Fjd
-
Posts
1718 -
Joined
-
Last visited
-
Days Won
2
Content Type
Forums
Events
Gallery
Posts posted by Fjd
-
-
18 minutes ago, juniper said:
AaronB123 Congrats on the Jubs, they are great speakers! Where did you read they need 800 watts on the bass bins? Just curious, thanks!
The specification sheet that AaronB123 is looking at is for a behind the screen cinema system in an auditorium with a size that is approximately 5,000 ft2 or 465 m2 that will seat up to 350 people.
-
1
-
-
1 hour ago, sputnik said:
The problem is all inside your head she said to me
the answer's easy if you take it logically
I'd like to help you in your struggle to be free
there must be, 50 ways to leave a forum.
Just slip out the back, Jack
Or start a political thread, Fred
Any more suggestions?Religion is the topic to discuss, Gus
Or heap on the Mods some abuse, Bruce
Then threaten to sue, Drew
And find yourself free
-
4
-
-
On 1/17/2017 at 8:43 AM, NOSValves said:
McIntosh is sold at Best Buy now? What the hell is the world coming too?
2 hours ago, Dawson's Ridge said:Klipsch is also sold at Best Buy.
Here are a three links that some may find interesting (or maybe not) that includes some of the history of the Magnolia centers that reaches back to the 1950s.
Original purchase of Magnolia by Best Buy finalized during December 2000
http://www.bizjournals.com/seattle/stories/2000/12/18/daily4.html
Closed the Magnolia Headquarters around 2009
http://www.cbsnews.com/news/best-buy-still-trying-and-failing-to-make-magnolia-bloom/
Magnolia history timeline starting with the 1950s on the Magnolia website
http://www.magnoliaav.com/about-us/history
-
On 1/16/2017 at 7:32 PM, BlessedPrince said:
I want to share an experience I had recently. I went to Best Buy and went into their magnolia room. They had Macintosh equipment which is way out of my budget right now but I wanted to hear it up close and personal. First I tried out the 2 channel stereo for music which was really nice and clean( B & W speakers suck, they had other speaker on floor though and they used those) then I tried out the theater room. Also powered by Macintosh. Sounded very clean but lacked something. I couldn't pinpoint it, maybe the speakers just weren't up to par(speakers were behind screen)
On 1/16/2017 at 9:30 PM, pbphoto said:I listened to some Martin Login electro-static speakers powered by a McIntosh MC275 tube amp at Magnolia last year. Not impressed. In fairness, those guys didn't do it any favors with it's setup and positioning - it was sort of on an end-cap display to attract passers-by attention.
I think McIntosh amps and integrateds are a great audio investment considering you can buy them gently used, keep them for 10-20 years, and then sell them for probably about what you paid for them. Not bad.
I think that pbphoto hit on part of the issue regarding room set-up in these types of store environments. In my experience I have found that there is a lot of variability in the source (certain locations seemed to be streaming low quality mp3 files, while others put a lot of work into using a quality source that may include a quality CD player) and room set-up for the Best Buy Magnolia stores. In many respects, the source material and room set-up just might be the most critical aspects of a music reproduction system.
In addition, it seems that not all Magnolia stores are equal in relation to equipment that it stocks either. A couple of years ago the "Magnolia Design Centers" typically had the "high-end" audio equipment such as McIntosh, while the Magnolia Home Theater rooms are scaled down; however, that may have changed. Either way, since the economic downturn in 2008, it seems like they took a huge step back with the Magnolia concept and were scaling back and letting go knowledgeable employees.
Since it appears that Youthman experienced an enjoyable combination of McIntosh amplifiers and B&W speakers detailed in his post below, hopefully his experience wasn't an isolated experience and the implementation of the Magnolia concept is making a comeback and improving across more stores.
On 9/15/2014 at 4:13 PM, Youthman said:Recently, I read in the Klipsch forums that Best Buy was starting to carry McIntosh. My initial thoughts was of disappointment because this meant that McIntosh would be introducing budget products for the mass market which goes completely contrary to it's business model. Needless to say, I wasn't in favor of it.
Today I took my bro-n-law to the airport and on the way back, I decided to stop by Best Buy to see the new Klipsch Speakers. I headed over to the Magnolia section to see what they had to offer.
