KT88

but therefore even more the possibility of clipping and damage drivers this way.

Are you sure it is not the amp? Just try to check by swapping the left and right channel.

BTW Hifishark (link below for a La Scala search) is a meta stereo gear search engine which I have used several times with success. One can get a daily update about such gear you are looking for. Here you can see the price expectations from everywhere on the planet concerning a La Scala. I think you really made a good deal. https://www.hifishark.com/search?q=klipsch+la+scala

In your case, I would think that you would find it well out experimentally. You don't have a direct rear wall, which the Hereseys actually need for bass reproduction, but you do have the subs. So I assume that you are primarily concerned with the stage, the spatiality and a balanced, room-filling sound - room-filling at least from your listening position. Spontaneously I had also thought that the Hereseys are a bit too close together in your drawing, maybe you actually start with an equilateral triangle where the listening distance remains the same and the speakers are further apart. That would be my starting point. From there I would try to see if it sounds too far apart or if it's just right. The way I see it: Mono recordings should still come clearly from the centre and not sound too wide and bloated. On the other hand, it shouldn't sound too compressed to the centre if it's a stereo recording. I like to use two very different types of recordings to get it "right". Of course, you have to bear in mind that everyone has their individual preferences within a certain framework. That's why my post can only be taken as a kind of general suggestion. The first type of recordings are typical 1960s Bluenote or e.g. Riverside Jazz recordings...often e.g. a saxophone from the left channel and a trumpet from the right channel. Maybe a piano and or drums from the centre or a third horn player. All instruments, no matter where they are placed, should have the same energy and the soloist from the centre should not sound broader or softer. E.g. Art Blakey "Moanin" with Lee Morgan and Benny Golson. Once I have solved this task, I take a second recording where the spatiality and the overall body of the orchestra are important. Good classical recordings, e.g. from Deutsche Grammophon or others such as Decca London or Columbia, are suitable for this. something like a piano concerto or violin concerto. But also recordings like Dark side of the moon... With both types of recordings, I can optimise the angle of the speakers to suit my taste. This is where my experience speaks for itself: it can be different for every speaker! I don't know the Heresey, but I would bet that I wouldn't aim them exactly at my face. Many speakers sound best when I can see something of the inner side walls at my listening position. For example, the small BBC LS3/5a which I love very much are only angled about 7 degrees, that's not just my impression but general knowledge over the decades. The larger BBC LS3/6 are angled more so that I can only see two fingers of the inner walls. My Underground Jubilees stand in the corners of the room and are angled at 45 degrees like a Klipschorn but less works also.. My old 1977 LaScalas are angled in such a way that I can see a good hand's width of the inside wall, so they are not angled in too much. I would assume that it might be similar with the Heresey, at least as a starting point. But that's exactly what you'll be trying out. In the end, your listening taste will decide, but perhaps I could contribute something to the start of your experiments. I wish you lots of fun and success.

Thank you for your kind reply, Kevin. Yes, I found the symbol on the net sometime in 2007, something like drawn in the style of a Precision Bass PU.

Yes, this is the generation. I also think it's a serious TT. But most buyers have never experienced analogue and they won't with this TT if they are comfortable using the bluetooth output. Good that there is an analogue rca output, but not without preamplification or did I read that wrong? Because if you have a nice vintage receiver you would get more beautiful sound if you use its own phono mm input.

My father had a Dual 1229 around 1972 and there was something magical about this record player, I loved its sound. A few years later he swapped it for a Dual 701 with direct drive, a completely new thing back then. At that time, people were intoxicated by the new and the supposed progress. To be honest, I missed the wonderful sound of the 1229. Because the 701 was newer and more expensive, it "had" to be better. But not for me. There is "objective" data and subjective experience. The 1229 was always my favourite because of its emotionality. A little later, my father swapped his Dual 701 for a Revox B790 with a tangential tonearm. Once again, it was the belief in progress. I personally found the B790 tonally even colder and more sterile in sound than the Dual 701. This is not to say that my father and I didn't had a good relationship. I have a lot to thank him for, including his introduction to jazz and classical music. When you see that I come from Germany, Cologne, you ask yourself, how could my father have grown up with Jazz in those dark times in Germany? He did not, but in 1945 the Americans appeared (fortunately) and occupied his parents' house and turned it into an officers' mess, He worked for them as an interpreter at the age of 17 because he was one of the few who had learnt English at grammar school. Among the Americans was a doctor who had stacks of jazz records with her. So he not only learnt to love freedom and democracy, but also jazz. I wish you every success in your search for a nice 1229. As they say, it will find you.

