KT88

Everything standard except engine, clutch, gearbox, rims/tyre size and brakes. Rotrex supercharger with 270 Nm and 235 hp on 840 kg. ...And magical caps at the door speakers🤠 I don‘t tell the brand.

Less is not always better in my view the AA type offers much more intelligibility and sounds not so thick and boomy in the upper bass and in the transition to the squaker when I compare both networks.

AA not only protects the tweeter it also makes a better overall sound in my view.

BTW if I were you I would think about to upgrade your type A xover to a type AA if you have an amp with more than fly wattage. All you need is one more little coil and one more capacitor. The effect is much more significant than you could perhaps imagine. As I said start first and get used to your speaker as is. I would also let check the capacitance and the ESR of your original capacitors. If they measure ok than there is no better way than keeping them.

i rarely do it and i don't like to, but in this case i would like to disagree. If you have a free choice, buy polyester types and not Dayton. You can order Kemet or Nichicon or other good brand types from an Italian wholesaler. Because the problem is the price of shipping duty and VAT when you order JEM. Or it is ok for you but then you are over 140€ for some polyester caps. I ordered from Mouser in Texas but you have to buy for 50 USD to get the shipping free otherwise it costs 20€ shipping. I have ordered those below for my AA type xover but the 6.8 uF types from Kemet brand (also from mouser) I still had, you will find them easily I think it was also 250 V. I could mix the brands in a parallel configuration without any problem. https://eu.mouser.com/ProductDetail/Cornell-Dubilier-CDE/150155J250ME?qs=aEuGZpxfbxWT1z2aKJ1kTw%3D%3D&countryCode=DE&currencyCode=EUR https://eu.mouser.com/ProductDetail/Nichicon/QAK2E475KTP?qs=zcDUcsVsD8GyM44MsdcuDA%3D%3D&countryCode=DE&currencyCode=EUR https://eu.mouser.com/ProductDetail/Cornell-Dubilier-CDE/150105J250JE?qs=7%2FmqHVvJdq1CAssUvlHftQ%3D%3D&countryCode=DE&currencyCode=EUR For your type A if I am not wrong you just need 1x 13 uF and 1x 2 uF per channel. you could use per channel 2x 1uF in parallel before the tweeter and 6.8 + 4.7 + 1.5 uF in parallel for the midrange horn.

English is not my mother tongue and I may not have formed the sentences correctly. 1. ) I remember very well! the sound of my 1977 LaScala as I bought it 23 years ago with original xover. That is my benchmark. If not, the conversation would be over here. 2.) The sound became duller over the years and I saw that these tin cans in the xover were wet and leaking fluid. 3) In 2009 I was in Hope, Arkansas, you remember Travis you were nice enough to pick me up at the airport in Fort Worth but then your work schedule interfered and Paul picked up his son and me at the airport. 4) Bob and his son were also in our Jubilee class. And then back home I had seen what he was doing in business, we talked about it briefly in Hope too in a break from Roy's seminar. So I thought I couldn't get much closer to the original. But after I got the xovers from Bob and installed them, somehow the Lascala wasn't as much fun as I remembered with the original caps. Even if it's no longer about third party offers here in the forum, I'm not! about criticism of Bob's performance but only! about the comparison Sonicaps vs. Mylar caps. 5) It was only about 2 or 2.5 years ago that I found out here in the forum that Klipsch/Roy is now looking after old customers (or customers of old speakers) themselves. That's when I first read that today's Mylar (the same with a different name is called polyester) is recommended by Klipsch to aim for the original sound. 6) I tried exactly that and wrote my enthusiastic thread. To sum it up again simply, Sonicaps are polypropylene caps. In my opinion they do not fit well with the LaScala. Klipsch offers Mylar caps as a path to the original vintage sound and also in today's Heritage products. Which brand of Mylar caps you choose is a very very fine tuning and only then you are below many people's hearing threshold in comparisons. The best way is to simply buy the caps from JEM/Dean. It will be good and right and no one has to worry. I just wanted to share with my posts my preliminary listening results that I can share and confirm that it is effectively good and clearly audible what Roy recommends. As for Germany as a production location, I live only 5 km away from the Mundorf company here in Cologne. Mundorf is „too good“ to produce Mylar caps. I just want to take Mundorf as an example for the whole business: There are reasonable Mundorf products, but most of them are overpriced stuff that lives exactly from such deluding marketing slogans like the one you quoted in a post here from other capacitor manufacturers. It's always the same principle. The end customer must not be too stupid about what is being talked about, but he must also not be so smart that he would see through what he needs and what not. I don't see many production facilities here in Cologne, Mundorf is in my subjective view more of a smart trading company that has various manufacturers produce according to its ideas. I would have to do more research in order not to claim anything wrong. A completely different and very serious German example is the company Wima. They produce everything themselves in their factories. Wima is a big partner of the whole electrical industry. There you also get polyester capacitors of the best quality, which are called mkt at Wima. Polypropylene types (which you also need, just not in old Klipsch speakers) are called mkp at Wima. The MKP10 type is very cheap and good and widely used. What do you think which coupling capacitors are in 15.000€ expensive Mcintosh tube amps? Wima mkp10, for about 70 cents a piece wholesale. They are good because they are good, they are cheap because they come in large numbers, they are not bad because they are cheap. But such a product cannot be marketed like a Mundorf silver/oil cap.the Wima customer buys 5000 pieces, the naive but solvent Mundorf customer buys 2 pieces. Therefore, imagine it similar with the Mylar caps that Klipsch builds into the crossover nowadays as Macintosh does with the Wima mkp10: They are good because they are good, they are cheap because they come in large numbers, they are not bad because they are cheap. They are what you need at this point in the circuit. Not more or less, not different not more expensive or cheaper.

