Arkytype

Definitely 1305. Dad lets me drive on the driveway, but not on Monday.

Thebes, et al I had heard that Simon & Garfunkel's Bridge Over Troubled Waters used a stairwell for the reverb effects. Here's an excerpt from an interview with recording injuneer Fred Catero as told to Mix Magazine by a few years back. For reverb, Catero used popular plates from companies such as EMT, but he also recorded in Columbia’s seven-story echo chamber fashioned from a stone fireproof stairwell that was used for emergency evacuations. “They put a speaker on the seventh floor and on each floor was a microphone. You could mix all these great decays together from the mics,” he says. “The huge explosion you hear in Simon and Garfunkel’s “Bridge Over Troubled Water” is that chamber. While EMT plates and other electro-mechanical devices have been used over the years used to simulate a reverberant acoustic space, none IMHO came close. Since I haven't done any serrous studio recording since the early '80s, I would imagine the electronic versions that evolved since then have come pretty close. In the mid-'60s I worked with a studio owner who modified a Magnecord recorder (old timers will remember the name) with one record head and maybe six playback heads spaced a few inches apart. The recording tape was an endless loop and he could pick off any or all the playback head preamps and mix the signal with the dry sound. It was a neat effect. His main recorder was a mono tube-based Magnecord which must have had a one horse power motor because that thing would rewind a 10 1/2" reel in mere seconds. Pity the trainee (me) who didn't properly lock the reels in place!! If you hit Stop while the thing was going at warp 9, the tempermental brakes would sometimes stretch the Scotch tape a foot or more before stopping! Lee

Hey Bob-- I remember a particular EV model from the '70s that had steel side plates behind the wood end caps. This was an apparent attempt to give the unit a "This must be a quality product, it's heavy". Lee

Mike is correct---the Skyline uses primitive root sequence theory as opposed to quadratic residue sequence theory to determine the well depths and locations. The DIY sites cited have plans that differ from the genuine Skyline in that the ersatz versions use a12 X 12 matrix whereas the Skyline uses a 12 X 13. It appears the DIY versions also use a random placement of too few lengths of 2" X 2" blocks. Here's a link to Peter D'Antonio's Skyline patent. http://www.google.com/patents?id=gFQdAAAAEBAJ&dq=5401921 He has been awarded several patents and each will teach you something about the science of diffusion. Lee

Dan, I haven't tried any other drivers. My K-55Vs were upgraded from the push terminal to solder terminal back in '81 or so. After all these years you'd think someone would make a compression driver (other than Atlas) with decent low frequency output. Lee

Dan, The Altec Lansing 511B will easily fit in the top housing of a Klipschorn if you are willing to use a plunge router bit to provide channels for the 511B's top and bottom mounting flanges. Go to Al's web site, http://www.alkeng.com click on Klipsch Loudspeaker upgrades, extreme slope and then scroll to the bottom images which shows of one of my Klipschorns after placement of the extreme slope networks and the 511B with a Beyma CP-25. Since the router's groove wouldn't show and I had no intention of selling my horns owned new since 1979, the mod wasn't a big deal. Some have trimmed the 511B flanges, but that's a lot of work without the proper tool(s). Is the 511B worth the upgrade from the K-400? You bet. I have since upgraded to Al's Trachorn and never looked back. To my ears, there is a greater improvement going from the K-400 to the 511B than from the 511B to the Trachorn. Since I started with the extreme slope mod first, the improvements in mid horns and tweeter assemblies were probably easier to discern. Lee

