KT88

Unfortunately I haven't heard the Heritage Jubilee yet, but even though I love my UJ very much I'm convinced that Roy has done a top job. I suspect that the HJ is designed for a medium to large living space. It wouldn't be ideal for a cinema because I don't think the low end of the bass reflex part carries over 50 meters. I suspect that this low bass part carries very well over up to 10 meters together with the horn part of the upper bass. But these are just my assumptions. Anyway it's a great design.

For my UJ I use a Yamaha SP2060 Xover/DSP. It has cross coupled output stages. It is not so easy to connect a cable from its XLR output to the RCA input of the power amplifier. There are solutions. But the best solution is a transformer. So, sometimes there are situations that are not that simple.

A short story about my Mcintosh world. If it's too long, just read the last lines after the last paragraph. I'm a big Mcintosh fan anyway. Your suggestion @mustang_flht is already an open door for me. I have loved my C22CE and MC275MK4 for every second of their sound for more than 20 years. They sound so wonderfully musical, smooth, full, and "real" spacious (but without any artificial illusion of spatiality through phase rotation! which can often be fake spatiality with cheap tube amps) At the same time, my Mcintosh gear is full of pep, dynamics, super timing and liveliness. It is this mixture that a) characterizes Mcintosh per se and b) has made it "the" classic partner for Klipsch speakers since the beginning of time. I can say from experience that these devices are fantastically reliable. I have also had an MC2102 for 21 years, which will one day become a classic. Mcintosh is high quality and retains its value, which is also an important reason for me. My MC275 cost €2,200 2 years old in 2004, my C22CE had never been out of the box before I bought it, it had been shrink-wrapped in the original plastic film for about 10 years and I paid €1,900. I really like the aesthetics and concept of the MA252, the classic elements brought into the modern age. It reminds me of the first time I heard Mcintosh when I was 15. Because my piano teacher had an MA230 in 1974 with the Bose 901 Mk1, which wasn't very old in 1974. "Despite" 😀 the Bose, I loved the MA230 at first sight. Its sound had an authority and a serenity (at the time I could already distinguish between the influences of the amp and the speakers). The funny thing is how the concept changes over time. The MA230 had the preamp transistor and the power amp tube because at the time of its release transistor power amps were not yet good, but the pre amp part was "super innovative". However the spirit was to build the most modern. The MA252 has it the other way around, the objective is completely different...how does the modern customer who wants it effortlessly get the classic Mcintosh tube sound? the best way is through the spices of the preamp. The SS power amplifier ensures effortlessness in everyday life, high quality, modern and without heat stress and without the need to buy power tubes again and again if you like to listen a lot. I like the MA252 in every respect, design, look, concept, but I haven't heard it yet. And as you said, mustang, it is equipped with just the right 30Hz boost of its pre amp tools if desired. Certainly a good match possibility with the Cornwall of @Von Hoellert. At least one to be tried before the final purchase takes place. Below a pic of the beloved MA230 of my youth.

No, that's a misunderstanding. @mustang_flht just meant that the MA252 has a tone control. And the lowest frequency of the selectable equalizer bands is 30Hz. Of course the amp plays much lower in the bass. Here is a brief review. https://thesourceav.com/blogs/news/mcintosh-ma252-integrated-hybrid-drive-amplifier

Seriously, and regardless of the spirit of experimentation that many share with you, what exactly are you dissatisfied with, given the way your CW4 sounds unchanged at the moment?

The moment the new Heritage Jubilee arrives in a user's home, an as yet unknown force called dark energy will cause its sidewalls and top to expand its space to proper size at escape velocity...according to the Klipsch warranty agreement, so I have heard.

Thanks for the info. I'm very curious to see what you decide, and please let the forum know. I've already mentioned it here in the forum and don't want to bore anyone. That's why this info is just for you In addition to my Mcintosh C22CE/ MC275Mk4 which I use since 20 years, I have been using old Quad 34/Quad306/606 amps with great enthusiasm since the Corona era, which I bought cheaply, had time to tinker with and replaced the electrolytic capacitors. It's a reniniscence because I had just such amps 35 to 40 years ago, and the "new old ones" have confirmed my memory in a positive way. The current dumping circuit of the Quads ensures that even the lowest volumes arrive without distortion. This is not insignificant with such efficient Klipsch speakers. Digital are only the sources besides vinyl. With my old LaScala from 1977 it sounds very good to my ears. I am in no way saying that anyone else has to follow my decision, but I really like the effortless sound and articulate character of the Quads with the LaScala. You have made a pre-selection of amps with different characters, which I think is a good way to go. I'm curious to know whether you will choose one of these amps.

