idiot and I sold the Fender Super Reverb when I was 19. I wanted more power and I traded it for a then new Fender Super Twin. That was by far the worst sounding guitar amp I ever had. I will never forget how the guy in the store checked the Super Reverb very quickly and made it disappear. Today I know why (for 40 years). Can you share the feeling when you stupidly sold gear because you was too unexperienced or too young? The Super Reverb always had such a good sound. I naively thought, buy the same brand with more power and it is the same but louder. So far away from the truth… Back to the guitars. Besides my studies I drove cab, whole nights to save up for a jazz guitar. It became a 1974 Guild Artist Award which I bought in 1980. To be honest, I have an ambivalent feeling about it to this day. Such an attack and punch but somehow in some places not so beautifully resonant. I actually wanted a Jonny Smith Gibson but the neck was crooked. Therefore, from the beginning, the Artist Award was actually my second choice. And this unemotional feeling has been preserved until today. There were at least 20 attempts in 40 years to sell this guitar. But somehow I didn't have the heart to do it. It has an original single coil DeArmond pu. To be honest I think this guitar is too good for me and it needs a really good player, someone like the young George Benson. During that time I played a lot, today I know that it was the happiest time of making music. Then life became different, study, children earn money, etc. I have always played in bands, until today I do it. I used to play rock and fusion, today blues and jazz, some rock jazz (I really believe that young people today are into the sound of the 70's again, it's about to have a big revival, just look at Derek Trucks). So slowly, actually almost imperceptibly, I went from being a player to a collector. I did not become a collector because I wanted to be a collector. It was the result of my purchases. At first I played all these guitars all the time and everywhere. But it is the course of things that the time to play became scarcer...if I think about it, collecting has replaced playing...unfortunately. But right now there is a meaningful turn in my life. Three kids are adults with partners, our apartment is too big and too empty, I don't have as much space in the future as I do right now. So I will play more again because I will have more time and own less. Collecting gives euphoric feelings of immortality when you are in the mode of searching and buying. But it's a lousy substitute for not having more time to play, it's the false promise that you could spend infinite time with all those guitars. Now to my small, for other people insignificant collection. All guitars bought in her time new only the Casino bought „vintage“ because it was an awesome chance. Again, I did not buy the guitars as a speculative object but to play them. Even if that was a fallacy on the long run to believe so. 1974 Gibson Lespaul custom black 1974 Guild Artist Award blonde 1994 Fender Japan Tele natural 2000 ES 335 sunburst 1998 Gibson ES446 cherry (a secret of a guitar) 1967 Epiphone Casino Kalamazoo sunburst (bought in 1999 for reasonable money, awesome when played at low SPL via amp) 2006 Wes Montgomery sunburst 2009 Michael Bloomfield Lespaul VOS 2010 Eric Clapton Beano Lespaul VOS 2010 ES 335 Cherry 50th anniversary of 1960 model, Memphis 2010 ES 335 Sunburst, same model as above 2013 ES 175 Memphis, a very! cool guitar 2000 regular D28 Martin 2006 Triple 000 Martin EC 2002 Baby Taylor (is always with me everywhere) Without giving any reasons, if four guitars are allowed to remain, it's the Beano Lespaul, Cherry red ES335, Es 175 and the D28. If anyone notices, I don't have a Stratocaster. I had three attempts over 30 years. I love the sound when SRV, Jimmy Hendrix, David Gilmour and many others play a Strat, or Ritchie Blackmore in the 70s. But I never developed the connection to the Strat. I leave it to others. My next challenge is to be able to play well again. I am planning my second surgery on my hands. The first was 9 years ago, then in the meantime very often a treatment by needle faciotomy. It is such a pity not to be able to play at the moment. https://en.wikipedia.org/wiki/Dupuytren's_contracture
  22. A very nice guitar, CBM. Does she have a sustain block like an ES335? BTW she reminds me on the relatively small Guitars, Pat Martino (RIP) used to play…he is one of my all time Role models on the jazz guitar.
  23. I have a 1994 Japanese Fender Tele 52 reissue. A wonderful instrument, I bought it new in 1994, it was an exhibit at the Frankfurt Music Fair. The wood and build quality are very very good, the guitar sings. Only the pick ups are not really good. I have long thought about what to choose. In the end the decision was for slightly overwound Fralin pick ups. Not too much overwound because then the tone loses some timbre and belliness. Personally, I don't like it when everything becomes so mid-tone strong. Just like in the 70's when Dimarzio dominated the scene and all humbucker guitars with Dimarzios had the same tone. For the same reason I love my Eric Clapton Lespaul Beano, a Gibson copy of his 1960 guitar with a slim neck. The PAFs are wound a little less and that's what gives this Lespaul a very transparent tone with nice highs. Loud enough this Lespaul is still.
  24. Ok, but also in a passive configuration? Did someone the circuit till now?
  25. At least a loving and tolerant thread where it shows that all have made good intentions for the new year🤓
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