Mmmmm...wonder if the gap is the same for analog and digital? Lee

IMO the Behringer DCX2496 offers the best bang for the buck in a DSP-based crossover. It is 1/5 the street price of the EV Dx38. For prosound use, the EV might be a better choice in some applications but for home use, why pay more for less capability and fewer features? You can download the user manuals from both manufacturere's sites. http://img3.musiciansfriend.com/dbase/pdf/man/m_182479.pdf http://www.electrovoice.com/productfamilies/26.html BTW, you'll need two of the EV units to split the audio three ways in a left/right loudspeaker array. The Behringer has six outputs which can be configured many ways depending on your loudspeaker configuration. The DCX2496 will be the next addition to my on-going Klipschorn upgrade project. While I'm quite happy with Al Klappenberger's ES crossovers along with the Trachorn and the Beyma tweeters, I've always wanted to hear the benefits of a 'time-aligned' crossover set up. You can get a refurbed DCX2496 from Musician's Friend for $225.00 or new for $270.00 with free shipping. http://www.musiciansfriend.com/product/Behringer-ULTRADRIVE-PRO-DCX2496-Crossover?sku=182479V Lee

That's an interesting drawing. Based upon the 'scale' shown, it's designed for a 12" woofer. This was probably the experimental model described in PWK's A Low Frequency Horn of Small Dimensions which appeared in the October, 1941 issue of The Journal of the Acoustical Society of America. There is a wedge on the tailboard which for some reason was not incoprporated in the full-size Klipschorn. Since there are turning wedges at the top and bottom of the vertical horn section it would make sense to have a wedge on the tailboard. Lee

Mark, Thanks for the website link---I had forgotten about Bill Beaty's work. To Erikill and others who may or may not be educated beyond their intelligence---blindly accepting the pablum that is taught with respect "The Standard Model" and other physical properties in today's physics/electronics classrooms will only perpetuate an unquestioning and/or accepting mindset. Science is as much about the politics of Science as it is about the doing of Science. We know next to nothing about the nature of electricity and gravity. Sure, we can purport to measure and quantify physical effects and deduce a physical Law, but until we challenge the status quo with experiments that question the entrenched science priesthood, nothing will change. OK, I'll get off my soapbox. Here's another web site started by a contrarian like Beaty---one who not only questions established science dogma but offers proof or solutions---not just talk. http://www.mileswmathis.com/ Miles Mathis is someone I would call a rennaissance man. He certianly has an interesting bio. After perusing his artistry, click on the Link to my science website, http://www.milesmathis.com where you'll find over 700 pages of thought-provoking works with over 70 papers. Finally, here's a link with some interesting info on so-called oxygen-free copper. http://www.angelfire.com/ab3/mjramp/golopid/ofc.html Lee http://www.mileswmathis.com/

Parts Express has a special on a 50-foot roll of 10 AWG wire for $38.00 + shipping. The 100-foot roll is also on sale. http://www.partsexpress.com/pe/showdetl.cfm?&Partnumber=100-156 Lee

I think Mars is the planet in question. It has just past opposition and also the closest to Earth's orbit. We're building a home in the hinterlands of NW Arkansas and the night sky is gorgeous. Soon as the house is complete, it's a roll-off roof observatory for my other "money pit" hobby astronomy. The Albino Chinchilla farm went broke. How wuz I supposed to know they were blind? The sombitches had to have ADA compliant cages and seeing-eye mice. Gregg, I spent a few nights near Mt. Shasta ten years ago---the skies were unreal. Lee

When one reads the supposed benefits of the Rollerblock, you have to wonder. Just what the heck does "better harmonic separation" mean? From the Symposium website. http://www.symposiumusa.com/rbjr.html Sonic Benefits Proper installation results in increased transparency, dynamics and musicality, properties which include better harmonic separation and reduction of vibration-produced excessive sibilance. Further, one may expect to discern greater clarity between instruments in the sonic field, and better defined bass performance with more accurate timbral balance. Application Rollerblock Jr. is effective with virtually all components, especially digital sources (CD players and transports), preamplifiers, and amplifiers, but can also be used to isolate and couple entire shelves and platforms, turntables, power supplies (including AC "line conditioners") and loudspeakers. Rollerblock Jr.'s virtues, like the original Rollerblock Series 2, are subtractive in nature. That is, rather than attempting to compensate for an existing problem or deficiency in a system through the introduction of new resonance, Rollerblock Jr. is designed (as are all Symposium products) to remove the cause of resonance and distortion. Footer devices and accessories should not create another problem by adding a new resonance; many will thicken bass and lower midrange with artificial bass overhang, lending a false "warmth" and impression of superior bass, which eventually becomes fatiguing, damaging timber accuracy and transient response of the entire music system. Wonder if installing these under my Toto toilet will reduce threadcrapping. Next thing you know, someone will propose that we elevate our signal and speaker cables to improve clarity, detail and resolution. Wait!! Someone has... http://www.shunyata.com/Content/products-DarkField.html Lee

