KT88

Thanks for the link to the AVS forum. In the older AVS thread at the end is a link back to the Klipsch forum. This link, it was a thread in the Klipsch forum from or with DJK can no longer open because the Klipsch forum has renamed. I can find via google - with keywords - many old threads, because the new community.klipsch site has fortunately taken over all the years of old threads, but then it is not sure if it was really that particular thread in the link. Is there any way to transfer parts of the old "forum" link to the new "community" url? I have not been able to do it yet.

Do you mean that 2uF and 13 uF are not available (original values) or that even 2.2uF and 6.8uF (two in parallel) are not available? If the latter ones are to get, try them as I did with good success.

I have the impression that this thread is somewhat unfortunate. And it shows how responsible one should be on the Internet, but better from my point of view might have been the phone than the keyboard. However the misunderstanding arose, it is logical and clear that there can be no sonicaps at the price of the crossover. I would not get involved in such a subject if I were not one of those who had come to appreciate Bob and Michael Crites work so much. I got to meet father and son in person in 2009, in Hope at a Jubilee meeting with Roy. I was very taken with both of them, their personalities, their expertise and their absolute sincerity in all things. Shortly after that personal meeting, I became their customer. First an AA/A Network, switchable. Then Ct125. In 2013 came a passive crossover for my Jubilees along with Faital HF200 drivers. Although they come from Italy I could not order a 16 ohm version here in Europe, Bob sent them to me at a very reasonable price. Even though I now use other caps than Sonicaps with the Heritage series and have returned to the K77, I was always very happy with Crites and I got what I wanted, straightforward and fast. The network for the Jubilees is extremely amazing. Here is a photo from the net but mine look exactly the same and they sound great. After Bob passed away, RIP, I have purchased products from Michael Crites this year to my complete satisfaction, e.g. Atlas diaphragms for my K55V. My suggestion to the topic opener would be, please post also the positive news, e.g. if you should have agreed with Michael in some way.

Many thanks for the link. A question from an interested layman, is this simply a bass reflex extension where you have to be careful that the original horn still works (e.g. via the experimentally determined port length of the two tubes as described in the text), or can this design be called a tapped horn because it is tapped at the compression chamber? I don't understand why then the compression chamber still works when you take away its pressure buildup by opening it? On the other hand...doesn't the new Jubilee work similarly? Sorry for my uneducated questions.

The technical coordination among each other and the matching of the components is important in my experience. Likewise, the choice of power amplifier in relation to the speaker. Every time I tried something passive or for example connected a CD player directly to my MC275 Mk4, where I have controls on the RCA input, it sounded high resolution but without life, meat, timing, dynamics and drive. Likewise with power amps with high input sensitivity such as Leak Stereo 20 and an additional passive controller like a pot with a voltage divider. Unfortunately I have no experience with passive coils pre amps. I gladly do without allegedly higher resolution and love the "sound" of my C22 CE/ MC275 combination. The pre amp makes that the music has soul and the pre amp leads through the structure of the music piece. On the question of which device should be a tube if you plan new, I would say the pre amp. But I do not like these minimalist design that do without a cathode follower. An exception is my EAR864 pre amp. It does the impedance conversion that a cathode follower normally does via an output transformer which also works ok. A pre amp should be active. My MC adaption to MM input is passive via coils.

You have a very good memory, Tom. I belonged to both groups, first had K1133 instead of K69 (2008) which of course was replaced by Klipsch because after all the enthusiasm about my new Jubilees I noticed that something was wrong in the tweeter sound, and this forum gave me the hint to look up which drivers were mounted on my K402. I think the second case of mistakenly installed K1133s was a hifi dealer from the UK who really liked the Jubilee and used them to demonstrate his tonearms and cartridge systems to his clientele, I have forgotten his name. And then later on I was also a happy member of this special „group-buy“ regarding TAD 4002s where Roy kindly had provided the EQing (2009).

