wallflower

Well we (I and another wonderful forum member (Tom Keady)) just completed the 60th Anniversaryesque updates to my Khorns. I have to say that Tom's skills are extraordinary and there's simply no way I could have ever done something like this without his help. Thanks a million Tom!!! I have to report that the project was a complete and total success. We took many pictures throughout the process and will share them when I get the chance to upload the pics. I can also report that IndyKlipschFan is absolutely correct about the results. It's stunning. Currently I have perhaps one of the worst setups you could imagine for a pair of Khorns and they sound wonderful. The bass is deep, full, rich and extended. I don't even have a corner for one of the Khorns and it's still producing amazing bass. My entire basement is energized by these things. Before we put the backs on the Khorns they were completely lifeless in the bottom end when out and away from corners, but now they're tremendous. You can toe the speakers anyway you want and they sound fantastic.<?xml:namespace prefix = o ns = "urn:schemas-microsoft-com:office:office" /> Thanks to IndyKlipschFan for his many insights. Thanks too to the fine folks at Klipsch for their guidance. And thanks again to Tom Keady for being such a great friend and helping me undertake this rather large project!!!

I'd jump all over those Khorns, but I wouldn't let your La Scalas go. The La Scala sound is really something special!

Definitely try the Rega.

Michael - I want to make sure about the way I'm going to put the backs on my Khorns. Judging from the pictures it looks as though the Klipsch engineers determined that putting the backs inset is not an issue. Just wanting to confirm what the pictures seem to indicate. Bob - Thanks I've already thoroughly perused that thread. Thanks!

After checking the specs on the Klipsch web site, it appears the dimensions of both the standard Khorn and the 60th Anniversary editions are identical. So the question is, does adding a back on the Khorn -- like the 60th Anniversary edition, which is inset -- and which marginally minimizes the throw compared to a Khorn against a wall, compromise the bass extension of the LF coming out of the bass bin?

Are the dimensions of the 60th Anniversary Khorns the same as standard Khorns?<?xml:namespace prefix = o ns = "urn:schemas-microsoft-com:office:office" /> After looking at the 60th Anniversary Khorns it appears the backs do not exactly complete the bass bin of the Khorn as was originally intended (?). It looks as though the backs are inset into existing Khorns which would seem to remove some (albeit little) volume and throw for the bass horn (ex. Volume = 3/4" X the area of the backs). Correct me if I'm wrong, but when Khorns are placed in a corner, the wall is what completes the backs of the cabinet and the wall rests against the back of the speaker rather than being inset in the speaker, as it appears on the 60th Anniversary Khorns, which leads to my following questions... 1. Is my assessment correct of the build of the 60th Anniversary Khorns OR did they change the design (i.e. increase the size of the cabinet) to accommodate the backs to remain true to the original design intent? 2. If they 60th Anniversary Khorns are of standard dimensions, does it really make much if any difference if the back is inset in the cabinet OR is PWK's original design somehow compromised by this alteration? It would seem if there's a compromise to the original design, that the easy solution would be to add backs truly on the back of the Khorns, which wouldn't be as aesthetically pleasing to the eye as the 60th Anniversary versions, but may be more exact in terms of completing the bass horn. With the help of a fellow forum member, we're about to undertake this project and before we start cutting I'd appreciate input from the forum. Thoughts?

What would you all recommend as the widest effective separation of Khorns without a center channel? Thanks!

Thanks for the help!! You were exactly correct. It's interesting that today I called Klipsch tech support and even they didn't know that some of the Khorns came with the HF and LF sections individually serial numbered (four serial numbers for a pair of speakers). This forum is a wonderful resource for all things Klipsch!! Thanks again!