Can you tell which brands and models the amps are you will listen to?

I didn't want to diminish the joy of the topic opener. I hadn't seen his post before I wrote it. But because I wanted to show my point of view on the subject of SET amps, I have just rewritten it in the hope of not detracting from the thread opener's satisfaction but still showing my opinion on SET. In that sense, the new post contains everything the deleted post said.

First of all, and this is the most important thing about this thread from my point of view, @aperfectcircle has made a decision that he is happy with. Apart from all the electrotechnical considerations, this is the core of this thread. Someone has chosen an amp and he has made a good choice for himself personally. My two cents on the question, SET or push pull. I'm deliberately not going to go into technical differences, distortion, unpleasant or pleasant distortion, realistic reproduction, etc. Just my personal experience. SET, I have two such amps, an Assemblage 300B and an Audion Silvernight 300B. These amps impress me because of their impressive holographic reproduction of midrange tones. For example, in a 1960s recording with Wes Montgomery, the Hammond B3 with Leslie speaker and rotating horns. It's breathtaking and I hear it in a dimension that probably only an SET can reproduce. It's like a sound sculpture, I don't care about (added) distortion at that moment. But from my point of view, these are the cream slices, the chocolate pieces of SET. I've tried it several times...after a week at the latest I'm fed up with SET amps. It's as if a SET chooses its chocolate pieces. But it doesn't fulfil its obligation to reproduce a piece of music satisfactorily in all its requirements. I miss the even sound pressure in all frequency ranges at all volume differences. It tires and annoys me after a few days. A push pull amp, and there is still the question of whether with or without feedback, tube or SS, makes my listening more satisfying in the long term and I never get tired of listening to it even if such isolated highlights as the sound of this Wes B3 via SET don't come alive in the same way. Yes, it remains a little flatter using PP, but in the end the reproduction of the whole band and its musical structure is more important to me which is there, so for me personally, push pull amps do that better. They reproduce the overall picture with authority across the entire spectrum. Since the 90s, I have repeatedly tried SET, always with the result of disappointment in the long run. Actually, I only have these amps because I haven't sold them yet. They haven't been running for 20 years. It's different with my two Leak Stereo 20, push pull EL84 with 10 watts. I mention the Leak to avoid objections that I am comparing 100 watts with 7 watts. For the desert island, three times better the Leak Stereo 20 than a SET. For me, SET is a fast-moving honeymoon. I think that some people make the mistake of thinking that they have very effective speakers with 100dB and much more, so low wattage SET would be ok. But they have made the calculation without the impedance. A highly effective speaker cannot compensate for its probably irregular impedance characteristics across the frequency spectrum. Ok, now I've got a bit technical. An SET without feedback will always exactly mirror the impedance curve of a speaker in its freq. response. That alone is a roulette game as to whether it sounds good or not.

wrong thread.

That's just me, but whenever I tried passive preamps or connected an adjustable output, e.g. from a Bluesound Node or a CD player, directly to the power amp, I found the sound to be very open and full of resolution. But on the other hand, I missed the "meat", the punch of the sound, the timing and that authority that makes the sound for me. Of course, this only applies to pre-power combinations that match each other in terms of impedance, etc.

uams, two questions, can you explain a little more about your quote „It comes down to the bass horn of the Uccello's/Belle's/La Scala's simply being to small; it stops acting as a horn just over 100Hz (close to the resonance peak here), and throat restrictions (i.e.: from higher compression ratio to aid upper end extension, which is originally hampered by the horn being too small) seems to provoke air velocity problems here“ and also can you describe this ghosting effect generated bei the FIR filters? What you hear regarding this ghosting effect and if you are in the know what causes this effect? Thanks.

I always assumed that this forum was neither about political nor erotic content🙄. But maybe the details are exciting🤠

There seems to be some confusion here. As has already been said in this thread, a normal tube amp for home use is generally always designed so that the OT does not go into saturation in relation to the given power, unlike a guitar amp. This is why there is no compression at this point in the playback chain.