My apologies that these are not the typical Youthman quality photos as they were taken with my iPhone but I wanted to share nonetheless.
The Magnolia sales rep greeted me and asked if I had ever been at the store. I told him no and that this was not my local Best Buy. He asked if he could show me around and I said sure.
They had 3 demo rooms available. In their premium room, they had (4) complete high end 2ch setups that consisted of offerings from Magnapan, Sonas and B&W. The B&W 802's were hooked up to a pair of McIntosh 601 Monoblocks and McIntosh Preamp and CD Player so I was anxious to have a listen.
He played 3 songs and the B&W's had fantastic imaging, very smooth midrange and although very clear, they did not have the "detail" and the "highs" that I'm used to hearing with Klipsch. Overall, very, very nice sounding setup.
My thoughts of this whole intermingling between Magnolia, B&W and McIntosh was beginning to rub off on me. I honestly was VERY impressed with the setup. This was not what I was accustomed to seeing at the typical Magnolia demo rooms. They had acoustic panels, Furman line conditioners, amplifier stands, several turntables and "high end" cables. This was exactly what I would see from the high end A/V Stores (you know the ones that are getting harder to come by.
-
Here you go Dave and they have a name for it, "sextortion." Since the person has already given you a webcam address, there is a high probability that you have been targeted for blackmail in one of those webcam video extortion scams.
The scam has been around for several years now and I mostly read reports in relation to the blackmail of teenagers; however, they have been known to target older gentlemen with large Klipsch loudspeakers.
-
1
-
-
Last night I was on a quick "archeological dig" through the forum and it appears that I may have stumbled across Klipschorn No. 14. That was the first time I had seen interior louvered shutters covering a Klipschorn.
-
1
-
-
2 hours ago, derrickdj1 said:
..... learning what I liked in music, listen levels, aesthetic and yes, what compromises I was willing to accept. Yes, it is possible to spend a fortune on the gear and the room and still there will be compromises.
Nice post, you seem very self-aware.
Interesting though, in that buying audio gear just might be somewhat similar to navigating a long-term relationship as this is very similar to what I talk with the kids about regarding long-term relationships and marriage. To learn a lot about themselves including what they like, and to think hard about the compromises that they are willing to make and accept. Understand the life issues they are willing to negotiate and those that are non-negotiable because there will be compromises and the "cost" can be high. Today he may think that "she knows me so well that she can finish my sentences," while tomorrow it can easily become, " ***** quit interrupting while I'm talking."
-
2
-
-
On 10/30/2003 at 9:32 AM, Trey Cannon said:
Captn Bob is correct. #14 is the first of 7 built after #2-13 were built by Baldwin. After #20, PWK bought the first factory and went to production with #121 so he would "look like he was a bigger company". #14 surfaced a couple of years ago on e-bay, and had some odd high frequency horn that was definitely not original equipment. Since there is no known record of K-horns before #121, its not possible to say whether #14 was shipped as a woofer only, but the horn it was wearing on e-bay would have made Paul puke. As a woofer cabinet (haven't seen the driver), it is among the rarest in origin. If the Klipsch museum did not already have #18 and #20 in complete working condition, this would be a likely addition.
On 10/29/2003 at 9:38 AM, ZAKO said:That Jensen P15 LL is not original to THAT horn. The Stephens P52-LX treated with DIBUTYLPHALATE (DBP) to control & lower compliance. Later Stephens made P52-LX-2 where outer surround met compliance without treatment. The Smith multi septa H F horn is not a KLIPSCH product. Alot of those were made buy owners or Smith. That Smith type horn is still popular today JBL 2397 & Westlake are still around. Westlake units are still in production. In looking closer at photo Of Jensen P 15LL I dont believe slotted screws originally were used. (especially without washers). Alot of early Klipsch unit were Dressed with an outer cabinet by other cabinet makers (WAF).
On 11/4/2003 at 6:49 PM, ZAKO said:A heads up on this Khorn #14....The lable on the side of the bass bin. is T-3-b-1 THis bass unit was the transition unit between K-3 and K-3-B (T for Tentative, K for standardized Klipsch) He was making some internal & flat front construction changes or off standerd.this unit was then given TENTATIVE T-3 & subsequent models produced at this shop and to the same specifications became known as the K-3-B..... This was excerpted from a tech letter dated 27 november 1948. This Khorn #14 is slowly revealing its little secrets.