Now you can play your wonderful music examples with wonderful sound👍

I like a cool brand like this as I play a Bluesbreaker guitar amp. but of course DIY is a lot of fun and may sound better. https://www.marshallheadphones.com/us/en/speakers/bluetooth/

Now quite independently of the technical and ethical pros and cons of the modifications. Why does this topic come up again and again? From my point of view, there are a few main reasons for this (among possibly others). One is the enormous longevity of Klipsch products.With most other companies and their products, it would hardly be worthwhile to modify, update, upgrade or simply (as I am currently trying to do) restore a 20 to 60 year old speaker to original technical condition. The models of other brands are not worth it or they are simply scrapped. Of course there are exceptions like old Tannoy, Altec, Rogers, Quad and a few other brands...or whatever brand you love since your youth. The second reason is the largely very modular construction of Klipsch Heritage products...then and now. This allows/ or leads to temptation, changes, replacement, renewal, on the one hand in the drivers, the midrange and tweeter horns, the drivers, as well as the crossover or the cabinet. But also this modular design is an essential and very professional advantage of Klipsch Heritage products that most other manufacturers can not share. Thirdly, it is this impressively long period of production of models whose continuous development can be called evolutionary - in conjunction with the model consistency. If both old and new Klipsch loudspeakers were not so durable, we would not be having this whole, sometimes difficult, discussion. Manufacturers can handle user modifications differently. I know two cases quite well and I can understand both attitudes of the respective companies. Morgan and Klipsch. There are similarities in that the products have been built for an equally long time, at least if we start with 1950 (Morgan dates to 1909). With Morgan, it was always the case earlier that literally every owner had individualized the car. The manufacturer was relatively indifferent to that. It can even be said that US importer Bill Fink put an off-company Corvette engine running on propane gas in the Plus8, helping to keep Morgan, which is doing well today, afloat in the 1980s. It has always been Morgan's tradition that it was in the hands of the owner that the cars really got good. I have been on the Morgan forum for 12 years and we exchange ideas about other shocks, sport manifolds, carbs or ECUs, etc. In the end it is a better Morgan than shipped from the factory. At least this is true for all traditional models built up to two years ago. Klipsch paradoxically has a problem with the longevity of its products when the company insists on unconditional authenticity. I can very well understand what the intention of Klipsch and Roy is. All products are a testimony to their respective eras. I personally also see it that way. But there are reasons why some Klipsch friends like to modify so much. In addition to all of the above that concern the product (modular, durable, etc.), there are the motives of the users that fit these characteristics of Klipsch products. Interest in changing the sound, the hope of an upgrade, the urge to play, the pride of adding something personal to the Klipsch product. And sometimes, one must also take seriously and respect, the financial possibilities that someone has. I don't begrudge anyone the joy of improving their 50-year-old Klipsch horn e.g. with different tweeters etc. but they could never spend $18,000 on speakers today. I think this is an important social aspect. These people would perhaps react very hurt if their pride and joy were taken away from parenthood. But also everyone else who could afford to buy new Klipsch Heritage might be offended if they modify older models and are also deprived of parenthood. Again, I understand that Roy does not want historical products to be "watered down" or for users to blindly modify anything that was really not intended by Klipsch (as a company and as a person). I think some aspects can not easily become harmonized. But what I would like to see as the least is that we continue to treat each other respectfully in the forum and refrain from personal attacks with the intention of offending or provoking. Some reality is given and we have to respect the view of Roy/Klipsch. BTW he never says that it is forbidden to make modifications, it is just so that he says it is no longer a Klipsch product in the intentional way. One reason may be that if the fingerprint of the sound is drifting away, it is no longer a Klipsch product in his view. But the speaker has nevertheless the same look, the same badge, looks like a Klipsch speaker but the fingerprint of the sound means much more to Roy than the look. Perhaps my concluding sentence sums up the irreconcilable parts of the controversy very briefly: Whatever a modification does, from Roy's point of view, a sound modification (or a part modification) is a misleading irritation because it is no longer consistent with the Klipsch brand's sonic intent (of the given decade) If you take this definition seriously then it means that it doesn't even matter if more people like the modified speaker better than the original. This should be a comfort to all those who modify their Klipsch speakers, even when they know what they are doing.