You can actually cut these rubber seals yourself from a rubber mat of the same thickness. I did it successfully until I had original ones. These looked nicer but the positive effect was the same. The main thing is that the inside of the rubber ring is not in the way of the sound, therefore cut out the hole nice and wide. This measure is essential after 45 years. Here you can see my DIY seals, the black one, the red one is the original which was dried out and crumbled.

I bought these, see photos below. There is a good chance that the diaphragms in the link in my post above I sent are the right ones. And the price is good.

I don't know if these diaphragms are compatible with the old K55V, I had a source that I will send you as a PM. For not even 200 USD you can buy the whole driver in the USA, as it is used today in the brand new LaScala, if you scroll down a bit in the link. But normally there is no need to buy a new driver. I would start with the capacitors and the rubber ring between the driver and the horn to get it sealed again. https://www.fullcompass.com/prod/027035-atlas-ied-d-20gb-diaphragm-for-pd-5vh-and-pd-5vt Edit: Sorry it seems that my source from 3 years ago does not any longer has the diaphragm. May be others are more helpful also concerning the rubber rings plus the quetiin if those diaphragm in the link above are compatible, or if even Klipsch sells them directly or @Deang can perhaps help.

To be honest, I had exactly the same problem with my 1977 LaScala...as long as the Sonicaps were in it. There were certain frequencies that were very annoying, especially some single coil PU guitar tones that hurt my ears. In my case it was actually the Sonicaps. Since I swapped them for polyester types, this annoying effect has disappeared completely. In your case, I would also start with the capacitors and order the caps from JEM and try them out. I can't guarantee that it will have the same positive effect in your case because I don't know what else is going on with your speaker. But trust me that switching away from the sonicaps had a significant effect. Not just in terms of eliminating shrill guitar tones. The bass also got better timing and no longer sounded boomy. Roy once said that the Sonicaps didn't just have a different Q value (responsible for shrill notes). They also have a different ESR than the JEM caps, so they mess up the impedance of the whole Xover. Hence the impression of a better bass with the JEM caps. What I'm trying to say is that your capacitors are not bad in the sense of broken. They are simply unsuitable in terms of their sound character. And yes, what others also say, I have interrupted these protection diodes. They are connected in parallel to the tweeter. All you need to do is remove a wire to one of the two diodes. Back then, with the early powerful transistor amplifiers, the loud plops when switching on or off were sometimes the tweeter killers. But the sound suffers with the use of the diodes. I've had my LaScala without diodes for many years and the K77s are still intact. I also listen loudly from time to time, it is important that the xover is wired correctly so that the tweeters are protected. Remember that the tweeters in the previous type A crossover had even more unhealthy bass, and there were no protective diodes in this type of crossover at all. The sound is better without diodes. It's fine as long as your amp doesn't make loud plops when you switch it on.

The display shows a significant difference, impressive. Just as a trial could you adjust it afterwards so that it is a little less flat/linear in the range between 100 and 160Hz? But with a very slight curvature upwards? Then the "warmth" would come back to the sound. It is precisely the frequency range that pretends the full bass in an LS3/5a and is indispensable there.

When Flevoman describes that it sounds thinner and more disembodied with the DSPeaker, even in the overall impression of a tenor sax frequency range, this could indicate that the Q that DSPeaker automatically sets does not have quite such a high Q value. Roy's Q=8 could be chosen to be narrow-banded to attenuate a peak but not change the overall character of the LS.

I understand very well what you post but I don't know why you post it. For me, the conversation with you is over. There is no point for me to waste my time with you anymore.

Well, isn't that a textbook example of what psychotherapists call a projection? Sorry, this is a forum by and for Klipsch speakers. Nothing else should be of interest here. And we should all be grateful that this forum exists. We don't have to do much more than behave fairly.

First of all, welcome to the forum, Don. Thank you for asking. I think your topic is worth opening its own thread in this section. You would get more resonance😀. I can't speak for everyone, it's just my opinion. Here in the jungle of all these last pages of posts your concern will be completely lost, it would be the thread drift of a thread drift. Nobody will find anything here that you could open in your new thread. This thread was actually mainly about how an AL5 owner @Flevoman deals with the phenomenon of resonances in his particular case. I'm actually looking forward to hearing what else he has to say about it and whether his girlfriend likes his DSPeaker gear. But maybe he'll open a new thread as well...

16 Ohms is Z, I just measured the unconnected KV55A with new but original diaphragms at 10,3 Ohms DC to give you a ballpark.