I've used the Caig Labs products for 30+ years and have never been disappointed with the results. Old rotary pots can be resurrected provided the conductive plastic or carbon resistive element isn't worn out. The key is to remove oxidation with the red Deoxit and then to use as little of the blue shield as possible. Parts Express carries most of the Caig Labs product line. The "Technician's Survival Kit at $30.00 is a good starter kit. http://www.partsexpress.com/pe/showdetl.cfm?&Partnumber=341-246 http://www.caig.com/ Lee

Why stop at 12 Hz? How 'bout 115dB at 1 Hz??? Can ya say involuntary encopresis? I knew ya could.--F. Rogers http://www.eminent-tech.com/main.html http://bassment.files.wordpress.com/2007/08/eminent.pdf And if you act now---a free slice and dice attachment. Lee

Here's a snippet from the Malco web site quoting Judy Klipsch, '"We look at theatres as the testing ground for our home-entertainment business, " explains vice chairman Judy Klipsch, who showed the results of their collaboration at ShoWest. "Just like new automobile technology is developed for the professional racing arena, Klipsch spends an incredible amount of time, effort and money on our cinema products. The new KMX Grand screen and stage loudspeaker system represents the ultimate in audio performance for larger exhibition spaces and, in particular, those auditoriums fitted with digital sound equipment that Krikorian and Malco have just opened. We like to align ourselves with best-in-class operators. " Judy Klipsch estimates that close to 7,000 of their speakers are installed in movie theatres across the continent, including sites by Regal Entertainment, AIC, Grupo Ramirez and Cinemex.' I've been told that Klipsch Cinema loudspeakers are in 60-70% of all U.S. theaters. Lee

The Rogers Towne Center 12 has the mix of cinema brands. What better way to test the competition than to hear and measure them in a real-world cinema setting! The Rogers Pinnacle Hills 12 (I believe) all Klipsch. The Fayetteville Razorback 13 which just opened is all Klipsch. The smaller rooms in the Razorback complex have different loudspeaker arrays than the largest rooms. I was surprised the loudspeakers were each connected to the amplifiers using a pair of plain ol' #10 stranded wire similar to that used in commercial electrical runs. Each wire was color coded so hookup at the other end is a no-brainer. I asked Mike T. why they didn't put the amplifiers behind the screen with the loudspeakers to reduce long cable runs. He said he didn't want the amps stolen and that there would be no way to change one out if it failed during a movie. The full-range loudspeakers all had Roy's passive crossover networks. I'm not sure if the subs had a LP filter or if it was controlled thru the THX/Dolby software. Lee

Vacuum tubers (and you know who you are), here's a French web site showing a guy making his own vacuum tube triodes from scratch. Scroll down to La Video and click on the PLAY icon. There are some other interesting items on the page but since I don't parlez Franch, I'll just look at the pictures. http://paillard.claude.free.fr/ Lee

Jim, Yeah, next thing you know it'll be "Which sounds better, butane, propane or natural gas?" Then the esoteric audio dealers will be selling refillable cylinders of bovine methane touting their gas as the only one able to create organic eargasms. Where's my No BS button? Lee

JT, Yep, the Rogers Malco has Klipsch, JBL, ElectroVoice and one or two other brands. The reason? Mike Thompson, Malco's resident engineer wanted to be able to compare the different theater systems on the market and to work with Roy to develop cinema products that are second to none. In my opinion, they succeeded. Lee