I think that, in principle, the new jubilee has more freedom of positioning. I imagine a really luxuriously large living room. The new Jubilee can be placed in parallel in front of one of the walls. It doesn't necessarily have to be in the corners to send out enough low bass. The old Jubilee benefits from corner placement if you don't use a sub. In a medium-sized room, however, it is also present in the corners. It is not the footprint alone that creates the emotional impression of size. It is also the height, and in my case, that it is black. In my view, the old Jubilee is a technical marvel with a design all its own. It is not possible to integrate the Jubilee "aesthetically" in our living situation. On the contrary, the aesthetic is to create a technically functional counterpoint to the furniture. We succeeded well, with my wife's blessing. After 12 years, we took a break from visual dominance and that is why I am having fun gradually restoring my old 1977 Lascala to its (new) original condition. It seems so small and sweet in comparison. But the Jubilees will never go as long as I can afford them, they are just stored... I'm also looking forward to my Jubilees as a future project. It's now a collection of nice components that I want to play with in nearer future. K69, K1133, Faital HF200 with Crites Passiv xover, TAD 4002 with Yamaha SP2060, several amps. Maybe I'll sell some of this parts when I've more or less "reached my goal". I want to experiment with different solid state amps including class D. Maybe I'll buy the new Celestion drivers because the weak point for me has always been the energy around 450 Hz of the K402. I know this because I got the Jubilees 13 years ago by mistake with K1133. Of course, the treble was not correct and the settings for the K69 were wrong for the K1133 anyway, but the energy that came out of the K402 around 500 Hz with the K1133 was not achieved by all the other drivers. It was a very emotional strong energy. E.g. (I also play some guitar) the Eric Clapton unplugged...you could feel with how much energy Clapton pressed the fingers of his left hand on the fretboard to create modulation and sustain on the acoustic guitar. Simply breathtaking. The by Roy newly chosen Celestion driver may convey similar emotions looking at its specs. For this reason alone (the huge K1133 energy around the bottom freq. of the K402) I was interested in the three-way solution. But its disadvantages would outweigh the benefits and in the end Paul W. Klipsch wanted to realise the intention of a two-way system...precisely because of its immense advantages of an almost point-like radiation. BTW it is a bit heretical to say that the Jubilee, although larger, does not go deeper than the K-Horn. Because that was not PWK's aim, at least as I understand it. His aim was to develop a super good connection to the mid-high horn, and that is much more important and PWK has succeeded in this in a breathtaking way. It's the midrange frequencies that we live in. I know many loudspeaker designs, but this quality of uniform radiation of energy, impulse and timing I only know with the Jubilees, basically no matter with which drivers. I am still so grateful to Roy that he made it possible for me to ship the Jubs to Germany in 2008 and that I was "allowed" to buy the Jubs. I had sent Roy the link of my loving restoration of the 1977 Lascala and asked him if he could send a pair of Jubs to Cologne. Ten minutes later I got his very positive and so Kind reply. I had no idea at the time in 2008 how important the heritage philosophy is to Roy and the company in both senses of the word (the series and the commitment to tradition and authenticity). But I have always kind of shared it. Of course everyone should have fun with modifications and reversible modifications are a source of joy for me too...nothing else the Jubille community has always done. I think it's more about doing everything you do with a lot of knowledge about and respect for the original. I will never forget Roy's efforts, thank you very much again!

I cannot help to answer your question, just an idea how I often find old threads. Try to use google and reduce the search results to the Klipsch forum in the search engine setting. It is very fruitful to search with google on the Klipsch Forum pages. This is how it works. You type the term "site:" with the colon in front of the homepage. Then leave a space and type in your search term. E.g. like this: site:community.klipsch.com crites ct120 or e.g. site:community.klipsch.com K55V Then you can enter additional search filters on google, e.g. the time period, which is sometimes very helpful. This way you will find literally everything that has ever been written in the Klipsch forum.

Thanks for reply, seti. I could buy F&T cheaper over here, they are made in Germany. If you see the specs in the link below, would you go for the ones with the highest temperature capability because they should last the longest or have I to consider other factors to get the best sound…if they influence the sound in some way at all? Of course I know the replacement has to fit in size, voltage etc. https://www.ftcap.de/en/products/electrolytic-capacitors/solder-terminals/

I have real vintage amps from Quad and Leak, they have all benefited from new parts. But since 2003 my absolute permanent equipment and reference is my C22CE and my MC275 MK4. Now comes my question to the experts. I consider my C22CE and the MC275 MK4 as a "newer incarnation" respectively of the original vintage equipment from the 60s. The main differences are probably the use of circuit boards and that most of the coupling capacitors in the 90s and 00s are the German Wima MKP10 that Mcintosh used (or still uses). So is my Mcintosh gear old or (kind of) "new"? I would think that the MKP10s don't really age. But when should I change the electrolytic caps of the power transformer section? Especially also with the MC275MK4 BTW, my Mcintosh gear sounds pretty darn good, despite the PCB construction and MKP caps. The C22CE blew me away when I first heard it 18 years ago, until then I thought my EAR 864 was my favourite preamp. So would the experts agree that the MKP10 are still fine and will have a long life but the electrolytic caps of the power transformer section should be changed in a nearer future? Sound is still really good with the original electrolytic caps but when is time for a change?

Too many discussions before the real new thing can be heard and seen.

