KT88

How is the balance now between squaker and tweeter? May be that it could sound a bit less loud because most of our loudness impression may come from the squaker, but that drop you could compensate with your volume control. Relevant is if the tweeter in now louder in relation.

I am not so sure about that, Randy, they could loose there balance a bit and do not melt with the room so nicely. The angle of the small stands makes some sense.

If it's not a big problem for you, I would take the white speakers out of the room for a day so that the Heresy2 can radiate more freely into the room. The bass often depends on the specific room. Sometimes it helps to change the distance between the speakers a little, i.e. the distance from left to right but keeping at the wall, sometimes the bass changes just by a few centimeters. Congratulations btw. In addition the white speakers if they are ported, they could suck some bass energy away from the Heresys. So a second reason to put them away at least for some testing.

Are you sure to need new diaphragms for your K77M tweeters? Or are you searching for K77M in the first place? If they run they should be good. The diaphragms which are in the market today are mostly cheaper and not so good sounding diaphragms from China. The old original ones of a K77M are good sounding if they are working and original.

I can only agree with that. The CT125 in my 1977 Lascala gave a kind of soft hi-fi sound, of course they were also too quiet, but that wasn't all. The vocal authority of female voices, the powerful dispersion of the original K77(M), the way e.g. an old CSNY recording fills the room with energy, an acoustic Martin guitar, all this is so much more authentic when using the original K77 or K77M. The directivity characteristics together with the K400 create a sound that is one piece. I'm happy to put up with a little sibilance from the old tweeter design. Incidentally, it was almost gone when I finally used the original T2A autoformers and the SPL ratio to the K400 was right.

I would do that.

That was exactly the same thought I had. I sold a pair of CT125s to @ronajon for his Cornwall 1. He likes them, but it would be nice if the SPL was a bit more balanced. They were too quiet for my LaScala but for his Cornwall they should have some reserves as the efficiency of the Cornwall is a bit lower. What does he need to do to get the SPL of the CT125 to match his Cornwall exactly?

soundbound, I think it's about time we had a cold beer together and listened to some good music. I mean that wholeheartedly, honestly and not sarcastically. @billybob it wasn't meant to offend anyone, sorry if it came across that way.

Thank you for going to so much trouble for me, a complete text analysis, what have I done to deserve this. I'm just an average sound and music lover, but maybe I should buy some very professional measuring equipment, an anechoic chamber and a lot of other things I should have before I post anything here about electronic parts which have been proved by authorities.. But I'm not quite sure if it would give you enough comfort. Frankly, I don't think arguing about different brands of polyester caps is a good idea, and it also seems a bit obsessively neurotic to me...supposedly in the service of science and absolute accuracy.

So far I know the original wiring of vintage Klipsch speakers is 16AWG and I am totally fine with it.

This „few new caps“ were not soldered in by trial and error, I strictly followed the recommendation which were given officially here in the Forum by Roy Delgado. He did long term testing of different caps to replace worn out Aerovox caps and his final result one can purchase at JEM in the US or I bought equal Polyester types in Europe adding for the same values. I only followed this path and I am happy with the result. From this point of view, you are assuming the wrong things, I am not posting any "listening impressions" of any randomly purchased capacitors in this high-class forum. The same is absolutely true for the only choice of the really correct T2A autotransformer. If your tone was a little less derogatory this planet would be a better place.

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I still haven't invited you because it's still not operational with the active crossover. Not because I didn't want to invite you. There were so many other things to do in the family. The passive version as it still is would not have been good enough to demonstrate. Feel free to think it over until spring. You are very welcome.

I can imagine that it could make a positive effect. But this way the UJ become more and more beautiful, and eventually my dear wife leaves me.🙄

Most of them may never have listened to the „right“ capacitors to have a fair comparison against the Sonicap sound They just think it is good but it is not.. I can say that I had a BC AA xover as a replacement of my original AA bought in 2009 because the original caps were leaking. At that time I was not in DIY but now I am. That purchase was a big mistake. Not only that the original great sound is back since I replaced the Sonicaps against the right capacitors, also the autoformer was completely wrong in the BC xover, no comparison with the original T2A.