James, et al-- I was fortunate to visit the new Malco theater complex here in Fayetteville, AR before it opened a few months ago. Roy, Mark K., and Chuck Mulhearn (the Klipsch theater loudspeaker rep/engineer) were here to EQ the all-Klipsch systems in each of the 13 rooms and to evaluate one of the super secret surround models Roy has been working on. Since I don't see the surround model listed on the Klipsch website, I won't comment other than to say it offered better coverage with far fewer enclosures than the other Klipsch surround models at another Malco theater we auditioned earlier that day. The EQ process was to me very cumbersome. I believe the software was a THX product and all EQ & level functions were controlled via mouse/keyboard and virtual on-screen equalizer. Each of the seven arrays plus subs were EQ'd in-turn using 1/3-octave filters with pink noise source. There were four mikes set up about 2/3 back in the arena seating area and their outputs were averaged. I'd say each array took 20-30 minutes to get the EQ dailed in to the industry standard X-Curve. That works out to over 45 hours of manually EQ-ing 13 rooms! http://www.hometheaterhifi.com/volume_9_2/feature-article-curves-6-2002.html UnEQ'd, the three identical front loudspeaker arrays were remarkably flat. Roy can tell you the model numbers but it might be the KPT-Jubilee-535. The subwoofer performance was awesome. The un-EQ'd subs had remarkably flat output down to 25 Hz with pink noise as a source. http://www.klipsch.com/media/products/cut-sheets/KPT-JUBILEE-535.pdf We watched a digital "print" of Transformers projected by a 30,000+ lumen DLP projector. Sitting 2/3 back, I was measuring 125dB peaks and, according to Mike, the Malco engineer, the system wasn't at "cinema level". BTW, the amplifiers in use were made by QSC and might have been the DCA3422 rated at 700WPC @ 8 ohms. My primary impression of the Klipsch cinema system is that the dialog is very intelligible, the dynamic range is limited by the source material and the bass is to die for. Let's see, one would have to spend $15k-25k for a home theater system that might come close to the Klipsch cinema system. But you probably wouldn't have sticky floors and cell phones going off every five minutes!! Lee http://www.hometheaterhifi.com/volume_9_2/feature-article-curves-6-2002.html'>

Frank, Before settling on a horizontal configuration, I tried the Beyma CP25 centered over the ALK Trachorn. While that may be the acoustically "correct" location, it would have meant building an enclosure for the CP25 and since I wanted my Klipschorns to look stock, I opted for the side-by-side arrangement. That led to another choice---tweeters inside or outside. Since the tops are swappable, I tried both and tweeters on the outside sounded best to my ears. Al's Extreme Slope networks are well worth the investment--you'll be pleased. Be sure to get the tweeter attenuator pad. Lee

Style 1 is the only one that will fit the tailboard material which I think is 1/2" thick. That would be part number 1120A45. If it's 5/8", then part number 1120A48 is what you need. My K-horns are in storage during a new home construction so I can't measure the tailboard thickness. If your walls are bowed in or out near the corners (use a four-foot level or straight edge to check), plumbing pipe foam will offer a better seal than the smallish "bulb" on the MC product. Lee

Here's a product that looks like the Klipsch OEM tailboard seal material. Product number 1120A45 is what you need at $3.15/ft. with a 10-foot minimum order. http://www.mcmaster.com/nav/enter.asp?pagenum=3342 If you aren't familiar with McMaster-Carr, their motto could be, "If we don't have it, you don't need it." The printed catalog is several inches thick but on-line searching and ordering is easier. Lee

Speakerfritz offers the best solution for eliminating ground loops/hum/etc.----balanced power. It works everytime. http://www.furmansound.com/pdf/datasheets/IT-2315_datasheet.pdf The second best choice is to use the isolated ground receptacles. 20 amp service using #12 wire and 20-amp receptacles is the wat to go. For best integrity, don't strip the #12 wire and stick it into the hole--use the screw terminals. If possible, power your technical gear from the same 120 volt leg. Put the beer cooler, mood lighting, and lava lamps on the other leg. Lee