ClaudeJ1

Honker indeed, but they are SO worth it. Also, the absolutely do NOT honk. Just the most spooky realistic female vocals you have ever heard.

If I had a Manley and it was too noisy I'd be pissed. I've used six different tube amps on my Jubilees and none of them were noisy. I biamp most of the time and still haven't had that issue. However I did have noise when I was using actives. I have passives built by Bob that were designed by Roy. They have the low end eq boost. I have no need for subs which is good because I've only heard two that I've liked. Hmmmm. "Low end EQ Boost from a PASSIVE network." And without batteries to boot. Must be magic or really, really, advanced science. I'm about to go active shortly, so I hope I don't experience the noise you speak of.

You can't ask that question without giving us a budget. IMHO, the best option is to sell off the existing top end here (or store in attic), then buy a K402 with K1133. Get a DE 250 from B&C with a QSC horn like mine. Then buy a mini DSP Xover and tri-amp it (You can get a 2x8 for this or two 2x4's and a 12 V power supply at Radio Schack. You will get rid of the peaks in the horns, PEQ it flat to 32 Hz.. and TIME ALIGN everything for superior imaging. You can cross to the K402/1133 combo at an Amazing 300 Hz. for home use, which is where the Khorn bass starts to get a bit funky anyhow. This will blow away any other mod you can come up with, IMHO. YMMV. If you want to go the cheap route, just replace all your capacitors with Dayton Polypropylenes from parts express.

I read up that that amp's design. That guy really knows what he's doing technically and represents "new school" of thought. Not that there's anything wrong with the old school. Looks like you have the best of both worlds. Your amps highly efficient and the output transfer function with loudspeaker compensation where it counts, and the less efficient part used where greater efficiency and low frequencies are not needed.

Mike,I believe that Mr. Pass's notes on modified cascode design is apropos here (i.e., "modulated cascode" on highly loaded power FETs) - that is the real contribution that enables Pass's power FET designs. His designs are also pretty elegant, i.e., simple, and avoid the following issues that tubes have: 1) high output impedance (requiring feedback to lower) that usually results in having to add more amplifier stages. 2) exceedingly low tube reliability for my tastes (in fact, it's just silly). 3) resulting even harmonic distortion of low-gain single-ended tube designs with low dynamic headroom, or the not-so-good effects of cascaded push-pull gain stages in order to achieve sufficient feedback to lower the output impedance to something tolerable. 4) cost to achieve a really good amplifier design. These are important considerations. I urge listening to one. I've got one in the D/FW area... [ ] Chris Nice stuff, Chris. I have always been a fan of Nelson Pass since the mid 70's. That guy really knows about non-linear behaviors of man-made devices from mother nature's materials and how to tame them. If the infamous "Bazoom 1" power amp had really existed, it probably would have been a collaboration between he and Bob Carver. LOL.

We all have a problem. But it's a good problem to have. Much cheaper than gambling, smoking, or alcoholism.

That would be frequency correction only. The Mini dsp won't do corrections in the time domain like the others will. But of course. I would still use Audyssey for the room, which I have on 3 receivers.

I was there for a PPA digital photo convention and happened to walk in about 10 minutes after Paul had left. I asked about Paul, but didn't introduce myself to Roy, since they were busy tearing down the show. These speakers were pretty.

So does Trey Cannon of Klipsch. That's what he told me in 2007 when I heard them side by side in Indy.

you are in the 99.99th percentile of the world.

320 VBR with the Lame (best) encoder had been found to be indistinguishable from the original CD. The reason Apple and the other download service don't do it is it takes 2-4 times the data, and would slow down their $1.29 purchases times millions of downloads. It's all about the money, not the fidelity.

All you gotta do now is teach her how to crimp and solder, eh? Congrats.

Edgar, can you post your Hornresp TXT file for the Jube so I can import it? Thanks

Now you know why I'm using currently, an EVM 15L in my FH-1's, you should see how THOSE model in my new horns. Here's the EV (black line) vs JBL 2225 (gray line)

Also wanted to point out that the rental was a straight DVD (not Blue Ray) and Dolby D. Years ago, I took back an expensive Sony blue ray player because I couldn't tell the difference in the sound on the original Transformers DVD vs. Blue Ray version, only the picture quality. So I waited for prices to come down first. I think it's more the sound engineering rather than compressed vs. uncompressed in terms of SOUND. This "Dead in Tombstone" reminded me of this early comparison. Great sound and the picture was acceptable in a more economical format. I noticed that Family Video carries a lot of new titles in DVD only because not everyone has upgraded to Blue Ray. I suspect that some never will. When 4K comes around, I think they will be loading the movies onto thumb drives instead of renting plastic.

Well, I guess nothing beats the plane crash scene in FOTP, but, OVERALL, the amount of LFE used throughout the movie is what I'm talking about. Also like TRON.

Forgot to mention the custom 2.1 Mini DSP plug-in is $10, so about $220 for the whole thing..........automatic room correction. You can also do all kinds of other measurements with REW besides the Auto Mini DSP stuff. Just got mine yesterday, so I will keep you posted on progress, or lack thereof, if that's the case. LOL.

Those other product$$$$ are pricey options. Just get a Mini DSP 2x4 for $105, a $20 Radio Shack 12V. power supply, the Mini USP UMIK test microphone, and free REW software for your laptop. About $210 total. http://www.minidsp.com/

No need, if you don't hook up speakers to a 5.1 or 7.1 receiver, Audyssey ignores them on the second go-round (out of 3 or 6) and you end up with 2.1 with extra power supply umph on the remaining 2 channels, or you can just use the Pre-Outs to whatever 2 ch. and sub amps you have and it will still do it's thing on the signal side.

"Dead in Tombstone" with Danny Trejo. Exercised my DTS-10's more than Flight of the Phoenix, overall.

1. they were together less than 10 years 2. the audio quality of some of their recordings 3. half of them are dead.

Walk away from the keyboard. I repeat, walk away from the keyboard......................

LaScalas start to lose bass in the 100 Hz. Range. the horn length is less than 3 feet, so at 1/4 wave it's about 100 Hz. rolloff. But the oversize "sealed doghouse" has a resonance that attempt to extend the bass below where the horn part has already unloaded. Sub required.

It's like owning a Bugatti Veyron and no place to drive 220 mph. plus without killing yourself and some innocent victims.

Well, I started to mention that. OTOH, I MADE them when my ears were 20 years younger and they were quite silent. Some of the R2R I made in the 70s using DBX and Ampex GrandMaster. AGM on a 15IPS deck was pretty close to silent anyway. DBX 2:1 compression yielded an SN in excess of a 100db. Dave Yes indeed! I remember the first time a heard a master tape on a Crown R2R with DBX, back in the 70's, during the development of the Philips CD standards (as a member of the Audio Engineering Society). This was a preview of things to come from the digital world in terms of silence, sound dynamics, etc. Heard over a pair of Khorns at the time and it blew me away. This was why I was on of the first people in Mich. to spend over $1,000 in 1983 (what would be over $3,000 today) for the very first CD player, a Sony. Problem was finding available program material even at $20 a pop. I remember Telarc used to make all-digital classical recordings put to vinyl, so they were the first to provide CD demo material because it was easy to convert.