Arkytype

Not sure where you researched that I've been a member here since 2004. If I had I would hope to have more than <500 posts. I stand corrected, you've been a member since April, 2014. Too many windows open on too many monitors. I can't speak to those mods as I know nothing about them. (ALK Engineering, Dave's Fastlane Audio) It looks like you were at least aware of ALK's networks when you posted, Now I'm considering an ALK Extreme Slope upgrade for the lascalas. (sic) on May 6, 2014. The Klipschorns you purchased did not have stock networks. So, rather than purchase exact replacements from Klipsch (or have them restore yours to stock), you chose to buy a pair of Dean's networks. By your narrowly defined definition you don't own Klipschorns. Got those "Klipsch" logos peeled off your grille cloth? :>) Lee

I can't speak to those mods as I know nothing about them. Gosh, you've been a Klipsch forum member since February 10, 2004 and haven't heard of ALK's networks or Dave's great replacement horns? But I would question whether they are still Klipschorns since 'nothing original' exists anymore, other than the wooden box that housed all the parts? I have proudly desecrated my Klipschorns (bought new in 1976) with Al's ES networks and Dave's Eliptrac 400 horns. Does that mean I don't own Klipschorns? I certainly wouldn't call them ALKhorns or Eliptrachorns...... And, as for your question of resale for me personally, I wouldn't purchase anything advertised as Klipschorns that were so heavily modified. Yeah, but who wouldn't jump at the chance to purchase a vintage Mustang/GTO/Chevelle/et al all tricked out with a big block engine, disc brakes, heavy duty (safer) suspension, etc.? I'd still call it a Mustang/GTO/Chevelle and probably burn thru a set of tires a week. Lee

"The website specs them at 100 RMS max, but the label indicates they're in fact spec'd at 150 RMS max" A quick perusal of the various Klipsch divisions (Home/Pro/Cinema/Installed) indicates there is no standardization for specifying input power ratings for Klipsch loudspeaker products. Some examples of power ratings from a sampling of spec sheets are: RMS/peak, Continuous/peak, wattage/voltage. With few exceptions, the audio industry has succumbed to the notion that an "RMS" power rating of their products is more meaningful (or easier to read advertising copy) than the correct term continuous average sine wave power. Back in the 70s and 80s McIntosh was one of the few manufacturers who stuck to the CASWP nomenclature when rating their power amplifiers. Nowadays, they just use the term "Power output per channel" with no qualification. While one can compute RMS power, it has no meaning. It does not represent the equivalent heating power value we seek when measuring output power. Here's a low-math explanation of how to properly measure average power. http://www.eznec.com/Amateur/RMS_Power.pdf Lee

The DFSS takes the patented technology Shunyata Designer Caelin Gabriel applied in the original Dark Field Elevators (DFE & DFE v2) to an elite performance level by adding two important design innovations. In addition to the patented energy-field neutralization material used in the original DFE, the DFSS incorporates two forms of vibration isolation that quiets energy transfer between the floor and any cable product. Here's a link to the patent. https://www.google.com/patents/US7694917?dq=ininventor:%22Caelin+Gabriel%22&hl=en&sa=X&ei=TcyZVMPtOMWdgwTQ54PYDQ&ved=0CB8Q6AEwAA Herr Gabriel actually uses the term "dark field" in the patent application but doesn't bother to explain what it means. Lee

Just soon as I order my Voodoo power cords, I'm gonna replace the underground power line from my house to the pole with oxygen-free, molecularly- aligned, cryogenically treated, silver-plated 4/0 wire. Lee

Why power cords, of course! The six foot Voodoo Cable Black Diamond and Electra retails for $1,100.00 and $1,500 respectively. Lee

From the pages of a 2015 high-end audio products buyer's guide, we read the following product description: Both (products) have a weighty mid-range character, with good extension at the frequency extremes, with an emphasis on the wider acoustic environment rather than specific and isolated images....Certainly image definition and focus are very good, just not overly individuated. Low-level detail and transient textures are also persuasive. Anyone care to guess what the product is? Lee

After you've swapped one of the logos, you're gonna have to decide if they should be on the "inside" or "outside". If you have a helper, it's easy enough to swap Klipschorn tops. I like my logos on the "outside". Lee