I have no golden ears and I am an average Joe in that sense. My BC Type AA had Sonicaps polypropylenes installed. I replaced them with Polyester types (later in another thread I described my impressions for the better when using the very right capacitance values). I will not bore anyone with the thread linked below, but the difference between the Sonicaps and the Mylar types are night and day in my view and described in detail below in the link. Not only in the way the treble is performed but in an important change to the positive how the bass is stronger and the timing is much more musical. In the end it is a sound out of one piece. We are not talking subtle nuances.

Is it allowed to ask what you have paid? BTW it was quite a nice area to drive if you must not take the Autostrada?

Thank you very much. You answered faster than I added to my question😀: did you find them in your area or did they travel across Italy to your place?

Your Khorns looks in very good shape, a fantastic catch. Was it in your family or did you have just very good luck finding them? If so, did you find them in your area or did they travel across Italy to your place?

They were very good in the sense of the way how PWK used them to build up a circuit from parts he had available. Components and devices from one era can always be combined harmoniously and organically. For example, paper in oil caps or polyester caps with exponential horns like the K400, or spoked wheels with a Jaguar E Type. In retrospect, it sometimes looks like all the parts and materials were deliberately made. But mostly one always resulted from the other. And accordingly, it would not fit aesthetically and technically if a Jaguar E Type were to be driven today with carbon rims or a 1970 Khorn were to come with the most modern polypropylene caps. I don't want to talk about nostalgia, that would be wrong and incorrect from today's point of view. No, we are talking about the innovations that made the earlier time modern. For example, a Jaguar D Type was the first car with disc brakes and, apart from Bugatti, the first car with aluminium rims. The Khorn was the most compact and modern fullhorn speaker for the home and had the lowest distortion factor of all speakers you could think of.

I find this thread very valuable and also very motivating to buy or build the best or personal most suitable cable for yourself. Here is a lot about what I can learn. The following post is only about contacts not about the need of good wiring. I also understand that you really need sensible contacts on the loudspeaker terminals and amplifier terminals. I just sometimes wonder that there is obviously an inner life and an outer life of speakers (and possibly some amplifiers). On the outside, some speaker manufacturers praise their beryllium, copper, gold and whatever terminals. Inside, it sometimes looks quite different. Below is a picture of a very reputable manufacturer who also builds high quality drivers. The Danish brand Dynaudio. How are the connections inside? There are cable lugs on the chassis just like the ones in my car to connect the horn and the same cable lugs are in my dishwasher to supply the sewage pump with electricity. It's exactly the same in my Tannoy Canterbury, also in my Stirling Broadcast...all connected with cable lugs made of normal sheet metal. I am not concerned with fraud or deception - and if anything, where would the deception be...outside or inside the speaker? I don't mean that in a negative way, obviously these kinds of inside connections are very reliable over many years and also very satisfying in terms of sound. Look at the picture below...outside Iridium something terminals and inside at the chassis the washing machine cable lugs. I didn't want a discussion about good or bad, much or little, high quality or simple. I just wanted to show how it is. Of course, I realise that the external connections to the driver are exposed to greater stresses because they are plugged in and unplugged more frequently. Banana plugs, for example, are certainly more suitable than spade lugs for this purpose, but the photo shows sober industrial standard on the inside vs. emotional hi-fi standard on the outside. This photo was published by the manufacturer Dynaudio itself.

Congrats to your vintage Khorns, Aoran. Is it possible that you could take a picture of the crossover where the parts can be seen? May be you have already new caps from someone who owned them before you? Anyway, it would be of help. The original caps were motor run caps, quite big tin cans of the size of a cigarette package. The chance is there that they leak the oil over the decades. But in original state they were very good sounding.

Best and most long-winded thread.

Yes, I agree. Apart from the optical and technical realisation of mounting the speakers on the ceiling at home, it would irritate me if the sound always (only) came from above. With my Underground Jubilees, the K402 horn is quite high above the ears when sitting, and I'm glad that the sound doesn't seem to come from above. On a big stage, the conditions are different than at home. Most of the time, the sound of the mids and highs doesn't just come from above, but there are line arrays today many metres high that start a short distance from the stage floor and which nowadays can be digitally controlled in their dispersion behaviour and their target areas. When I was a stage hand 40 years ago, besides my studies, we set up PA systems that were not yet line arrays but still had a very good sound. These PAs were also "flown" next to the stage with chains attached to the ceiling. They were a transition between the very old school, where there were towers on the right and left, with bass, middle horns and tweeters, and today's line array systems. These Turbo Sound, Clare brothers and other branded systems of the 80's were many boxes on the left and right for the complete frequency range from about 80? hertz consisting of conventional basses with mid and high frequency horns. They also were „flown“ and I remember that the individual boxes were marked and carefully arranged. They all looked the same but there were boxes with different horns...with wide dispersion for the near audience and with narrow dispersion with only about 40 degrees for far away audience...and with dispersion for in between. So "mechanically by hand" one had rearranged for every other hall what today can be digitally aligned with regard to radiation. On the floor, there used to be, and still are, the low bass systems in addition. A good PA system does not sound "from everywhere" but the sound builds up and the aim is to achieve coherence in many places in a venue. So it is a completely different objective to "generate" the sound as best as possible for a live concert or to reproduce it as best as possible at home. In a very simplified way, it seems to me that live with PAs, many sound origination points are put together to create a homogeneous sound impression where the distance is of help, and that at home (with stereo), ideally only one sound point is used on the left and right in order to simulate the fullness of the sound impression.

A very nice place to live, Andrew, saw some pics at google maps, reminds me on Island oder Norway a bit.

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?😀

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.

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

http://truefi.blogspot.com/2013/06/the-tannoy-speaker-design.html

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.

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.

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.

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.

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.