soundog

Acoustics deepend on room dimensions, on placement of reflective , absorption and deflection surfaces throughout the room and on, of course, speaker characteristics and speaker placement. ie unless we are acoustical engineers, a lot of trial and error. But then too, even acoustical engineers can be wrong as in Avery Fisher Hall @ Lincoln Center, NYC initially and through many subsequent "adjustments".

The qustion is: will the attached backboard panels against the baseboards allow the recessed wall to serve as an adequate continuous extension of the Khorns base bin horn? Or will the lack of flat continuity be a problem?

What Max 2 did is very interesting. If the bass sounds great then this is a good idea. But I wonder because the seal to a 6-8 ft wall on each side was the whole idea of a khorn. Not a big problem when everything was monaural just needed one corner that had 6-8 ft of wall on either side. Stereo required a wall with two corners with 6-8 ft on each side! What I have experienced over the years was the attachment of 4x8 sheets on one or more sides of the Khorn to create a false wall where no wall existed or were an existing wall was not a solid straightaway due to windows. radiators, molding etc. If a window intervenrd then the 4x8 board would have to be placed over part of the window (not always ascetically pleasing). The idea of Paul's design was to create an extended bass horn by using the rooms side walls as part of the speaker because for a horn to acuratly reproduce low bass requires a very long horn ( horn tweeters have very short horns, midrange horns are longer and bass horns are very long ) therfore often folded as in the Khorn but the longer the horn the lower the natural reproduction of bass. Where moldiing or baseboards prevent a seal removing same is one soution or as suggested foam along each edge of the bass bin may work if the foam allowed a continuous seal from wall over molding ... a flat wall surface all around is best.

I have both 511Bs and Cobraflex horns. I like them both better than the 400s. I had to dampen the 511Bs to overcome a slight ringing but the Cobras were fine as is - must be the gasket between the two halves. The Klipschorn used University speakers in early versions and I read or heard that the Cobras were used in an early version but I can not find where I learned that. I've A=Bed them and think I prefer the Cobras but I think it depends on the material. I have two cobras and I use them as the center speaker in both systems instead of the LaScalas 400s I mount them over my TVs - the mounting bracket that comes with them is very useful. I am thinking of replacing the 511Bs with Al's wooden horns for my Klipschorn system.

Several thousand hours that is reduced by frequent "ons and offs", causing some people to leave tube equiptment on for extended periods. Deterioration is often very gradual, causing some to change tubes more frequently then necessary. Then there's the whole issue of "matched" tubes.

Only negitive is that tubes deteriorate and have to be replacec.

Only negitive is tubes deteriorate and have to be replaced.

I misspoke previously - I can not change the volume of the Dynaco preamp with the Outlaw remote but I can change the volume of the Outlaw - the pass through is for digital processing but the analog signal goes through the Outlaw's volume control. You press buttons on the remote to switch between various sources.

No, you can switch to something else with the outlaw remote but not change the volume as the signal is being passed through as is from the Dynaco tube preamp (which does not have remote posibilities).

I have Outlaw Audio seperates - a 950 preamp and a 7100 amp. The 950 has a bypass option that allows me to pass through the signal from my Dynaco preamp to the 7100.

For top rated seperates at a very reasonable price, check out Outlaw Audio website.

The Outlaw SS preamp is an excellent Home Theater preamp but the highs on music seemed a little too bright.m The use of a Dynaco stereo tube preamp mellowed the sound of CDs and also allows me to play records. I also have external DACs and upsampling devices that help make the CDs sound like LPs. I use ALK crossovers in my Khorns and 511B horns; otherwise they are original equiptment. Sealing the Khorns to the wall, the mods, AND room accoustical treatment have all improved the sound. Each has made a noticable improvement.

My amp is an Outlaw 7100 - 7 channel 100 watt per channel SS

Khorns were designed in the era of tube equiptment and they sound best with tubes. I use a tube preamp that passes through my Home Theater preamp and into 2 channels of my amp. This allows me to switch back and forth with ease, have the digital processing necessary for HT surround sound and the mellow tube sound from my khorns for music.

Sealing the bass bins to the wall is a must with Khorns. Another factor that is the most ignored but very important component of good sound is room accoustics. Optimizing room accoustics by adjusting reflections, diffusion and absorption of sound waves can make a huge difference! Wire adjustments will produce negligable results IMHO. Al's crossover upgrades make a difference as I bet his trachorns would also.

I like a tube pre-amp with a ss amp for music - IMHO there is no better value in ss amps than the Outlaw Audio line. Top reviews; low prices due to internet only sales. Great customer service.

