KT88

Please forgive me how terribly untidy it is with us at the moment of the photo from just now. The third photo is the most interesting. For the reason that everything sounds better since books are on the other side of the wall. They actually cause the wall is no longer audible. I didn't know before that the wall is audible without books. But since the books are on the opposite side, it's much less resonant. The second photo is the back of the listening room.

Well, a question as old as mankind. With a woman it can be bad, but without also. With woman it can be good, but without also. With Klipsch speakers it is always good.

That's the same with us. The book wall is not only a positive sound treatment in terms of diffusion. The wall itself resonates less at bass frequencies than without bookshelves. It drones less and it's a drier and more defined bass. You notice that in the next room, too.

Speakers matched to a given Room Source (which means recording plus DAC or turntable) the synergy of pre/power components again including the right fitting speaker. So, the speakers are critical in two ways.

These people have already prepared their listening room super well some time ago with absorption material...of the very cheap kind. Unfortunately, the arrival of the Klipsch Jubilees has been delayed 400 years. For information, these are not paintings but carpets.

In my perception, there are two different types of SQ influencing variables in a DAC. One are the ones I get used to quite quickly. If the difference between a $400 to a $5000 DAC were marginal differences...because the more expensive DAC delivers slightly drier bass or is a touch more transparent, for example, I would very likely forget it after three days, both the "advantage of the expensive DAC and the "disadvantage" of the cheaper DAC, much like some interconnect cables. On the other hand, there are differences that I hear very clearly and where I would miss the better device. I had a Bluesound Node 2i until two years ago. It was ok, but the difference to its successor, the Bluesound Node 2021, is worlds apart. In contrast, the old Node 2i is pleasant on the ear but has so much less timing, dynamics, spatial separation, etc. The difference with low res CD is much greater than with high res recordings. The new Node has a completely different converter structure.

Same observation in my country. Compare also prices for RCA, XLR, banana plugs for DIY soldering etc.

I suspect that the PWK arrangement with a centre speaker comes from a necessity that has something to do with the nature of the Klipschorn. The KH need the corners to function properly. A mono KH was the perfect solution in the beginning. Stereo meant that the cabinets were very far apart. Especially when the long wall of a room formed the two corners. Now the very early stereo recordings were pretty pink ponk which enhanced the KH placement. It sounded odd when you had the trumpets on the left and the piano and bass on the far right. I suppose that's what the centre speaker was for. The sound should not fall apart into islands. This was a historically early presentation of stereo. Today's recordings, at least since the mid-sixties to seventies, present a stage where not only left and right play a role but also the impression of the depth of the instruments has gained importance. To achieve this effect, a corner placement with a mono centre speaker is not as optimal as a left-right placement that is away from the side walls and allows the room to breathe. So Mike's question is important, babadono. Do you want to improve the stereo sound of your UJ or do you want to build a 7.1 system? My UJs are comfortable in my room when they are not completely in the corners like a KH should be. I give up some deep bass, but I gain a sense of space and eliminate additional bass rumble.

The only way to prevent the high frequency beam is for Roy to design a second phase plug for the TAD 4002 as he did for the Celestion driver. I remember that Rigma's attempt at a shorter adapter was not successful, despite all the mechanical efforts. And yes Coytee, you are absolutely correct, the K510 is designed for the K69 so the TAD4002 needs the same adapter for the K510 as for the K402.

BTW thanks for mentioning WCLK which is also available in the net as I have just seen.

Which are your new tweeters, K77 alnico like you have had them seen in your pics or K77M with ferrite square magnets? If your „new“ tweeters are K77M if I were you I would keep the alnicos for a later repair. In my 1977 LaScalas I also replaced the original alnicos with ferrites and I was happy to go back to the alnicos after a workshop had repaired them, but that is just me. Another very small but very sound-improving piece of advice. Get new sealing rings for the K55V drivers. A matter of a few cents but a great sonic gain. The old sealing rings are most likely dried out and crumbly. To do this, simply unscrew the driver.

The caps are from two different manufacturers Mallory and Sprague, is that what Klipsch originally used? At least on one photo you can see that the solder joint on the cap doesn't really look professional. If the caps are a reason for the poor sound, polyester capacitors would be used today, as Klipsch do themselves, both for new heritage speakers and for vintage replacements, which can be bought from JEM in the correct capacities as a certified source by Klipsch.

As far as I know, the advantage of these modern horns like K402 and K510 is constant coverage and constant directivity. The price is that there is no linear sound pressure anymore as it is more or less the case with older exponential horns in their main band. Hence the complex settings plus fine tuning at certain frequencies. But it might be worthwhile to go active. I also love fully analogue speakers, it's just that the effort of the tweeter crossover for the K510 is considerable and tied to a single driver, no matter which one. BTW in Hope in 2009 I had heard the TAD 4002 on the K510 and I was blown away how good the high frequencies sounded. If I'm not mistaken, the TAD4002 was connected to the K510 without the adapter which is needed to go with the K402?