I was on a quick "archeological dig" through the forum and it appears that I may have stumbled across Klipschorn No. 14. Interesting information provided by Trey and ZAKO (may he RIP).
I had not seen interior louvered shutters on a Klipschorn until now.
The serial number tag indicating Klipschorn Speaker No. 14.
Woofer and woofer motor board tag information
On 10/29/2003 at 10:36 AM, CaptnBob said:"Inspected by LSM" would most likely be Lloyd S. McClellan, Klipsch's first (and for a while only) employee.
I wonder what the ESR measures are for those capacitors?
-
1
-
-
30 minutes ago, PrestonTom said:
After that, and only after that, try some bi-amping with electronic crossovers. Now the serious experimentation, and homework, will begin. The beauty of DSP crossovers is that you can get the time-alignment and steep filters etc and play with those (you may want to buy or borrow a inexpensive measurement microphone for this).
Good luck with it,
-Tom
I can't believe it has been five years now; however, at the link below, there is a nice thread titled "I finally got around to triamping my K-horns" that was started by Greg Oshiro back on December 9, 2011.
-
At the link below, there is a nice thread titled "I finally got around to triamping my K-horns" that was started by Greg Oshiro back on December 9, 2011.
-
2 hours ago, richieb said:
From what I have read the only difference is diaphragm material, the 2441 using aluminum. The 375 uses titanium I believe and for whatever reason commands more $$$ in the marketplace. The 2441 seems to be the choice in a two way install and for what reason? I am not sure? But I am very hesitant to spend the $$$ if I cannot be sure of its compatibility with the KP450,EAW, Crites combination. And even with the insight of those on the Forum I'm not sure anyone will have the sure-fire answer I am looking for.
The JBL 375 typically sells for a higher price due to the desirability among "collectors" where the JBL 375s with the factory red seals still intact tend to go for the highest amount.
-
4 hours ago, JL Sargent said:
Isn't the 2441 same thing as 375? I have a pair of the 2241s in 16 ohm. I can't hear above 13K or so. Using mine in a 2 way setup.
Not really. The JBL 2441 is technically the same driver as the JBL 376, whereas the JBL 2440 is technically the same driver as the JBL 375. The JBL 2440 and the JBL 2441 have different outer suspensions on the aluminum diaphragms and I believe somewhat different phase plugs.
JBL 2440 spec sheet
http://www.jblpro.com/pub/obsolete/2440.pdf
JBL 2441 spec sheet
http://www.jblpro.com/pub/obsolete/2441.pdf
-
2 hours ago, djk said:
" both the JBL 2440 "
2440 is aluminum, same as the 375.
As usual, Dennis is correct. JBL 2440/375 and JBL 2441/376 all have aluminum with the difference in diaphragms being that the JBL 2440/375 aluminum diaphragm has more of a half roll type of outer suspension, whereas the JBL 2441/376 aluminum diaphragm has a diamond pleated pattern outer suspension.
-
22 hours ago, richieb said:
I have a line on a pair of professional 2441 drivers, a close cousin of the fabled JBL 375's. Alnico magnet structure, 4 inch voice coils, 23 lb., 2 inch throat. My KPT 904 Frankensteins have the B&C 750 drivers attached to a EAW 2 inch horn. Crites did the networks like the Klipsch 904 with the 510 horn. The JBL is 16 ohm, the B&C is eight. I've investigated the 2441 and believe it crosses at 800hz like the BC but its gets a bit technical for me and I have no way do run any type of analytics or frequency sweeps. Am I asking for trouble just swapping the BC for JBL? Will the 8 vs. 16 ohm be a factor? Or is it much more complicated than that? The JBLs aren't cheap and I would hate to damage not only them but the speaker in general.
On 7/26/2016 at 11:12 AM, richieb said:I now have two Frankensteins as my KHorns have Dave Harris Elliptrac horns and ALK extreme slopes. My only comparison to a stock KHorn was in the listening room at Hope where I had a very poor seating position and the electronics were mid- grade at best. I found those very forward and a bit harsh.
My KHorns are really smooth, very well blended top to bottom. As you see in the photo for comparison the EAW horn atop the KP is much larger than the Elliptrac, the RB75 you see next to it will fit lengthways in the horn opening. It's much bigger than a 510, much smaller than a 402. A happy medium I guess. And the two inch B&C driver is much bigger than the stock K55 with the Elliptrac.