I use a tube preamp for 2 channel music with ss amps , all solid state for home theater. I think tubes handle the high frequencies better (clearer more defined w/o metallic sound of some ss - especially important with Heritage speakers) with ss providing the powerfull punch needed for bass.

They offer sound quality on a par with LP records without any surface noise! They really shine when it comes to classical recordings such as the RCA classic "Living Stereo" series. However except for "live" concerts, I don't see a lot of value in the 5 channel surround SACDs - 3 channel is fine for most recordings.

I started with a University speaker enclosure kit and a University Diffusicone 12, a fu;; range speaker in the 50s.. I later added a University Sperecon tweeter . With the advent of stereo I duplicated this set-up. Then I bought a dual voice coil 15" University Woofer and a couple of University crossovers and another bigger University enclosure kit,. The Diffussicones became my midranges and the new dual coil woofer became the woofer for both channels - you see sub woofers go way back to the 50s. I had those speakers untill the late 70s were I used them in a nightclub I owned in NYC. They were great speakers. The original Klipschorns used some University components. I used EICO kit tube electronics.

Should be interesting to see what they sell for. What do you think of the white panels that seem to be screwed on? Or on second look just original wood painted white.

My father's cousin, Bob, had a Klipschorn. When my family would visit him he would play me a narrated recording of Prokofiev's "Peter and the Wolf". I must have been about 10 years old. I would close my eyes and it all came alive. I fell in love with the sound. As a teenager, I built EICO kits and University Speaker Kits because I had limited funds. I initially had one mono EICO HF30 amp and an EICO mono preamp. The University corner speaker enclosure was a kit and I started with a University Diffusacone 12" full range speaker. Later I added a Univrsity crossover and a University horn midrange and then a University "Spheracon tweeter". When stereo came around I bought the first stereo record when it arrived in Albany, NY. I got another HF30 and an EICO stereo tube preamp. All were kits. I had a kit tonearm made by Rec-o-cut and a Pickering cartridge. The turntable was a project from a kit builders magazine that took a low cost turntable with a great motor and litght 8" platter that I made weightier by adding a 4" cement surround per the magazines instructions. I wanted deeper bass and University had a dual voice coil 15" woofer and an enclosure kit for a 15" woofer. This became my subwoofer for both channels and the 12" Diffusicones became my midranges for left and right channels. It was the late 50s, early 60s when I built this system piece by piece. It was great! I moved it to NYC via Greyhound bus and the subways! But I always dreamed of owning Klipshorns. In the 70's I became addicted to alcohol and other drugs and opened a Strip nightclub on Canal Street in NYC at the corner intersection of Little Italy, Chinatown, SOHO and the courts. The speakers became part of the club and the strippers would sit on the sub cabinet which was turned on it's side on the far end of the runway. When I sobered up and recovered I became an alcoholism counselor and established myself by treating criminal justice clients with addiction problems. I now develop programs and train counselors for NYS. Several years ago I built my dream system - I now own a pair of Klipshorns, 8 LaScalas, and a couple of Heresys. My systems are described as part of my profile. I could not have built these systems without the help of the wonderful peple on this site. Tomorrow, I'm going to buy a copy of Peter and the Wolf since I don't own one. It should be interesting to see what memories listening to it will evoke.

I have not compared any of these side by side. Sherbourn is one of the companies that reportedly shares some of the Outlaw platforms. Outlaw is considered by many to be superior to Denon. All solid state amps tend to sound bright with Heritage speakers that is why I use a tube preamp for music and have paid a good deal of attention to accoustical treatments. You can not beat Outlaw for value period.

Outlaw equiptment is top quality electronics in plain cases. Many of the designs are used in much higher priced brands - same electronics - fancier cases. Their customer support is tops. Great reviews - make annual Stereophile recommended list along with equiptment many,many times their price. I have the old 1050 receiver still going strong and the 950/ 7100 combo. May trade up to 990. All work great with my Klipsch Heritage and THX home theater set ups. I do like to play music through a dynaco tube preamp into the Outlaw equiptment to my Khorns however - produces a mellower more natural sound.- although the Outlaw products alone are very, very good solid state products. No better buy around (except for old Heritage speakers).

The Khorn produces bass that sounds the closest I've ever heard to a live performance. If you want artificial "slam" it is not the speaker for you.

Duke- I found an early post on this board that states that it was rumored that the University Cobraflex horns were one of the components of the very early Klipschorns! Could be since University drivers were also used in the early Klipschorns.