JRH

Gary probably "got busy" in the new engineering lab and saw less of the factory as a result. Thanks for the photo I.D.'s. Yes, Gwen no doubt! I will add/correct them as soon as I can remember how to do it! I'm always up for additional photos of Klipsch employees to be added to the archives. I can scan them in very hi rez if you can stand to part with them for a little while.

Sorry. The plane was a Beechcraft Baron and it did not have a V-tail. Raymond and Jerry did buy a second Baron, and that is likely what you piloted. Each of them took one as a "golden parachute" when they left Klipsch. The basic model (not actual plane) is attached.

Ed Wolfrum did not contribute to the kg2 crossover design. However, PWK did "consult" on it with Gary. And Gary did not leave Klipsch until at least 1986 or later. He designed the Forte in 1985/1986.

Here is the kg1 spec sheet, as well as our first foray into "subwoofers". The Ed Wolfrum attribution of the kg2 crossover sounds suspect, although Gary and Ed were friends. I'm checking with Gary on this.

Again late to the party. 1. As for how many have been made, in about 1983 Klipsch went to electronic shipping records (Radio Shack!). Of course they went thru the natural "upgrades in technology" many times. The records since then are lost. 2. I sure would like to get a copy of any write-up of the Bell Labs demonstration. I have been trying. Don Davis (Klipsch VP of Sales at the time) accompanied PWK on this demo at Murray Hill, I believe in 1958 or 9. Here is a Pocket Facts from 1960 referencing the demo.

Jumping in at a late date, I would have to largely agree with the posts of WMcD and Chris A. I started a speech before ALMA with the following quote: To try to judge the real from the false will always be hard. In this fast growing art of "high fidelity" the quackery will bear a solid gilt edge that will fool many people. Paul Wilbur Klipsch May 28,1953

See: http://www.klipsch.com/planes There's a lot of stuff "over there" that most people have missed.

Sorry I missed the rest of the post. The necktie would be a welcome donation, but it is not that rare. It was designed by Judy Klipsch and I suspect several 1000 were made. I have several. The paperweight is undoubtedly very rare. It would be a most appreciated donation. However, please hold on until we have finished our gift acceptance policy (in draft). Thanks!

Thanks and agreed! I'll start sleuthing.

PWK experimented with EVERYBODY's drivers and horns. The target for the LaScala was the Altec Voice of the Theater.

See the following for the Accutron story. http://www.klipsch.com/accutron

No beer refused, but it's money that we're going to really need! Membership structure and donation criteria are under "feverish development". "News at Eleven".

Hi Mighty Favog, Thanks for the offer of support! The IRS application has been made online, so I'm not sure where it will be processed. If it is in Cincinnati, I doubt that physically "rattling their cage" would be appropriate! But we'll definitely keep you on the "hit list" when things get rolling. Expect to see some general solicitations for KHMA support in the coming days. We have big plans and will need a variety of skill sets to accomplish them.

As you’ve probably heard, there is a move afoot to preserve Paul W. Klipsch’s legacy remaining with Klipsch Group, Inc. I say “remaining” because New Mexico State University obviously has a large portion, and the estate of Valerie Klipsch undoubtedly has a considerable portion. The portion remaining at Klipsch is due in large measure to Paul’s pack rat tendencies. He and the company were as near synonymous as one could imagine for over four decades. Things continue to surface in “nooks and crannies”. In late March, discussions with Christy Luquet got around to the topic of “What happens when Hunter is gone?” This was a result of discussing my impending retirement at the end of this year, as well as my efforts to at least “thin down the herd” of museum holdings in order to make room to locate the paper archives within that building. You know, get all the old crap in one place! Ms. Christy (as you might imagine) suggested that Klipsch should donate the building and contents to a charity that we should form. On 3/31/2016 we held our first exploratory meeting. In attendance were Christy Luquet, Kevin Harmon, Travis Williamson, Dave Mallette, Marshall Muros, Jeff Matthews, Matt Sommers, and me. The “working group” (WoG) for the development of the Klipsch Heritage Museum Association, Inc. was born. Over time the WoG has seen a few members added and/or “retired”, but all contributed considerably while they were involved. Those three are Marshall Muros, Frank Dudek, and Roy Delgado. The past four months have seen an incredible effort by the WoG and Klipsch Group, Inc. to establish something that is every bit a business venture. In this relatively short time we have established our “Mission, Vision, and Goals”, an impressive Board of Advisors, a 20-page set of by-laws, incorporation, and all but a couple of positions on our executive committee and Board of Trustees. On 7/13/2016 the WoG had its final meeting. My 7/20/2016 letter of appreciation to the WoG follows: Direction of the KHMA continues under our Executive Committee: Jim Hunter, President Kevin Harmon, Vice President (President of Vice, as PWK would say) Christy Luquet, Secretary TBD, Treasurer (we do have a couple of leads) with Travis Williamson, Legal Counsel Our Vision statement reads: Our vision is to foster interest in Science, Technology, Engineering and Mathematics through the examples of Paul W. Klipsch. Our mission: The Klipsch Heritage Museum Association’s mission is to restore, preserve, maintain and display Klipsch and Klipsch-related artifacts and archival materials for historic purposes, as well as to conduct pertinent research and to host educational activities and events. Keep an eye on www.klipschmuseum.org. It is just a place-holder currently, but Luther Ward and Chad Wells (Klipsch Group) have big plans under development. Tax exempt status from the IRS will be solicited shortly, which, with approval, will allow us to indicate that your contributions will be “tax deductible to the fullest extent of the law” as Travis would caution us! Until then we will limp along financially. And if you’re in the neighborhood, come see us at the Hope Watermelon Festival August 11-13!