I may be alone in my opinion but I have a sweet spot for Alnico. Maybe these new "G" drivers have a great phase plug. But I like Alnico. I wonder how these new drivers would sound if they had an Alnico magnet. In the case of Klipsch, it's a godsend that the Atlas drivers - past and present - have Alnico magnets. Alnico has soul and emotion. The same goes for guitar pick ups and guitar speakers. I have K77 M in my 1977 Lascalas for bridging. I can't wait for my original K77 Alnico to come back from the shop. With new magnetised power and new diaphragms. With other brands in the high end you hardly find Alnico...and if you do it goes many thousands of dollars higher in price...not so with Atlas drivers at Klipsch which are now newly installed in the heritage series...as they used to be.

Coytee, a box of chocolates always helps😎

My 2 cents. 1) What I had identified as resonances in the side walls of my 1977 Lascalas was, crazy enough, a completely different sound after I replaced the sonicaps of my Crites AA crossover with polyester caps. Because somehow the timing of the mid and bass was better coordinated and a voice now sounds like one piece. Nothing will have changed in the resonances of the side walls but the timing is psychoacoustically different and more pleasant. 2) If I were you, I would urgently work with a temporary solution that is reversible before gluing and nailing. Listen to the result in peace and quiet, maybe even for a week or two. For one thing...each additional brace takes away a part of the calculated exit area of the horn, and thus in principle also reduces the deeper bass reproduction. On the other hand...for me a Lascala is like a well-tuned musical instrument. It is (anyway) far from being a neutral loudspeaker, a fact which I personally welcome. So again, I'd go with braces as long as it's reversible. I could also imagine strengthening the entire walls from the outside, but it would not be reversible, or only at great expense. I remember a story I heard about this. Klipsch supposedly experimented with the woods when developing the Lascala 2. The result was that thicker MDF sounded better than thicker Birchply. But that doesn't mean that the Birchply thickness of the old Lascala doesn't have strengths compared to thicker MDF. Maybe a thicker enclosure is better for Nirvana but maybe the old Lascala1 cabinet is better for Pablo Casals?

I find that the overall result of the AA does not sound clinical but very musical with a nice impression of rhythm, groove, timing and timbre. Maybe it's because the midrange stays down with a 6 dB filter and the bass stays up with a 6 dB filter. And the midrange is where the music is so important. This preserves a good feeling for fast impulses and a sound picture as if it were made of one piece. To use the adjective clinical, that's more my experience with the ALK universal crossover. Everything perception is very subjective of course. Even though the type A network sounds very "warm", I find it inaccurate. I suspect that the overlap of the K77 to the K400/401 is too large and that this leads to uncontrolled overlaps and cancellations. Also, the old K77 is not really good in these lower frequencies, so additional distortion creates the impression of warmth, which could be the result of uncontrolled diaphragm movement of the K77. With the new Lascala we have a completely different tweeter that intentionally goes down to 4500 Hz and the K401 is limited upwards with a low pass filter. This is more like ALK but may sound good, I haven't heard it yet. Maybe it suits modern music, higher SPL and powerful transistor amplifiers.

Boleiro, please let us know your sound impressions after listening to the AA network and perhaps the A type as well. I personally had the impression that the A type sounds warm but delivers somehow less intelligibility. Perhaps its only me. I am very curious about your judgement. And as more others have stated it s also a question of preferred SPL. For me the AA type is a good compromise in terms of matching my low to mid SPL best.

I have real vintage amps from Quad and Leak, they have all benefited from new parts. But since 2003 my absolute permanent equipment and reference is my C22CE and my MC275 MK4. Now comes my question to the experts. I consider my C22CE and the MC275 MK4 as "new" and "newer incarnation" respectively of the original vintage equipment from the 60s. The main differences are probably the use of circuit boards and that most of the coupling capacitors in the 90s and 00s are the German Wima MKP10 that Mcintosh used (or still uses). So is my Mcintosh gear old or (kind of) "new"? I would think that the MKP10s don't really age. But when should I change the electrolytic caps of the power transformer section? Especially also with the MC275MK4 BTW, my Mcintosh gear sounds pretty darn good, despite the PCB construction and MKP caps. The C22CE blew me away when I first heard it 18 years ago, until then I thought my EAR 864 was my favourite preamp.