I remembered reading the quote above that your KHorn loudspeakers have the Elliptrac midrange horns and ALK extreme slope crossovers. If this is still the case, since the Elliptrac has a 2 inch entry, I believe that the JBL 2441 would be a better match in a 3-way system. Without some type of high frequency boost, and as garyrc alluded to with the 375's, and can be visualized in the JBL 2441 response curve below, the JBL 2441 tends to roll off above 8 KHz and is essentially done by 11 or 12 KHz.
JBL 2441 coupled to a JBL 2350 radial horn response curve
B&C DE750 coupled to a B&C ME 75 "constant directivity" horn response curve
An important aspect to keep in mind is that the horn has a lot to do with the frequency response curve of a compression driver. If measurements are provided, they tend to be a compression driver on a specific horn from that company. Although the same compression driver might be used, a different type of horn could give a significantly different frequency response curve. One problem that I have is that it is becoming very difficult to find compression driver frequency response curves measured on a plane-wave tube, for which I find that plane-wave tube response curves can be helpful, when comparing what compression drivers can actually do, without actually owning the compression drivers and having your own test equipment.
From the respective spec sheets (excerpted below), the JBL 2441 16 ohm driver handles 70 watts continuous program at 500 Hz (also note that 500 Hz is the recommended low-end crossover point for a pro application), 12 dB/octave slope with no problem at all; and looks to be about 2.5 to 3 dB hotter when coupled to a JBL 2350 radial Horn vs the B&C DE750 8 ohm driver coupled to a B&C ME 75 "constant directivity" horn (gleaned from the respective rated sensitivities). In all actuality, in a home environment, each of these compression drivers should not have a difficult time crossing over in a KHorn at 400 Hz on an appropriate horn.
One reason why I suggest using the JBL 2441 in a 3-way KHorn system, is that I have a much better understanding of the aftermarket tractrix horns being used (direct experience with both the 1 inch and 2 inch ALK Trachorns that were made by Martinelli, Greg Roberts 2 inch tractrix horn, and a pair of Fastlane Audio 2 inch Elliptrac horns I picked up on the secondary market), whereas it tends to be difficult for me to speculate how the specifications for each driver measured on different horns translate to your EAW 2 inch horns (I don’t know the EAW horn model number to see if there are even any horn specs out there), especially, if you don’t have the ability to add a little boost at the high frequency range. At least the ALK extreme slope crossovers provide for midrange attenuation, if necessary; and the JBL 2441 performs very nice in the 400 Hz through 6,000 Hz KHorn midrange band.
Specs for JBL 2441 on left and B&C DE750 on right..
Overall, I view the JBL 2441 as a very nice compression driver if there is life remaining in the aluminum diaphragm and the Alnico magnet is still magnetized. Also, I find that there is still a very large contingency of people that will choose aluminum diaphragms over titanium diaphragms for the home environment.
In addition, I believe that you can still find a fairly large contingency of people that “just say no” to ceramic magnets
, and believe that there is nothing better in sound reproduction than “flux density” in a compression driver (or woofer driver for that matter) being modulated by an Alnico magnet structure using a signal coming from a tube amplifier. While I currently have my Klipschorn loudspeakers set up with TAD TD-4001 2 inch throat exit compression drivers with the Alnico magnets and Beryllium diaphragms coupled to a pair of the Greg Roberts 2 inch entry tractrix horns (along with TAD ET-703 tweeters), I have used several of the JBL 2 inch throat exit compression drivers, including the Alnico magnet JBL 2440 and the Alnico magnet JBL 2482 in different top hat combinations. Tweeters used with these mid-drivers were the EV T350 model (much better performance, but still retains some of the old K77V flavor) where my crossover points were at 400 Hz and 6,000 Hz when using the JBL 2440, then crossover points of 300 Hz and 4,000 Hz when using the JBL 2482.
Note that all three JBL drivers have Alnico magnets; however, the JBL 2482 has a phenolic diaphragm while the JBL 2440 and JBL 2441 have aluminum diaphragms. FWIW, at that point in time when I was experimenting with JBL 2 inch throat exit compression drivers, similar to my reason for selecting the EV T350 tweeters in respect to the K77V, I selected the phenolic diaphragm JBL 2482 since I wanted to experiment with the 300 Hz crossover point and the K55V used phenolic diaphragms.