I can assure you that this is the deal of a lifetime for the person that can use it. It is the former Ram Sound system, and Bob was meticulous in it's "care and feeding".

Nothing like arriving to the party late, but I couldn't help commenting on Dr. Who's suggestion that Paul may have been a tad too "quick on the draw" with his BS flashing. Chief Bonehead said PWK was in his 70's when he met him. Actually he was in his early 80's. This means that he had been exposed to BS for over 50 years at that point, and it wasn't just in the audio field. At General Electric (1927) he was exposed to "perpetual motion" in an advanced in-house engineering course. It was a joke, but clearly BS. In the 30's his geophysics experience in Houston was also punctuated with BS, as reflected in correspondence with both the #1 and #2 men in the history of geo-chemical oil prospecting. Can you imagine the BS he dealt with in the Army? Particularly for a guy in his late 30's? Then he enters the extremely fledgling audio field, one that necessarily combines science and art. What a mess just ripe for snake-oil!!! My point is that after 50+ years of constantly dealing with BS, I can understand if his trigger finger might have grown a bit quick. In my experience, if you approached him on a "considered level", he would always engage the subject and generally guide you into disproving your own "theory". But a cavalier, unsupported statement just might deserve a quick draw of the yellow button!

Only 48 Shorthorn Model T's were made.

Dave, To be clear, you are referring to the Eight Cardinal Points of Sound Reproduction, correct? Jim Hunter

Ten. But Bob Moers did not think the quality was very good (per conversation with Gary Gillum). I believe they were recorded by Dick Moore. I have not auditioned, and they will likely be near the end once I get a machine.

1/4", 2-track, monitor only.

I need a decent reel to reel player (recording not necessary) to evaluate the 500 or so PWK tapes that we have in the archive. Many have no identifying marks whatsoever. The result could be a "KlipschTapes Volume 2" with High Definition Tape Transfers: http://www.highdeftapetransfers.com/store_home.php?retain_notices=Y&retain_warnings=Y&retain_errors=Y Anyone have a verifiably operational unit that they would part with at "a reasonable price"? It needs to be 7 1/2 and 15 ips. Revox would be nice. Jim Hunter

Spamhead: "History is a liar" cannot be argued with in a general sense. I don't quote from biographies. My information is either firsthand from dialog with Paul Klipsch (as my long time employer), or from corporate documents that have his signature. And I agree that PWK was no liar. When he said "they were crude things" (a phrase I have personally heard several times), my interpretation has always been that it was relative to the current state of affairs. One of Paul's favorite sayings was a quote from somebody (I'll look it up later) that "You can't make what you can't measure, because you can't know when you've got it made". At the same time, he did rely on the human ear (his and later Bob Moers') to complete any audio evaluation.

I don't follow much of the forum, but this thread appears to have been "all over the map". First, this thread contains discussion that seems to walk a fine line with respect to commercialism. Fortunately there seems to have been some "self-correction" which is a positive thing. Second, there were statements that Paul Klipsch "copied the Hartsfield", that he did not have measurement equipment "in the beginning", and that the first 10 K-horns were all different. I can positively state that Paul had no love for the Hartsfield, and that he made tape recordings of Hartsfield and Klipschorn outputs to demonstrate the differing degradations contributed by each. The Klipsch archives show clearly that Paul's earliest efforts (pre-1940) were accompanied by acquiring measurement equipment, as meager as it may have been by today's standards. He made his response curves one point at a time for years. Meager equipment seldom deters brilliant minds from getting the answers they are after. It just takes more elbow grease. Also, after the first sucessful Klipschorn prototype (X3 woofer and X5 squawker) the next 12 woofers were identical units built for him by Baldwin Piano Company in Cincinnatti. Whether the top ends were identical or not is unclear, but we do have the records of buying 12 Western Electric 713A's at that time. The following 7 units were built in Reed's cabinet shop, and "were all different". In large measure, the differences were cosmetic. The one definite technical evolution was the connecting of the sinuses with the primary back air chamber. Mainly trying to keep the historical record clear.