KT88
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Posts posted by KT88
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4 hours ago, NOSValves said:
Oh I understand... What gear are you using that only has xlr or has an issues with using a xlr to single ended adaptor?
Besides don't you know single ended is inherrently superior to anything on the planet regardless of situation😁😉
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.
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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.
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18 minutes ago, Von Hoellert said:
What do you mean by 30Hz setting? Should it play exactly like that or deeper?
I have already researched several amplifiers that can play deeper. The MA252 is specified at 20 Hz.Maybe other recommendations whitch is a good match? The prices of the two brands are already high.
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
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21 hours ago, Oldewizard said:
Was wondering if there is any benefit to raising Cornwalls off the floor?
While we are here, anyone tried new/upgraded component crossovers?
Thanks
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?
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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.
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1 hour ago, Von Hoellert said:
The dealer I will make a appointment show me:
Camebridge EVO 150
Supernait 3
Leak 130
nad c3050
Cayin jazz (not in wearehouse, for this we are waiting for the testing)
How I sad, I have no knowledge from the technical side. I like the vintage look of some of these amps. But the weight of the EVO 150 doesn't make a valuable impression.
And I read something about ASR Emitter, but for the budget they can sell only second hand from 2000. I’m not sure if this will be a good deal (age)
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. -
4 hours ago, Von Hoellert said:
Hi all
so after a view days I will share my experience.
The 3 generally is good. Nice "live" performance as my old speakers but a bit lower in spatiality. But it does not bother me.
For my taste the bass is a bit low when I hear quieter.
I tried some different possitions and for me the best is dicectly at the wall (with some degrees to the sweetspot).
But I have to say that I use actually only a AV-Amp. Maybe a good stereoamp will give them more punsh.
So the next Step ist to hear some different amps. I have no experience in this, so I will pick up my amp an will start the testing with this. After that I will hear a Digital amp, two different Class A/B an one tube amp. This all in one session. The best I hear on this appointment I will test at home. Hope the dealer allows me to do that.
@Little Wolf: I heard the 4, 2 weeks befor I bougt the 3. YES in my mind the 4 ist "better" in the mid, but as we discussed and you also say the difference in price doesn't justify that, for me.
If someone has a really good suggestion for a amp, your are welcome. I have no technical knowledge of this and I just want to rely on my ears. If this topic would be better in another post, please let me know.
Can you tell which brands and models the amps are you will listen to?
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16 minutes ago, NOSValves said:
Well I got the first half of your post by what it said
I sure wish you'd of left it up I'd enjoyed reading the rest!
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.
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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.
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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.
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1 hour ago, uams said:
I owned a pair of Simon Mears Audio Uccello speakers until about 3-4 years ago, and they're an homage to the Klipsch Belle's. The Uccello's were built from ground up with the same bass horn design (w/Crites CW1526C woofers), but with different, stacked ply mids and tweeter horns, B&C compression drivers (DCM 50 and DE10) and top-of-line ALK crossovers. Lovely speakers, wonderful craftsmanship, and that particular bass horn coloration in the 125Hz vicinity.
I heard that coloration immediately when first auditioning them in Brighton, UK, but nonetheless fell in love with their sound; so wonderfully alive, vibrant, present, dynamic and organic. Over time though the mid bass coloration got to me, and I tried out digital correction in both the amplitude and time domain, which took care of the mid bass bump. It also corrected other things, though the FIR-filters gave off a peculiar "ghosting" effect that preceded more dynamic outbursts.
At the time I also went on to have the Uccello's subs augmented, initially with an SVS SB16-Ultra (marred by overhang and lack of integration with the U's), and eventually with a pair of MicroWrecker tapped horn subs that I still own, and that complemented the Uccello's wonderfully.
Through it all though I began to feel that what I wanted was something else than what the Uccello's were intrinsically, on their own; they were high-passed around 80Hz to the subs, and had DRC run over them as well - as such everything was very, very good, apart from the ghosting effect and the fact that I found them to lack height of presentation. Eventually it gave me the feeling of simply letting the Uccello's be what they originally were - full-range, sans DRC and subs, and preferably with a low wattage, high quality SET - but it felt incompatible with my ultimate goals and desires.
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, with horn wall resonances only making matters worse. You want a better mid bass horn you need to accommodate bigger size and have the horn act as a horn in its entire range, with an overall smoother as well as cleaner upper end response to follow. But we all know size is a problem when seeking approval in domestic environments, and thus problems arise with horns. A truncated front loaded horn in the subs region is less of a problem than over the mid bass and lower mids, where the sonic penalties are more obvious, but still I prefer tapped horn subs over truncated FLH subs.
I would say to quite a few here: love your Klipsch speakers if that's your natural inclination, but there's no reason to be married to the company and get defensive when flaws in design are pointed out or otherwise implied through listening impressions. It's just the physics of things, nothing personal. For horns to be their best size needs to follow accordingly - that's just the way it is.
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.
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I always assumed that this forum was neither about political nor erotic content🙄. But maybe the details are exciting🤠
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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.
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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.
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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.
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46 minutes ago, GabeS said:
I really appreciate everyone weighing in and helping me try to figure this out. As I mentioned, the speakers sound great on most songs. Even the distorted songs are only one instrument frequency like a guitar will be distorted in a few parts of the song. The vocal (other instruments) that is playing at the same time won't be.
I will try to borrow a friend's Ohmmeter to see how they measure. I did take off the white tape and it seems like the wires are soldered.
The same recording will always buzz during the same section - which makes me think a certain frequency is causing something to vibrate. And it does seem to be worse at louder volumes. If it was a bad capacitor could it behave like this or would you expect a more constant buzzing.
When I reproduce the sound it sounds like it is coming out of the front of the speaker rather than something I can hear by sticking my head through the back. I can't feel anything vibrating or sounding loud from behind. The screws are all tight.
I was also curious what people thought of the capacitors in the picture. Would I be better off trying the capacitors from JEM audio?
Appreciate all the help!
GSTo 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.
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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.
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15 minutes ago, Invidiosulus said:
Id be curious to know what the EQ curves applied by the dspeaker device actually looked like.
Roys recommended PEQ with a Q:8 is very narrow centered on 148hz.
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.
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8 minutes ago, Stephen Buck said:
Then I suggest you respond with information for the topic instead of your armchair evals of my posts. I'm truly sorry you don't understand what I am posting and why.
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.-
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27 minutes ago, Stephen Buck said:
Focus on the topic, the topic rolls along. Focus on an individual because lonely and need attention, get slapped back. You need attention too apparently. But I'm not an industry shill. I'm just an owner. Lots of shills here killing time.
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.-
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1 hour ago, Don A. Childs said:
By the way, since I'm the new guy, would there be a better way to interact with the forum on this topic other than tagging onto this discussion?
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...
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8 hours ago, OO1 said:
take an Ohmmeter and check the resistance for both midrange drivers ....... what are the results for the right and left speaker , the mids are 16 Ohms
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.
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Heritage Jubilee in a Small Room – Three Months in
in 2-Channel Home Audio
Posted
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.