-
2 hours ago, jwc said:
Klipsch Forte III....I had no idea!
Nice retro look as the tube amplifier that is sitting on the table next to the Forte III looks very similar to a Dynaco ST70. I like the interesting "call sign" on that microphone using WPWK as call letters.
-
1
-
-
2 hours ago, Thaddeus Smith said:
@Chief bonehead, can you give us some insight into the 56v power rating and what that means when choosing amplification? I did some googling for 56v audio systems and there's nothing out there for information.
I believe that the 56 volt rating is for the benefit of those that "speak" in AC voltage. Essentially, 1 watt into an 8 ohm speaker load would equal approximately 2.83 volts. There is some rounding going on with the marketing specs; however, 600 watts into the 5.1 ohm load (minimum ohm rating in your spec sheet) would equal approximately 55.3 volts. 56 volts into the 5.1 ohm speaker load would equal approximately 614.9 watts.
-
5
-
-
Congratulations on your purchase of the 70th anniversary KHorns and the safe, although what seemed to be a very stressful, delivery of the speakers.
In thinking about the "book matching" discussion in this thread, maybe someone has found a picture they can post of the 70th anniversary KHorns where the front panel of each KHorn speaker is a true "book match" (e.g., where every other panel of veneer is turned over like the pages of a book where the grain is mirrored in each adjacent panel) and a picture of a pair of 70th anniversary KHorn speakers that are also a true "book match" and look like a mirror image of each other.
I've included an overview of different styles of veneer matching and a few example 70th anniversary KHorn photos below; and the veneer appears to be "slip matched" (e.g., sequencing of matching/consecutive veneer panels placed one after the next) on the single speakers and on the pairs of speakers.
Toward the end of my pictures I have also included a picture of a pair of KHorns with a true "book match" of veneer on the front panel of the individual KHorn speaker and a true "book match" of the front panels of the pair of KHorn speakers.
In looking very closely at the grain patterns and knot patterns in the pictures of the 70th anniversary KHorns that I've found online, it appears that from the pictures of the 70th anniversary KHorn speakers, the 70th anniversary KHorns appear to be "slip matched" on the front panel of the individual speaker and "slip matched" between the pairs of 70th anniversary KHorn speakers when shown in pairs; rather than a true "book match" of the veneer.
Overall, it would seem that a true slip match of the veneer, instead of a true book match, would probably make the lack of consecutive serial numbers much less important in relation to the appearance of the 70th anniversary KHorns when placed in the corners of a room (or even place next to each other and touching) since they would only be one panel slice of veneer off.
Here is a simple drawing of how the book match, slip match and random match tend to look.
Book match
Slip match
Picture of a pair of 70th anniversary KHorn speakers where the front panels do not look like a mirror match; however, do appear to look like a sequential match.
The Klipsch website photo of a pair of 70th anniversary KHorn speakers where the front panels do not look like a mirror match; however, do appear to look like a sequential match.
A more direct look at the front panel of a single 70th anniversary KHorn speaker where the front panel does not look like a mirror match; however, it does appear to look like a sequential match.
Here is another more direct look at the front panel of a single 70th anniversary KHorn speaker where the front panel does not look like a mirror match; however, it does appear to look like a sequential match. The grain is close; however, the shape and placement of the knots really give it away.
Here is a great example of the front panels of KHorn speakers where each front panel is individually book matched and the front panels of both KHorn speakers are book matched to each other. Note how if each KHorn was facing each other, the front panel would seem like it was placed in front of a mirror.
This is just a random picture of how creative people can be when it comes to book matching wood or veneer.
-
3
-
-
15 hours ago, T2K said:
I thought this paragraph was comical :
"There have been times where I’ve wondered if I should just get a temporary service or manual labor job to help out with extra cash. But I’m worried about getting stuck in a position with even less room for growth than my previous jobs. And to be honest, I would be too humiliated. Our social circle, made up of mostly well-paid tech workers and professionals, has no idea how bad our situation has been. It would be exceptionally difficult to work eight hours a day hoping with all my might that a neighbor or friend wouldn’t swing by to see me working the cash register or pumping gas. I’m already demoralized. I didn't need any additional anger toward the world."