boleiro, have a look at this thread. I am not a strict advocate of a faith community. I also think everyone should experiment until they find what they want. But in the case of capacitors, I followed what Roy Delgado posted here at some point. According to this, the polyester caps are those that harmonise very well with the characteristics of horn loudspeakers. Polyester caps are not as "precise" and the transitions at the ends of the frequency range of e.g. the midrange (which is only limited downwards) are softer than using polypropylene. Also the „ESR“ is higher with polyester caps. Normally it is common to reach a low ESR but then the originally intended impedance of the vintage networks is not achieved any longer which leads to a mismatch of frequency balance over the whole spectrum. I just tried it out and I am very pleased with the result. You can buy the capacitors from JEM but you can also put together the Polyester caps yourself. If the original values are not available, you can use standard values, at least for a first listening impression. For example, I need 13 mf for the AA network, but I bought 2x6.8 mf because they only cost a handful of dollars. And I'm still within the 10% tolerance that the original caps had. I measured my caps before installing them. Some people make a secret of the "Klipsch approved" caps, but they are simply polyester caps. I bought proper caps from Mouser. It's really worth a try. Instead of the required 2mf, I used 2.2mf. Of course the exact values are better especially because the 2 mf are connected in series behind the 13 mf, but I am very happy with the result. At JEM you get the same polyester caps, but with the unusual values of the capacity tuned to the Klipsch networks but also for unusual prices as far as polyester caps are concerned. To test whether you like it, I would first try standard values. One more point...when absurd money is spent on exotic caps, people like to talk about the break-in time and burning in. Believe me, this is just as true for polyester caps. Otherwise Steve Guttenberg wouldn't have done an extra review on youtube where he enthusiastically reports that his Cornwall Mk4s are still so much better after a year.

I agree with everything, but I have found that the Zener diodes take away some of the silkiness and colour of the sound, even at low volumes. But it's no effort at all to try out both settings personally.

It's just my two cents. I bought the ALK universal network 16 years ago for my 1977 Lascala. I was not satisfied with it. It sounded "clean" but not so musical, I could hear the tweeter separately from the midrange when there was pink noise. Then I bought the AA network from Crites, which can be plugged into Type A. I like AA better, A was good on a 300B and a Leak Stereo20. But AA gives more definition. A is warm but AA gives me more speech intelligibility without sounding "cold" like ALK Universal does to my ears. AA definitely sounds best on my MC275. A is for low volumes, AA for soft to adequate volumes. The coherence is fantastic with AA. About the tweeter, I had a CT125, that was more "hifi" sound. But the K77 does a much better job of a "unified voice". It's less hifi but more Klipsch with great timing and authority of sound, even if the K77 hisses a bit depending on the recording, I won't change it. I cannot speak about the newer iterations of tweeters mentioned here but if I were you I would build up everything Xover etc. before I would change the in my view excellent matching original tweeter. BTW Polyester caps do the magic in my view on an AA network as the original canned caps were also polyester types. The „Q“ of this caps seem to match the horns very good and it is certainly no coincidence that even the most modern, highly praised Klipsch Heritage speakers have these yellow polyester caps, as can be seen in photos on the Internet. For me the change to such a type was definitely an improvement over the whole freq. band after I had Sonicaps before. With the AA crossover it is definitely the much nicer sound when the Zener diodes are not in the circuit. It's only a protection for very loud signals or when a transistor amplifier makes loud clicks when switched on and off. Type A is 6 Db to the tweeter, type AA is 18 Db but still inherent.

E.A.R. I would like to tell you briefly about my experience and congratulations on your "purchase". I have had LaScala from 1977 since 1999 but they have been dormant for about 15 years. I came back to them for various reasons. I made a few mistakes with the Lascalas 15 to 20 years ago, that's how I would describe it today. One is seduced all too quickly to go along with all kinds of "improvements" and "increases". Since I reactivated my LS, I've been going down the path of being as faithful to the original as possible, and later, when I've reached that point, I can think about careful improvements, but so far the steps I've taken in the direction of originality have meant an increase in sound. However, my 1977LS are equipped with the Alnico K55V driver, the K77 Alnico and the Type AA crossover. I can't judge your LS and I would certainly do as you do so that they run first. I am a big fan of the Alnico K55V and installed new Michael Crites diaphragms two months ago...what a wishful difference! Capacitors...what Klipsch also recommends are these yellow polyester typer. I was surprised how good they sound. The argument is that with them the impedance of the whole network is maintained and I can say that they do indeed give an overall coherent sound impression unlike some of the more "modern" or "better" types I have had in my AA network before. The ne t step I will do is that I have found a company here in Germany which is able to remagnetize the K77 Alnico and the K55V. I do not know if it is necessary for the K55V but the K77 will probably benefit from this measure.

Thank you, two more stations in my favorites list to listen to.