In looking at a pair Khorns I noticed the serial numbers are off by one number (i.e. XXXXX557 and XXXXX559). Any ideas on how or why this might have happened? In 1988 was this perhaps considered sequential serial numbering? Thanks,

Funny thing you should bring that up...<?xml:namespace prefix = o ns = "urn:schemas-microsoft-com:office:office" /> I've listened to the aforementioned $15,000 Wilson Audio speakers and the much more expensive speakers in the WA line and each time, after multiple listening sessions, I come away dumbfounded as to what anyone would find compelling about those speakers. My guess is the reason high-end audio stores push them is because there's a substantial profit margin. There is no way that those speakers sound as good as Klipsch Heritage (La Scalas, K-horns, etc...) speakers. <?xml:namespace prefix = st1 ns = "urn:schemas-microsoft-com:office:smarttags" /> NO WAY. A lot of high-end stores are very good at talking dismissively and condescendingly about Klipsch. They say things like, first Klipsch went away from high-end stores, and then they went to the mid-fi retailers and now they're found in Best Buy. They also talk about how bad horns sound. Well they've probably only heard the Heritage line with poor electronics, and as we all know, with poor electronics, it brings out the worst in the horns. There are a lot of ignorant folks walking about.....

pauln-<?xml:namespace prefix = o ns = "urn:schemas-microsoft-com:office:office" /> I have a pretty broad range of music I listen to. Late 50's/early 60's jazz (the standards). Most all those recordings are on CD. Most of my classical music is on LP with some CD's. I prefer chamber baroque music to symphonic music, but I listen to both. I very much like Vivaldi, Bach and Mozart. I also enjoy new music like Norah Jones, Diana Krall, John Meyer, Steely Dan (new and old) etc... I have a lot of rock from the 70's on both vinyl and CD. Amazingly the jazz CD's just sound fantastic on the Saturn, which is really something considering when they were mastered (obviously in Analog). All in all my collection includes approximately 500 CDs and 650 LPs. System: JMA BlueBerry Xtreme Conrad Johnson MF 2500 A Rega Saturn CDP VPI Scout/JMW 9/Dynavector 10x5 1981 La Scalas with Bob Crites AA networks

Dave,<?xml:namespace prefix = o ns = "urn:schemas-microsoft-com:office:office" /> Your input was very helpful!! And I'm convinced the Scout is optimized. That's not the issue. What's going on is the Saturn is just that good. It really can't be described; it has to be heard to be appreciated.

Interestingly, I've just recently purchased a new VPI Scout w/JMW 9 tonearm and a Dynavector 10x5 cartridge, so in theory it should be my new "toy", and it is. While it's very good and allows me to enjoy my vinyl collection, it's not even close to the sound that my Rega Saturn produces. Rather than describing the Saturn as vinyl like, it's probably more accurate to say its analog sounding. Vinyl has a distinct and wonderful sound, but good CDs played on an excellent piece of new technology, such as the Rega Saturn, is in a completely different league. IMO Rega has redefined the potential of Redbook playback. I'm sure others will be following their lead.

I went to a garage sale today and found a treasure trove of an album collection. There's a bunch of rock from the 70's including the Beatles, Elton John, Led Zeppelin, The Who and on and on. There's also a bunch of classical music and opera box sets (at least 25 sets) (Mozart, Beethoven, Brahms, etc. ). Some of the albums need some cleaning up, but all in all many look excellent. The box sets all look to be in terrific shape. There's even some old Dean Martin and Tony Bennet. A very nice copy of the original "Will the Circle be Unbroken" by NGDB. Several nice Sarah Vaughn LPs. Even some Bill Monroe! It's a pretty eclectic collection, but very fun. There's actually so much here that I'll probably need to share the bounty with forum members. After I get caught up I'll let you all know what's available. Cheers! Jeff

zuzu-<?xml:namespace prefix = o ns = "urn:schemas-microsoft-com:office:office" /> Do you have any tubes in your system (not sure about your AR SP 11)? If not, that can be a way to dramatically improve the sound of the distorted guitar (read: rock guitar) sound. Vinyl helps too. Regarding "well recorded".... Anything with David Gilmour on it sounds great; about as good as it gets. Interestingly I was listening to an old album of mine last night, REO Speedwagon of all bands, and their live album, "You get what you play for", is excellent. Gary Richrath's guitar sounds terrific on that recording. It's very fat/thick. Great recording, great songs with none of that pop crap they recorded in the early 80's. For great rhythm guitar (and this is on gold CD), contact Acoustic Sounds and get a copy of the Bad Company re-release. Haven't heard it, but that ought to please. Man was that a great group!! Jimmy Page is great, but unfortunately most of the recordings of his work, aren't so great IMO. Good luck!

