stereohermit

Ive used the 85's in the past and found them to be the best thing sonically, short of the TAD 4000 series.

So sorry to confuse the issue. I thought Islander was inquiring about an active crossover that was non digital. Analog based active crossovers of course dont have signal delay capability, generally... Ashly XR series, Rane AC series, TDM, etc., but as BSS calls it Band Edge Phase Adjustment see: http://www.jesther.com/BSS%20FDS%20360%20manual.pdf, page 6. We are very much in agreement on the digital side of the crossover issue, including your methodology. The timbral shift I was mentioning, is just an unfortunate side effect of over 40" of time/distance between woofer and tweet in stock La Scala. Remember, when you are 3' in front of the speaker, you are almost 6 and a half feet from the actual woofer. Time-distance measurments I have made show lo freq level drop to distance to track driver as source, not horn mouth as source. If youve ever wondered why they sound so thin way up close, this is the reason,(among other factors).The radial mid was designed for no baffle just plenty of moretite.Scalas were never known to be good near field monitors...much of the reason is they were likely voiced further back.

e analog crossover Islander was asking about dosent have time delay, only edge band phase adjustment...which would not be the same as signal delay or physical delay.

Point well taken, however I find with the Klipsch, there is a problem with tambral shift with distance, since, stock, you are differing distances from the three sources. The tweeter falls more rapidly with increasing distance, relitive to inverse square law. Only physical alignment will correct this...

The xover you?re probably referring to is a Rane AC-22, or maybe one of the Behringers. Not very transparent, two demnsional...not so good. I know this cause ive used them in pro situations. Also, the "time delay" is not the same as physically ajigning the driversxxxxxxxxx

When Ifirst bought my La Scalas back in 1979, I time aligned them, kept them that way ever since. Whenever I go back to stock, I find them forward, dry and two demensional. I also can tell you the tweet /mid interaction problem, mentioned in this thread, is mostly due to the time stagger.

Canon A-520, laggy shutter, otherwise decent. Seems like dynamic range problems in all these small digitals.

Probably a bad tweeter in the non-hissing speaker. The hissing is system noise, which, if even on both sides , again points to a dead tweeter.

Reducing swawker level on these large Klipsches can really exacerbate the real problem, lack of constant directivity, or flat power response. The system lacks off axis energy from 2-5k, and reducing mid driver level wil just make the power response sag even more in that region. This is probably why the new heritage series has lowered tweeter x-over to 4500.Louspeakers are a myriad of compromises!

Notice in the newest klipsch literature, the Klipschorn, and La Scala have a k-77f tweeter, while the 60th anniversary Klipschorn has a k-77D tweeter. Hand selected? Or just a typo?

Ah....VERY interesting. Good to see they finally went to fixed resistors for level attenuation. I found many years ago that good fixed resistors sounded way better than the autoformer. I recommend Caddock or Vishays. What also works well are stacks of parellel, small fine resistors. I'd calculate the value of the mid system to eight ohms to help linearize the impedence envelope.The autoformer would let impedednce climb, with increasing frequency, giving the system upper mid glare when used with amps of highish output impedence.The resistors klipsch is using are a tad high on inductance, unfortunately, since cost is a factor.I'll have to give these new La Scala.'s a listen!

Is the new K-77F tweeter ferrofluid, by chance? Also, what slopes are they running in the AL-4 ... 24 db/octave perhaps? And the mid lo-pass? I see they lowered the freq. to 4500, which should be better for the power response.

third times a charm!

Trying to upload another early photo

some early pics

Klipsch used to make a three box flying system called kp-600. With innovative balsa core consruction, it was light wieght, efficient, and reasonably competitive with many other systems on the market then. However , timing was bad because line arrays were starting to come in about that time, which of course make more sense for a multi-box flyer. Never heard one but saw them at NAMM several times. think they sold for about $9000.00.

I've filled my profile and equip. list but it dosent show when i post, what am i doing wrong?????

Also, if I recall, the C network kept all drivers in phase.

Yes, however its been a few years now. Seemed pretty good , especially for that era.

have not heard the focals but have heard one of the most expensive speakers ever built, the Wilson Audio Alexandria X-2s. They sell for $140,000. dollars...no typo!!!! They are one of the few direct radiating systems than come close to the dynamics of the large Klipsches. A wonderful sound indeed, however not quite worth the price! I have one of their smaller systems the Watt/Puppy 7, which is fantastic however. Go to Wilson Audio.com and check them out.

Had a pair of heresys with a K-56 mid driver a few years back. Had push terminals, and looked identical to k-55v excecpt for model no. Also had a type "C" network. (all in phase).Anyone have details on this?

That is the paradox of the horn. The mouth is x size for a given cutoff, but at least with exponentials, this also describes a point which the horn will start to beam. Some feel this is limited to about 2 octaves in width.Us horn enthusiasts dont mind since there is a myraid of clever engineering techniques to circumvent these issues, among others , making this one rewarding hobby!

Heres a 12" "triaxial University"

ring mode decoupling, perhaps. Tend to see it alot in theatre applications