He said he would be too humiliated to get a service or manual labor job to help out with extra cash, but apparently he don't mind sitting around the house for years accomplishing nothing helpful to his family's financial situation. His situation seems like an opportunity to teach his young impressionable kids a valuable lesson rather than the lesson of what they should do when they can't find a job that fits their desires. He seems to think that 'the world' owes him something other than the opportunity available to him to get up off his a$$ and do something, anything, for his family.
BTW, I'm 63 and retired after working for 44 years. The thought that the world owed me anything never crossed my mind, even during the years that I was furloughed.
Keith
Quoting the first two sentences of the article: "It’s not something most people in my life know about. My friends, acquaintances, the parents of kids on my son’s soccer team that I coach — none of them know. I have a whole spiel worked out when the question comes up. I say that I’m thinking of changing jobs, or I mention that I’ve been spending my time organizing our house since we moved, or that I’m a “consultant.” Anything to avoid talking about what’s really going on."
In reading those first few sentences, reading later in the article that his primary search tool is indeed.com, and T2K's quotes above, it seems to me that he doesn't understand the first thing about looking for a job. I can also speak from experience since I've been caught in corporate downsizings a few times, and by necessity to move away from dead-ends, needed to reinvent myself each time.
Essentially, it seems to me that by cutting out his "network of friends, well-paid tech workers and professional contacts" he has completely ignored what is probably the number one method of landing a new job. Most of the time, people are willing to help, but people can't help you until they know that you are actively looking for a job. This does NOT mean "cry" and "whine" during each interaction, but it does mean figure out what you want to do, update your skills, and actually learn how to use your network. It seems like his "social circle" of "well-paid tech workers and professionals" should be a great basis for a quality network to use in the job search; however, if not, there are a multitude of ways to expand it, including reconnecting through alumni events or professional events.
Job boards are interesting and seem very popular; however, it seems to me that job boards are much better for determining what types of jobs are out there and determining which companies seem to be hiring. With so many job candidates responding to listed openings, I've got to think that the chances of even getting a call back for an interview are slim to none; making it very difficult to land a job primarily by hunting through these boards.
-
1
-
-
pm sent
-
6 hours ago, Chad said:
This thread... HOOO BOY.... Where do I start?
Wait, I won't. I've got sh*t to do!
I don't have any suggestions on where to start, but I have read several threads where people keep looking for Klipsch badges and I've noticed scores of badges that look like OEM badges that have been sold for up to a hundred bucks a pair on eBay over the years.
It got me thinking and I’m wondering if there was some occasional salami slicing going on in the parts department a long time ago with all of these Klipsch copper badges always popping up on eBay where quantities seem to far exceed the number of disassembled, and parted-out speakers. In some respects, similar to many of the old meat cutters that I knew in the 70s that seemed to have large collections of supermarket butcher knives at home.
Since not all look like reproductions, I was "inspired" to rework an old Wayne Kemp song recorded by Johnny Cash that was titled "One Piece at a Time." Of course, I already know, don't quit my day job as I'll never be able to write a parody like that weird Yankovic fellow.
“An Ode to the Klipsch Copper Badge”
Well, I left Kentucky back in '49
An' went to Klipsch, workin' on the 'sembly line
That first year, they had me puttin' a BADGE on a speaker grill.
Every day I'd watch them speakers roll by
And sometimes I'd hang my head an' cry
'Cause I wanted them Horns, made of Rosewood Brazil.
One day I devised my plan
That should be the envy of most any man
I'd sneak speakers out, in a lunchbox held by hand.
Now gettin' caught meant gettin' fired
But I figured I'd have it all, by the time I retired
I'd have my own Klipsch, worth at least a hundred grand.
Well, I'd get my Klipsch one piece at a time
These Horns wouldn't cost me a dime
You'll know it's me, when the volume DON'T GO DOWN.
I'm gonna blast my music, styled
I'm gonna drive everybody, wild
'Cause I'll have my Klipsch, along the streets of town.
So the very next day when I punched in
With my big lunchbox, an' help of my friend
I left that day, with a lunchbox full of tweets.
Now, I never considered myself a thief
Klipsch wouldn't miss just one little piece
'Specially if strung out, over a hundred weeks.
That first day, I got some grill cloth
The next day I got the woofs, for behind that swath
Then I got a big speaker box, an' that fancy ol' veneer.
