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  1. If the Klipsch Jubilee ad copy is referring to an expired patent, why not make the same advertising claim for the current La Scala and Klipschorn? Both were patented products in their day. Klipschorn: 2,373,692 granted April 17, 1945 La Scala: 4,138,594 granted February 6, 1979 Lee
  2. How does having an "understanding of patent law" matter here? Either the new Jubilee's bass bin design is protected by a Utility Patent because it is novel, non-obvious, etc. or the Jubilee's appearance is protected by a Design Patent. What am I missing? Lee
  3. Does anyone know the patent number (as cited in the ad) for the new Jubilee? A search of the USP&TO website revealed no recent patents issued or pending for Roy (Rogelio) Delgado that would describe the re-designed Jubilee bass horn. Surely Klipsch is not citing Roy's patent #5,898,138 issued on April 27, 1999: Loudspeaker having horn loaded driver and vent. Lee
  4. For all the Klipsch earphone fan boys/girls: https://audioxpress.com/news/dirac-and-klipsch-collaborate-to-enhance-the-next-generation-of-headphone-audio-performance Lee
  5. One of PWK's favorite greeting to someone he didn't know was to stick out his right hand and say, "I'm Paul Klipsch. I presume you know who you are."
  6. Alexander, et al, Here's a great video showing not only how to construct fabric covered panels but also how to easily mount them to your ceiling (or walls) using a version of the French cleat. I wouldn't mess around with one inch Roxul (or any absorbing material)---get the two inch. You can also space the finished panels away from the walls or ceiling and gain more absorption. Treat Roxul just as you would Owens Corning compressed fiberglass panels---wear a respirator, long sleeve (disposable) shirt, disposable gloves, goggles or safety glasses, etc. Work outdoors unless you want a room full of particulates from the cutting and handling. Be sure to round the corners of your frames--it'll look nicer and won't tear the fabric when you pull it tight. https://www.youtube.com/watch?v=XIP2Mix_bwM Lee
  7. angelaudio, et al, Here's an interesting article on the design and construction of a "Klipschorn" using a 12" woofer. Lots of good design data to chew on. https://worldradiohistory.com/UK/Elektor/INDIA/Elektor-In-1989-05.pdf If you aren't familiar with the www.worldradiohistory.com web site, it is a treasure trove of downloadable magazines and publications. Back issues of most all the audio-related magazines from U.S., UK and other publishers are but a fraction of the offerings. You can search the entire site (not recommended unless you have hours to see each result) or a specific publication. It will return the year(s) and issue(s) your search term generated. Lee
  8. Attached are two crossover network schematics of the Forte I and Forte II I found on the Klipsch forum. I assume these to be accurate. Note that the circuit topology is identical for both and with the exception of the inductor in the tweeter filter, all passive components differ only in value. Note also that on the Forte I schematic that the squawker is wired with inverted polarity but not the tweeter. On the Forte II schematic the tweeter is wired with inverted polarity but not the squawker. Can anyone explain the following: 1. Why invert either of the two drivers in the two Forte models? 2. Why was the squawker inverted on the Forte I and the tweeter inverted on the Forte II? I looked at a dozen or so Klipsch crossover networks posted on the Forum and found a few networks with driver polarity inverted. AL-2: squawker and tweeter AL-3: curiously, all drivers wired "normally". Heresy II: tweeter inverted Obviously, changes in drivers or network topology may dictate the necessity of inverting the polarity of one or more drivers to achieve a more uniform frequency response. But I find it curious that the Forte I and Forte II inverted different drivers in the two respective models. Lee
  9. About 40 years ago I drove to the Hope plant to see the anechoic chamber I heard was under construction. When I got to the new lab, I was startled to see Paul rotating (OK, he was spinning) the corner turnstile as fast as he could by hand. I remember feeling the rush of air as each quadrant's dividing wall sped past. He probably "aged" the bearings 20 years in 20 minutes! I don't remember who else was there at that moment but Paul was obviously in his element smiling and telling how the "door" was conceived and constructed. I believe he told me the vertical shaft had Ford truck axle bearings at the top and bottom. Maybe Jim Hunter can fill in here. I've attached two relevant documents written about forty years ago; the AES paper, Anechoic Chamber with Optional Boundaries co-authored by James R. Hunter and Paul W. Klipsch (Note Paul gave Jim top billing); U.S. Patent 4,387,786 titled Anechoic Chamber Arrangement, also co-authored by Paul & Jim. Lee Chamber patent.pdf AES Paper.pdf
  10. Wonder if Speakerlab got good deal on those toilet wax rings?
  11. Let's hope Stereophile doesn't request a pair (CW IV) to review. If they do get a pair, Chief Bonehead should be present when the measurements are taken. Better yet, fly John A. in with his test gear and oversee the measurements in the listening room and the chamber. Lee
  12. If you live in the Mid-South, you'll soon learn that cardboard boxes are a residence of choice for the Brown Recluse spider. Klipsch used to sell the cardboard shipping boxes for their Heritage models. Lee
  13. Thought I posted this version of the 8 cardinal points from a 1976 full-line Klipsch brochure. Lee 8 points brochure.docx
  14. garyrc wrote, I believe there were 8 principles when PWK first stated them. I searched for them, but couldn't find them. Looks like Zim. just posted the link to one source. Here's one that Gil posted a few years ago. https://community.klipsch.com/index.php?/topic/46835-article-eight-cardinal-points-by-pwk/ Note that these are the "Eight Cardinal Points in Loudspeakers for Sound Reproduction" (emphasis mine)---not the top 8 loudspeaker design goals. I think PWK wrote this IRE Transactions on Audio paper in 1961 to complement the audio research of Bell Laboratory, William B. Snow's ground-breaking 1953 paper, Basic Principles of Stereophonic Sound and others allied in the field of sound reproduction.
  15. https://www.klipsch.com/our-technology Scroll down to see The Four Principles of Klipsch Sound. Looks like Roy's "response" to Stereophile separated Principle 1 (High Efficiency/Low Distortion) into his "sound principles" 1 & 2 and left out Wide Dynamic Range. ¿Qué pasó? Lee
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