If you are truly looking for a BARGAIN, then EV DH1A's are for you. You must get them with original diaphragms, though. they show up on Ebay quite frequently for about $100 each. Great drivers. Use them with a Beyma tweeter and you will be happy. Roy Delgado, Klipsch Chief Engineer tested mine in the chamber in Indy and said they were very good drivers. John Pope used those to convince PWK to go with Tractrix horn in his Dr. Thesis. I think you mean John T. Post, not Pope. He left a teaching job at the University of Texas to run the family winery, Post Famile in Altus, Arkansas. Got to spend a pleasant afternoon with him after his move to Arkansas. You know how when you meet someone who is really smart?, (like PWK e.g.); you know you are in the presence of someone who is at the top of their intellectual game 24/7. John is one of those really smart guys. After PWK's passing, John got a few of PWK's office items including the giant slide rule you've seen in images of PWK in his office. I would attach a copy of his thesis but the file size police won't allow a file >2 M. Here's a link to a 2006 post with the thesis. https://community.klipsch.com/index.php?/topic/76303-dr-john-t-posts-thesis-on-tractrix-horns/ Lee

mustang guy's recommendation of Mouser is spot-on; I've used them for many years and they have never messed up an order. Just checked their web site and you can still get a print catalog free; the last one I got was several thousand pages and about 3" thick! I learned early on from the Mouser sales team that what's in the catalog is only about half of what's on the shelves---it's better to use their on line search engine which is top drawer. You can search for say an 8 ohm 1% power resistor to test your amplifier. By selecting various filters (such as power rating), you'll get the quantity of 8 ohm 1% resistors available each time you make a selection in the Power Rating filter, e.g.. How 'bout an 8 ohm 1% 100w non-inductive chassis mount resistor for $25.65! Lee

We recently purchased a Keurig brewing system. The first 99 cups of coffee were great but from cup 100 on, the coffee tastes so much better. I can't put my finger on it and there's probably no way to measure the improvement in the taste of coffee no matter if it's Folgers Lively Colombian or Newman's Own Special Blend. Guess the Keurig needed breaking in........... Lee

Hello, my name is Lee and I am an AmericanRadioHistory'oholic. It's been two days since my last download....... Dave, you're correct, the site will instantly hook you. My favorite all-time technical publication was Wireless World which I subscribed to in the '70 and '80s but foolishly threw my collection away. The ARH site has 30+ years' worth of issues. You get there by clicking on Early Radio>Hobbyist and Construction>Wireless World from the UK. It was in the February 1945 issue of Wireless World that one prescient Arthur C. Clarke of the British Interplanetary Society proposed.....An "artificial satellite" at the correct distance from the earth would make one revolution every 24 hours; i.e.; it would remain stationary above the same spot and would be within optical range of nearly half the earth's surface. Three repeater stations, 120 degrees apart in the correct orbit could give television and microwave coverage to the entire planet. Instead of three, we now have over a hundred geostationary satellites operating in the Clarke Orbit. Lee

PWK licensed his products to several manufacturers over the years and their respective ads are well worth the search. Is this the first mention of the Heresy (which was called the Model H)? http://www.americanradiohistory.com/hd2/IDX-Audio/Archive-Audio-IDX/IDX/50s/Audio-1958-Mar-OCR-Page-0078.pdf#search=%22klipsch model h%22

For those periodicals that aren't "searchable", most of the December issues of a given year will have an article index. Just did a search for "Klipsch" for Audio Engineering/Audio and it returned 182 hits! You can winnow down your results by searching within a particular decade, say the 1950s or being more specific with your search words. For an insight into the "birth" of audio and digital technology, check out the Bell Laboratories Record. In its heyday, Bell Labs was the embodiment of an engineering think tank unfettered by corporate bean counters. The BLR is a record of the engineering marvels we now take for granted: The condenser microphone (1916!), the negative feedback amplifier (1934), bass reflex loudspeaker (1932), Nyquist-Shannon sampling theorem ( basis for all digital audio/video compression algorithms) ( 1924!). Lee

Whether your interests are directed to Audio, Broadcasting, Electronics Hobbyist, you will find a treasure trove of information at www.americanradiohistory.com. David Gleason, a retired broadcaster, has, at his expense scanned hundreds of magazine, catalog and other publications for your perusal. Many of the titles are searchable--an invaluable aid if you are researching a topic. Rather than go into any detail on the site, just go there and be prepared to spend a pleasant hour or more. Note that the drop down menus have sub menus. Enjoy!!! Lee