I have two old Leak Stereo 20 with EL84 and a Matchless Spitfire guitar amp which also uses EL84, the most simple Matchless circuit. I love them both.

Yes, that is correct, Randy. The magnets were without diaphragms when remagnetised. Not only that. They had first installed new diaphragms that I had bought on the internet and given to them from a Dutch dealer. It turned out at the workshop that, despite other promises, they were these cheap Chinese ones. The workshop said that it sounded awful. So they finally put my original diaphragms back in which were also judged to still have a very good sound. And this workshop has experience with other K77s for comparison.

I still have CT125 that I bought original new from Bob Crites in 2009. They have only been running for a few months because I used the original tweeters again. They sound sound and they have no wear. Send me a message if you are interested.

It's always nice to still be needed by friends and to have your amp self-made ones that gives the feeling of freedom and peace. And of course fantastic results.

I had K77 Alnico from 1977 remagnetised in Germany two years ago. The result was 1.5 dB louder and up to 15Khz frequency band, before only about 11 to 12 Khz. Regarding ferrites, I have not heard that they get weaker, whereas Alnicos can get weaker gradually by playing loudly all the time over years when the magnetic field of the voice coil is erased against the permanent magnet. Another idea, could it be that for some reason the midrange driver has become too loud? Something that affects the old parts of the crossover, capacitors? Are the autoformer taps chosen the right original ones? That's why you could also have the impression that the bass is too weak.

Not yet. They are coming from Slovakia and it will take a few more days. When I have less work, I will connect the Lundahls. Before that I have to unscrew the Faital HF200 and screw the TAD 4002 to the K402 horn. So it will still take about two weeks. But I will report back with my impressions of the transformers.

You won't have much fun with both speakers in this room. Flevoman is right that the Heresey4 has a port to the rear. In a room of this size you will have much more fun and listen to much more music with e.g. an RP-600M II, if it's Klipsch, and yes, you get a modern kind of Klipsch sound. Only note, even if small, they also are back ported. I personally have a Stirling Broadcast LS3/5a for small and very small rooms next to my big Klipsch speakers. It sounds stunning and you wouldn't believe how much punch they make in a small room, plus, no problem ever with bass reflex back opening when placing close to a wall (where you have not much other choice) and no problem with bass with ugly booming. BTW, a big CW4 or even a Heresey (any of them) will not produce! deep bass in such a small room, the sound will be unbalanced. Also a bigger mid horn like CW4 and also Heresey needs a bigger room. In short the sound will never get a „one piece, one source“ sound. Here is a review of the Klipsch RP-600M II. In your case, less really is more!

It is not your resposibility, it is my adventure😀 As I am new to such kind of transformers, there is one think I noticed. On the one hand it is described as a „general purpose“ transformer. This fact and the merit of this type to be proven in the world of the studios ensured my buying decision. Later I saw one point in the data sheet: „Optimum load for best square wave response: 3 - 4K ohms“. My power amp has an input impedance of 20K ohms. Will it work or is this a significant mismatch? And if so a) what is the effect to the sound and/or amp output voltage b) can this be corrected if necessary? eg by using a resistor in parallel to the input of the amp to lower the input impedance, or will this cause other audible issues? The data sheet: https://www.don-audio.com/mediafiles//datasheets/1527-datasheet.pdf If it was the wrong choice I see no problem because it is much easier to resell a device with a good brand name.

Now I am one step further. The Jensen PI-2XX are practically impossible to buy directly in Germany. There is only one Italien distributor for whole EU at the Jensen website. He do not has listed this items. At Parts Express, a piece costs 400 USD and I need two. That would be at least 1,300€ to Germany with shipping, customs and import VAT. A great pity. When I look for something else, I am overwhelmed by the number of different types from one manufacturer alone. Then I looked again at the recommendations given in this thread. And @Marvel had recommended the Lundahl LL1527. That was a good help to select because Lundahl makes so many types even for the same applications. The price-performance ratio of the LL1527 seems comparatively good. I know this brand from Sweden and I have heard only good things in European forums. They are very common in professional audio. As luck would have it, used but mint looking LL1527 were just offered in this minute by a reputable seller with very good reviews on ebay for 55€ each. He had removed them from a unit with 8 pieces and there were just 4 pieces left. Now they are mine. I have a good feeling that I made the right purchase for 230€ in total including shipping. I found the description below in the link on the Lundahl website. It is in my view very sympathetically written, and I have a soft spot for tried and tested classics. https://www.lundahltransformers.com/the-magic-1527/

Mike, thanks a lot, that is the product I can use.

I brought my Yamaha DSP in 2009 to the Hope UJ seminar conducted by Roy. We compared it with the DX38. I must say that I and some others liked the Yamaha very much.

I asked Open AI to create a picture: Transplant a huge PA horn system into my living room. It wasn't nearly as scary as your real picture looks.