JRH

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.