Hi John,<?xml:namespace prefix = o ns = "urn:schemas-microsoft-com:office:office" /> Welcome to the forum!! I'd like to dispel the almost urban legend on this forum about the lack of bass response with La Scalas. I would postulate that most people that have determined La Scalas are insufficient in terms of bass response have done so because either A. they weren't using enough OR the right kind of power to get the most out of the La Scala or B. they didn't have the speakers properly setup or C. they weren't using an effective front end or D. ALL OF THE ABOVE. The bottom line is, with enough of the right kind of power, proper setup and a good front end, the La Scala will provide a VERY lifelike presentation of music, including the bass response. The only place you might notice a deficiency in bass response is if you played a lot of pipe organ music, hip hop or HT. In those cases you might want to augment the La Scala with a subwoofer. But for most normal music with typical instruments, the La Scala is a fine speaker and will produce the LIVE sound that Klipsch Heritage is known for and will do it without making the listener feel as though they're missing something. I'm sure you'd love the La Scala II. Cheers! Jeff

With the Dynavector 10x5 the total was $1669.00. Jeff

Take your time and look around for pricing. I just priced a VPI Scout with JMW 9 arm for $1350.00 NEW. At that price you can just about get the dust cover included for the price you were quoted. Jeff

I've got one of the new aluminum chassis models and it looks even better in person. I really like it a lot. Mark did a really nice job with the design of the new chassis!! Jeff

Mark- What's the BlueBerry-II? Jeff

Mark Deneen makes an excellent product!! And he's a wonderful person to work with.<?xml:namespace prefix = o ns = "urn:schemas-microsoft-com:office:office" /> I had listened to a forum member's Merlin and decided I liked it enough to take the plunge and get the BBX. The BBX takes the Merlin concept to a whole different level. The sound of the BBX is open, neutral and dynamic. It throws a huge soundstage with tremendous depth and great separation of instruments and voices. The detail is fantastic. I can highly recommend the BlueBerry Xtreme! Jeff Bredthauer

boomac-<?xml:namespace prefix = o ns = "urn:schemas-microsoft-com:office:office" /> I should have said "a $5,000 tube pre-amp". It was a Conrad Johnson CT6. The audition was in my listening room (the same room). All the sources and other components were the same. I also have a Conrad Johnson PV-14L tube pre-amp (certainly not a $5,000 pre-amp, but decent none the less), which isn't even close to being in the same league as the Merlin sound wise. The Merlin is more open, has more depth and detail, much better mid-range and most importantly is more neutral than either of the CJ's. The only things I'd like to see added to the Merlin are a remote and a grounded power cord. However, the remote would add considerably to the price so I could live without that. I started a thread a while back about the differences between SS and tubes for recreating the live sound. I still think my little SS preamp sounds more like live music, but that doesn't mean it sounds better. I think for sitting and listening to the music for any length of time I'd prefer to listen to the Merlin. What a great little pre-amp!

Michael,<?xml:namespace prefix = o ns = "urn:schemas-microsoft-com:office:office" /> Certain power amps can be a problem. I had (still have) an Adcom GFA 555 that did not work well with the La Scalas - it was too grainy. With other less efficient speakers the Adcom is fine. Switching to a better (actually much better) SS power amp made an enormous difference in my system. However, in general I would agree with what others have said and reiterate that the pre-amp makes a huge difference. I'd definitely give very serious consideration to getting one of Mark's pre-amps and going with a separate power amp. Mark is really on to something. You can officially include me in the Juicy Music fan club!!

Another forum member brought over his newly acquired (used) Merlin this weekend and all I can say is WOW!! Mark Deneen is making an outstanding pre-amp. I've auditioned $5,000 tube pre-amps that I didn't think sound as good as this Merlin. Now I'm really curious what the Peach and the BlueBerry Xtreme sound like. Of course I know I'm preaching to the choir, but for a complement to the Klipsch Heritage speakers it's hard to imagine a better bang for your buck with a tube pre-amp than something from Juicy Music Audio. Way to go Mark!!!

Michael,<?xml:namespace prefix = o ns = "urn:schemas-microsoft-com:office:office" /> Regardless of whether it's SS or tubes, getting into some higher end gear is going to make a big difference for you; you'll notice a lot more detail and nuance to the music.