A few friends and acquaintances sometimes listen to music with me, not at the same time, usually one of them comes along. I like the exchange with them, they are very different types of listeners. It's a special experience, sometimes it reinforces listening as a shared experience and it's like telepathy, at least the idea of it. But sometimes it's also distracting and I can't enjoy a piece as if I were alone, then I'd rather open a beer and leave the music in the background. Sometimes the shared experience, whether it's good or not quite so deep, is like music is a seismograph for togetherness. One of my friends is a classical pianist, and that's where it works best because he doesn't like to talk about "technical" things or "sound". I'm very happy that my wife shares my hobby, even though she's more of a bookworm.

It‘s always the proof what the wife says👍😀 Plus they fit very well in your room, congrats.

I am 64 as well. Even if I have a MC 275 with a C22CE which I used only in the last 20 years I bought and restored two years ago some 35 year old British Quad current dumping sand amps because that was the nice sounding gear of my younger years which now enjoys me again.

And disconnect the two diodes that are connected in parallel to the tweeter. You don't need them, and they make the sound a little bit harsh. It is sufficient to interrupt them at some point so that they are no longer in parallel in the circuit.

Sorry, I hadn't seen your question about the cables at the time. I can only speak for myself. I'm not demanding when it comes to power cables. For my stereo room I use an old-fashioned screw-in melting fuse instead of the house fuses with a switch, so that it can not swing and vibrate. Apart from that, all my power cables are completely standard, no mains filtering or anything like that. It's the device itself that can sometimes make a difference. I have a Quad 606 amp with an old-fashioned transformer. This filters the mains current better than the successor, the Quad 606 Mk2, for example. This has a toroidal transformer whose weak point is its ability to transform AC voltage up to 400 Hz. But I'm not too concerned about the whole issue. As far as the speaker cables are concerned...30 years ago I attached more importance to them. I still have Kimber 8TC and 4TC from back then, back then it was an ok price, today 2x3 metres of Kimber 8TC cost over 500 USD. Yes, it should be a decent speaker cable, but no hocus-pocus. Recently my daughter and her husband bought themselves a nice little stereo, a Bluesound Powernode with Stirling Broadcast LS3/5a. I recommended Canare 4S11 as a speaker cable and I listened to it on my system. It sounds very good and costs about 8 USD per metre. Because it has such a good reputation, some dealers on Amazon now want an absurdly high price for it, so some attention is needed. Here is a fair price, but in Europe. https://www.audiophonics.fr/en/bi-wiring-amping/canare-4s11-star-quad-speaker-cable-copper-4x208mm-o107mm-p-11708.html Canare is a leader in TV studio equipment, cables, connectors, etc. Japanese. The rca cable from them is also very good, the L4E6S https://www.canare.co.jp/en/products/cable_assemblies/index.php?tid=9_030 You can see that good quality for professionals is also good enough for the home at a fair price. Regarding banana plugs I use Deltron 579 and 550 (depending on gauge) to my highest satisfaction, it gives a very controlled connection, is silver plated and cost ca. 1.5 USD at Mouser the piece. The most important thing, apart from a overall good quality as a basis, is that the hearing adapts very quickly... as long as nothing is disturbing or annoying, after two days you have completely forgotten the difference between good 10 USD cables and 150 USD cables.

It's a bit funny, your room seems familiar to me. Dixie is very cute and unique, but when I see your LaScala (mine from 1977), the Tele, the ES175 and some Mcintosh gear, it's like coming home. Of course you have much more music gear in addition in your lovely room. I just have one guitar amp in my room, a Matchless Spitfire reverb since 20 years.

To some extent imaging could be saved by a more narrower bent in angle of the speakers.

The recommendations are mixed so far here in the replies. I would choose a beautiful wood floor. Randy mentioned the hygienic benefits. It looks much nicer. I'm no expert but you should keep an eye on the subfloor of the wood floor. I once had floating screed under a wood floor in a room. It absorbed some of the bass energy, which was negative. I don't know how to do it properly. Carpet looks boring in my view and it can quickly make everything sound dull and overdamped. I would choose a real wood/hardwood floor...with an acoustically correct subfloor. Then you can customise the room visually and acoustically with the number and thickness of beautiful carpets. By the way, the mid-range and high-frequency horns do not radiate so strongly onto the floor and under the ceiling. They usually only have a dispersion angle of 60 degrees. I can't help you with your question about the ceiling. But a photo would be very helpful, and other members will certainly have the knowledge and willingness to share it with you here. Personally I always find slightly underdamped much better than slightly overdamped, it kills the sound.

