KT88

Yes, of course, it wasn't really meant seriously.

Perhaps we should measure the change in mind with a live MRI and EEG?

Damping is good when something makes really shrill resonances. This is especially true for direct radiators where the sound pressure is much lower than with horns. There, these ugly resonances are in stronger competition with the signal. A horn has a much higher sound pressure compared to the resonances it could generate due to its materials if not optimised. However, I see a new problem with the damping caused by thick additional materials wrapped around a horn. It is exactly the problem that should be avoided at all costs. It is the storage of the sound for a few microseconds that leads to a time smear. As a result, the sound sometimes appears unclean and washed out. At first it may sound "smoother" but after a while I find it more lifeless and constricted than without the damping wrapped up. A horn always sounds fresher when it is not tied up. However I could assume that if you listen to a horn very quietly, then unpleasant resonances have a more disturbing part than if you listen louder. The attachment to the baffle should dampen the natural vibrations sufficiently. I also believe that this is a relevant difference between the Underground Jubilie and the Heritage Jubilie where the mouth is attached to a frame. An improvement could be if the material of a horn has better internal damping. E.g. the difference between a K400 and a K401. Maybe I still prefer my old K400, because I reckon it has a little less storage than a K401. The price of the K401 for smoothing the self-resonance. But that's just a guess, someone would have to measure it. At least 1960s jazz records with their dynamics and impulse are tailor-made for the K400...or vice versa. For my Underground Jubilee I am thinking of a frame for the mouth. If I may dream, the K402 should be made of birch plywood.

Not in Cologne, but good enough😀 May be one can use water from a Scottish see or river where the whiskey is distilled but not distilled water. Its good enough for batteries but not to drink. The impressive thing is that the Romans built an aqueduct more than 2000 years ago to bring fresh spring water from the Eifel to Cologne. That was a huge effort over more than 80 kilometres, always downhill to Cologne. An remarkable feat of engineering. The Romans did not want to drink the water of our river Rhine because the towns upstream discharged their waste water untreated into the Rhine. All achievements that were forgotten in the Middle Ages.

I use tap water even to bring down a single barrel Scotish malt to 46%.

treated is left and red.

If the mesh cannot be saved anyway, perhaps try using citric acid or baking powder dissolved in water. Old household remedies for rusty aluminium. Of course, I don't know what the covering material is made of, but it could be vapour-deposited metal on the fabric or metal strips like tinsel on a Christmas tree, similar to those used on Fender guitar amps.

That is a good question. Oxidation was also my thought. Possibly a galvanic interaction between two different metals. Similar to a Landrover Defender, when it swells in the places where the aluminium of the doors, mudguards etc is in contact with the steel ladder frame. Perhaps there is a metal component in the golden threads that came into contact with the magnets. If this is the case, cleaning will hardly help.

At the risk of sounding sentimental, I would like to say something about this. I have read some of your posts, @henry4841. About tube amps etc. I also read between the lines of your passion for creating and constructing tube amps that you must be a really fine chap. Even if it wasn't a personal encounter. You are, in my view, a very reflective person who has found meaning and significance in life. Of course we all have our weaknesses, one is a bit narcissistic, the second suspicious, the third anxious, the fourth just having a bad day and the fifth living in grief over a loss. and so it goes on. I am absolutely not free of such weaknesses or fates. What I would like to say is that we are all here, in the Klipsch Forum, because it is a place we all go to make our lives a little more joyful and enriching. We share a passion for music and music reproduction based on Klipsch loudspeakers. That's a nice positive common denominator. I didn't mean to be too harsh with you, sorry. I am also referring to myself. We should not burden the beauty of this forum with the things we want to balance in this place. I'm not good at that sort of thing to discribe, what I actually mean is, we all here are a community or a part of it.

Sorry, but now you're exaggerating a little, Henry. My Aerovox were already leaking oil 15 years ago and had very poor ESR values. The capacity was also no longer correct. We are 15 years further on! I'm not saying that it's always like this, nobody here is being asked to replace their original Aerovox if they are dry and the listener still likes the sound. But that is now the exception rather than the rule. The fact is, you have accused Dean of trying to persuade someone to buy new caps when everyone here knows that he is not the Klipsch caps dealer. Furthermore, you refuse to recognise that an ESR measurement at 100Khz is completely irrelevant for the ESB in the audio range. I thought your last post was meant to be conciliatory, but it starts all over again. Let's use this space politely and respectfully. After all, we are invited by Klipsch to share experiences here. This is not "social media" where one insults the other. Sorry, I'm not directly involved, but it's getting on my nerves.

In my view the most important result ist that the speakers are ok.

I do not understand that. It could be possible that the damage of the first amp has nothing to do with the speakers. Cornwalls are an easy load for such an amp and 30 watt should really be sufficient for the Cornwalls to play loud if you do not crank this amp too much.