I have the impression that many new owners of old vintage Klipsch speakers always act much too fast and are much too impatient. Replacing the bass chassis would be the least sensible thing to do. My 1977 bass chassis in my Lascala play like the first day. You should innovate a little more systematically. As DeanG says, first swap the caps for polyester types if the original Aerovox are damp. Later change the rubber rings between K55V and K400, they are mostly crumbled but very important for good sound. The diaphragms of the K55V could...later then maybe also be exchanged. The K77M tweeter should be completely ok if they are still original. You can remove one of the diodes in the tweeter circuit to open this circuit. There is not much more to do. Maybe you can reseal the bottom plate with insulating tape to be able to drive the K33 full bass. Many new owners are not only impatient but they are doing way too much. Worst if you do everything at the same time.

He already has

We could arrange a date for the next spring if you like. I can send you my email as a PM. Yes, I know your area, very very nice in the Netherlands, I have every year a week with two old school friends for 18 years where we rent a boat in North Friesland. For Americans it is a distance like for us to get bread rolls.... @MicroMaraas well if you like.

My current configuration. The Quad 606 I bought cheaply four months ago and installed new electrolytic capacitors, because I want to drive the bass with it and with a Quad 306 the K402 TAD. At the moment I have other projects, when the time comes and it is ready you are welcome to visit me, I probably have the only UJ in Germany.

Very interesting what you write. BTW I think that the old not particularly filigree sounding K69 nevertheless least the treble beams because it is a real 2 inch driver. The Faital HF200 (actually looks like your HF20A) is also a genuie 1,4 inch driver but the adapter has a wide opening angle which suits the K402. Unfortunately, my best driver, the TAD4002 beams the most because it is actually a 1.4 inch driver and has a long low opening adapter piece to 2 inches which is more suitable for exponential horns. Another point, if your passive xover is really designed for the Jubilee then you have to modify it if you want to use it for a Khorn. Because the Tractrix horns, unlike the K400, do not have a linear sound pressure curve. With your arrangement on the last picture (lowering the K402), have you entered additional time delay into the active DSP crossover?

What else😀

OilyBoy, I have a Faital HF200 with a passive third party xover for my UJ. I do not know the Faital HF20AT. I googled it and it seems rather similar? I have the 16 ohm version. If the HF20AT is different who designed the passive xover for it, is it a one off? Active driven I use a TAD 4002 and a Yamaha SP2060 using Roys settings. I am in Cologne, not so far from your place? Do you still use your Faital driver actively now?

About damping factor, autoformers and Mcintosh, also Nelson Pass comments. https://www.diyaudio.com/community/threads/mcinformer.30240/ I wouldn't worry too much about damping factor, it leads to absurd technical values that have nothing to do with sound quality under normal circumstances. If damping factor was so extremely crucial then every tube amp on the planet which is not OTL would have to be thrown on the scrap heap. Here you can read the relevance of DF from the professionals PA perspective, Wire length counts more to them than the DF of an amp. https://eaw.com/amplifier-damping-factor-more-is-better-or-is-it/#:~:text=Amplifier damping factor (DF)is,stop the cone from moving.

@BacekThank you for your responsible report. I think that one has to guard a Jubilee better so that no mistakes happen during such a important presentation. Too unfortunate if there is bad press just because of sloppiness.

I would like to bring an example. My tube amps have a very nice sound in some respects. I won't go into details, but spaciousness, strings, airiness and much more...everything is wonderful. Especially with Klipsch speakers, my old LaScala. But I want to balance my impressions a bit. For example, I really like that absolutely thick and powerful guitar tone of Jazz guitarist Pat Martino. His 1972 recording of "Road song" or "How intensitive" has a physicality and a powerful roundness over my Quad Transistor amps, especially my 606 Mk1, that none! of my tube amps can realize. I'm talking from 4 watt 6V6 single ended self build by a friend, Audion 300B 7 watt SET, Leak stereo 20 PP EL84, Quad2 KT66 PP, up to Mcintosh MC275 Mk4 KT88 and MC2101 8x KT88. This is not to say that my Quad606 is better in every way, it is not. But I am saying that there is no such thing as the best...apart from the synergies. My meanwhile 30 years old Tannoy 15" Alnico Canterbury also have high efficiency but the crossover is a bit tricky and they were designed for mighty SS amps...unlike the very old Tannoy gold monitors from the early 60s with 16 ohm coils and 20 watt max handling which are happy with everything tube. Mine have been in the 70s under the designation HPD385 in the Abbey Road and Decca Studios in London in Lockwood cabinets always paired with Quad SS amps. Alan Parsons has mixed with them the "Dark side of the moon" for instance at Abbey Road Studios. So please, there is not only one side of a non plus ultra. Both can please us to the highest level, tubes and sand, even AB sand...with the right partners in each case.