@Iteachstem I like your room and and the matching stereo system. I believe that @mikebse2a3 was not only necessarily addressing the very expensive stereo rooms with this thread, but everything that is beautiful and gives the poster a lot of pleasure. Just like Steve Guttenberg invited us to show our stereo. I like your dark, beautiful wooden floor...and I often have guitars around it too.

Under these circumstances, the LaScala will be the easier choice, but that's just my 2 cents.

Would you have a proper room to set up Khorns? Then I would perhaps go for those if I had to chose. At least it is what had impressed you time ago.

Welcome to the forum. Your LaScala look absolutely honest and original. In my opinion, they were bought very attractively for USD 1,000. Others will know better than I do, but the configuration of your LaScala is absolutely historically correct. The drivers are very original and the Type AA Xover also looks very original even with the authentic Klipsch wire, red and white, which I never would change against something „fancy“ from today.. Klipsch built it like this in the early 80s. Original with K77M. I wouldn't swap the original drivers if I were you, I think there was some confusion here in the forum a few weeks ago about the choice of K55V dual phase plug together with Type AA Xover...a confusion that has never been discussed before...as if the dual phase plug K55V wouldn't harmonise with a Type AA? I think this is BS as PWK himself would say in this case, and he designed it. If I were you, I would first leave everything as it is and listen. I would replace things in this order. First new rubber rings between K55V and K400 horn. Then just listen to see if the treble is too muffled. It could be that the Aerovox capacitors are too old. If they are already wet and leaking oil, I would replace them. There is a dealer JEM who sells the customised and selected polyester caps for your Type AA. Only they are Klipsch approved and it really doesn't make sense to use anything else because Klipsch was really looking to restore the original good sound. JEM is mentioned in the upper fixed zone in the Technical/Restoration zone. There really isn't much more to do for now. The bass should last forever if kept dry and not abused. Never change the coils and especially the autoformers of the Xover, they are worth their weight in gold and have a big impact on the original sound. I only realised this at the end of an odyssey after I had some wrong parts in my 1977 LaScala. You can also reseal the bass cabinet with thin insulating tape on the underside. Maybe you can think about replacing the diaphragms of the K55V with original new ones, but that would be one of the last measures of a fine tuning. In the meantime, have fun with your very great new acquisition.

Thank you, Mike. I suspect Thorens itself has rediscovered how timelessly beautiful the 124 is. I didn't realise that they were available again, at a proud price. The design fits in with our times again, like an MC275 or a Cornwall. If I didn't have my Oracle Delphi MK4 (which looks modern but in principle is already 43 years old as an MK1), I would be very tempted. Here is the „new“ TD124. https://www.thorens.com/de/thorens®-td-124-dd.html

When you wrote in the first post I changed the speaker wire I thought you meant the amp channel as well. Good thing it's not the Heresey that's damaged.

The various Jubilees are very tastefully integrated, I am amazed at how much I like the black HJs. Mike, can you tell what brand/type of turntable it is in the room with the MC240?

I tried biwiring on various speakers decades ago. Including my big Alnico Tannoy. I was not convinced. It can create a kind of pseudo-spatiality with some speakers. But my main subjective criticism is that the timing between the musicians becomes less exciting, and that strong impulses such as Lee Morgan's trumpet on Art Blakey's -Moanin'- are washed out. Conclusion, yes I hear the effect of bi-wiring, but in my case to the worse.

@gkryhewy already explained that he is a step further. I assume that nothing unforeseeable has happened that could damage the speaker? So no bangs or DC voltage from your amp (it is still running well well as you write). Normally a voice coil doesn't just break overnight, so I would think of a bad solder joint. But who knows. The tip to just replace (and mark) the woofer seems to be the best next step. And you should be able to do that yourself. I just don't know if the woofer connection is soldered or plugged in.

BTW i like your turntable and this vintage Sansui. In the house of my mother is still the stereo of my father who passed away 20 years ago. A Sansui QR 6500 with SP2500 speakers in the front.