Welcome KWB to the forum. You make the right start, two posts and two likes🤠👍

As a teenager in the 70s who was already very interested in hi-fi and music, I had three listening experiences that have shaped me for the rest of my life. Klipschorn, BBC BC1 and Tannoy Alnicos. Crazy enough, I had a system in the 80s where I combined a Klipschorn bass that I built myself (only chipboard, I didn't have any more money) with 2 Tannoy HPD 295 10" drivers in a normal bass reflex cabinet that I built myself. The amp was self-built, it was analogue active. The Tannoys kept their xover (similar design to Klipsch with autoformers for the mid/high horn) and I cut off at about 200 Hz. This was probably one of the best I've ever had. This old love has survived to this day, because all three speakers illuminate the music from a different side. My main speakers today are a BBC LS3/6 from Stirling Broadcast from 2016, a Tannoy Canterbury 15“ from 1994, my beloved La Scala from 1977, my Klipsch UJ from 2008 and a Stirling Broadcast LS3/5a in the small room. Yes, and there's also an old ESL57 that I bought second-hand almost 30 years ago. The ESLs are impressively transparent, but not for me in the long term. If I could only take one pair with me to the desert island, it would be very difficult. Probably the old 1977 La Scala and I'd smuggle the little LS3/5a in with me.

This is what the BBC realized 50 years ago with their speakers.

Overtones of a fundamental tone work wonders to the ear and to the brain. My LS3/5a go down to 75Hz and I don't miss anything when I listen to jazz or classical music. The son of Peter Walker (Quad ESL) Ross Walker said in an interview thirty years ago, "if you miss bass, step with your foot in a big cardboard box to the rhythm of the music".

Maybe the thread opener will get in touch again. If he is interested, he will. Yes, it happens in forums that someone wants to know why something sounds thin and is bombarded with Fourier analyses.

At which frequency did you do the ESR test? I am just curious but also the experts need the frequency to judge your measurements, I think. Did you also measure the capacitance which is the basic information? Just as a check, you have to disconnect both wires of the capacitor before measure it.

No thread drift please but I'm not sure if I agree with you on this point. The way you talk about the JJ preamp tubes is a little too harsh for me. I like them and they need some break-in time themselves. They are not "cheap" but the only 12A/ECC tubes that are still made on original Telefunken machines from 1972. Of course I respect if your taste is different. But, and now I come back to the thread...Klipsch La Scalas core properties do not depend on certain tube brands.

Very funny that it's only been online for a few hours, as if it was made for this thread here... You can't describe what a LaScala is about more credibly than in this scene at 1:45. PWK and Miles Davis. BTW Herb and Steve have such a good connection with each other...one thought leads to the next and the story is in the air. They actually review their lives when they meet up again, but then there's also an interest in the new, in innovation, in the here and now. So the headline of the video meets exactly this. Two blokes you'd love to have in your home for an evening of listening.

That sounds very logical and understandable. It proves what philosophy PWK had in terms of loudspeakers. They were certainly not mini monitors that you put on the mixing desk. Ok, they also have their justification, but it was not PWK's intention. PWK wanted to reproduce the authentic sound of an acoustic event in your own home with as little loss as possible. The same loudspeaker could also be used outside the home. Of course, you have to adapt the sources, you have to use compressors at a live event, just as you have to do with a vinyl record or CD. So this is also the same in both cases. There's no difference between home recording and public address in terms of not using the same best speaker.

"Need" sounds as if it wouldn't be complete without a subwoofer, as if a sub would have to be added after two days at the latest. In my experience, this is not the case. Unless it's lowest pipes organ music or earthquakes in movies, I personally don't see a compelling need for a sub. You can certainly add a sub, sooner or later. But when I listen to jazz, rock, classical or pop music, I don't miss anything, at least in the rarest of cases. Buying a La Scala is a complete and well-rounded choice in itself. Familiarisation and musical preferences play a role. By the way, apart from the lowest organ pipe registers, organ music sounds absolutely goosebump-inducing on the La Scala.

As I said, both if the speaker is brand new.

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I agree with Flevoman on all but one point. He's right, the LaScala need time to get used to the performance. Both go hand in hand. The ear has the valuable gift that the bass treble balance becomes more and more even after a few days. You will learn to appreciate the La Scala bass psychoacoustically. In the end it is much more information than with a direct radiator. The La Scala are as big as an elephant (half an elephant) but when it comes to placement they are mimosas. Just a cm here or 2 cm there makes a difference....once you have familiarised yourself with the La Scalas, let's say three weeks. Only then will fine tuning really make sense and it will be productive and worthwhile. The point where I don't quite agree with Flevoman is that you have a nice amp. If you want to change, I would do it after six months at the earliest. Otherwise you'll have a mishmash of new variables that will be irritating.