So these are in line volume controls between the preamp outputs and the amp inputs? You used the rack itself for the install. Wow, nice job. Good idea Thanks! Most all the Emotiva gear can be rack mounted and as long as you provide adequate space between them, you should have a long-lived system. All the pots are 25k ohm audio taper. The three pots currently in use are connected between the USP-1's FULL RANGE L & R outputs (Klipschorns) and from the HIGH PASS L & R outputs wyed together for the center channel Belle. Everything is housed in a Raxxess ROTR Pull-Out and Rotating Rack and fed with an RF-filtered 1.5 kW balanced power transformer with a dedicated ground. This has meant a trouble-free no hum install. Lee

Here's a closeup of the panel.

Can't the gain of an Emotiva amp be turned down with a little hot rodding? In short, the answer is yes. I purchased an all-Emo setup about a year ago and have been very pleased with it. The UPA-500 was purchased with the idea of eventually running my Klipschorns 2-way with an active crossover which does not have a global volume control. The 5th channel would power my passive 3-way center channel Belle. I had RCI Custom Products engrave and punch the panel. The knobs are from Kilo International. Behind the rack panel is an attached chassis with RCA connectors on the rear panel. Since I do a lot of acoustical testing, I added two auxiliary inputs on the front panel. Lee

Why model an acoustic space when you can get a very accurate assessment of your loudspeaker's low frequency performance by using Don Keele's clever near-field measurement technique. http://www.xlrtechs.com/dbkeele.com/PDF/Keele%20(1974-04%20AES%20Published)%20-%20Nearfield%20Paper.pdf Lee

The measurements I made weren't at any particular input level such as the industry "standard" of 1 watt @ 1 meter or 2.83V @ 1 meter. As an old RF engineer, I am used to seeing the linear spectrum scale that Al uses. While the ARTA acoustic software program I use can display either a linear or logarithmic frequency scale, I prefer log for audio use as it reveals more readable low frequency information. I suspect the use of a logarithmic frequency scale on the X-axis came into use for the same reason as the decibel scale on the Y-axis; both are logarithmic quantities and as a result, are able to display a wide range of values (voltage and frequency) in a compressed display. Lee

While Flight of the Cosmic Hippo is a great test of your bass cabinets/subs, there's only such much banjo playin' I can tolerate. :>) Try Daft Punk's Random Access Memories for a great bass and dynamic range test. Lee

Good info!! You might want to add another wood code to your list. Back in 1973 or so I purchased a pair of KB-WR Klipschorns. That's the Type-B (with collar) and the wood was unfinished walnut. After selling those, in 1979, I purchaed a pair of KB-RO, oiled rosewood which were made from Honduran (not Brazilian) veneer. At that time I think Brazil had an export ban on unfinished rosewood material. After a year of almost weekly oiling due to the veneer drying out in splotches, I returned the Klipschorns to Hope and they turned them into the RL (rosewood laquer) model. Still have them and a matching Belle for center channel. Lee

Tom, et al, A complete set of acoustic testing for the horn/driver combination is in the works. Lee

Islander, According to Bob's website, the cast frame CW1526 will not fit in the La Scala; the stamped frame will. Since the Fc of the La Scala is higher than that of the Klipschorn, I don't know if there would be much usable output in those nether regions. I've not explored the spectrum below the nominal Fc of the Klipschorn before, but plan to do some extensive distortion vs. output testing in the 20-40 Hz range. As for the audible difference between stock and replacement woofers; I'd want to restore one of the Klipschorn bass bins woofers and do some measurement/listening tests. Lee

After replacing the original K-33 woofers in my 1979 Klipschorns with a pair of Bob Crites' CW1526C cast frame woofers, I did a before and after measurement of one of the bass bins. A 1/2" Bruel & Kjaer 4133 microphone was placed at the left mouth centered on an imaginary line drawn from the front panel to the wall. I was surprised to see a huge (13.5 dB) increase at about 24 Hz compared to the K-33! Measurement of both Klipschorns confirmed the unexpected LF boost. If you want an accurate measurement of your loudspeaker's low frequency performance try using Don Keele's ground-breaking (in 1979) technique of placing the microphone capsule a fraction of an inch from the woofer's dust cap. his paper can be found at: http://www.xlrtechs.com/dbkeele.com/PDF/Keele%20(1974-04%20AES%20Published)%20-%20Nearfield%20Paper.pdf