The little things I could get in my big lunchbox
Like wires, caps, an’ horns, an' caulks
But the big stuff, we snuck out in my buddy's ol' Wagoneer.
Up to now my plan went right
'Til we tried to put the Horns together one night
That's when we noticed, somethin' was definitely wrong.
The woofers were from ‘53
The crossovers, turned out to be ‘73
An' when we tried to put in the screws, all the holes were gone.
So we drilled em’ out to make it all fit
An' with a little help, from a RADIO SHACK A-DAPTOR KIT
We had them Horns blasting out a song.
Now the tweets were another sight
We had two on the left, an' three on the right
But we switched on the amp, an' all five come on.
The Speaker Horns looked kinda' funny too
But we put em' together, an' when we got thru
Well, that's when we noticed, we only had ONE KLIPSCH NAME PLATE.
About that time my wife walked out
An' I could see in her eyes, she had some doubt
Well, she just turned it up, an' said "Honey, let's dance for our date."
So we turned the music up, as loud as it would go
Then brought out the BEER
'n' brats, an' Sloppy Joe
Now we could hear everybody, happy an' partyin' for blocks around.
But up at Corporate, Chad an' the rest, they didn't laugh
'Cause they could hear music, jealous, the whole staff
Feeling pride, full of Klipsch sound, we said "come now, just PARTY DOWN."
Well, I got my Klipsch one piece at a time
An' these Horns didn't cost me a dime
You'll know it's me, when the volume DON'T GO DOWN
I'm gonna blast my music, styled
I'm gonna drive everybody, wild
'Cause I'll have all the Klipsch there is in town.
Huh? Yow, Tarheel an' his Cables, Coffee, an' Cocktails club
This is fjd
Playin’ records through my PSYCHO-BILLY KLIPSCH, what?
Huh, what them Horns cost?
Negatory on the cost of my Klipsch there Tarheel
You might say I went right up to the factory
An' picked them up, it's cheaper that way
Huh, what model are they?
Well they’re '49, '50, '51, '52, '53, '54, '55, '56, '57, '58, '59 Klipsch,
They’re '60, '61, '62, '63, '64, '65, '66, '67, '68, '69, '70 big ol' Klipsch Horns…..
-
3
-
-
16 hours ago, BigStewMan said:
funny...just in a conversation at work about how the 70s had the best and worst music. My contributions for songs to kick out of the decade and thus qualify for this list...Wildfire (Michael Martin Murphy) and Chevy Van (Sammy Johns). do they get any worse than these? ok, I do have a heart, so i feel sorry for the guy; Wildfire busted down it’s stall and froze to death in that Nebraska winter. That is sad.
I gave a girl a ride in my wagon
She crawled in and took control
She was tired as her mind was draggin'
I said get some sleep and dream of rock and roll
Did you know that the song was so popular in the 70s that they produced, an extremely low-budget film (long before the classic Porky's type movies were ever conceived), called "The Van" featuring the Sammy John song "Chevy Van" along with one of the "central characters" being a customized van with an 8-track tape player and a waterbed in the back?
Yes, I know it is hard to believe, but it seems that the movie was actually inspired by the Sammy John song "Chevy Van" and is based on (you may have noticed I didn't call it a "plot") some kid blowing his college tuition money to buy a van in order to use it to pick up women. I guess it didn't occur to him that he could get an apartment off campus and pick up women in college too.
Probably the only redeeming aspect of the movie was that the guy with the "Dodge van" with the waterbed in the back played two songs, and two songs only, on that old venerable 8-track tape player, that were a better representation of the 70s: "Slow Ride" and "Smoke on the Water."
I purposely wanted to highlight "Dodge van" above since it turns out that one of the bloopers in the film is that they used a Dodge van instead of a Chevy van. On a side note, Danny DeVito was in the movie, although I suspect it was probably one of his more forgettable roles......
-
1
-
-
19 hours ago, oldtimer said:
I change the channel every time it comes on the radio, but at least it's not Journey.
Peter Wolf (co-writer/producer): "Journey was recording in the studio next door, and every time I opened the door, their band members were standing outside with their mouths open. 'This is the Starship? It's unbelievable!'"
Speaking of Journey and the band's music over the years, I have to think that in relation to Peter Wolf's quote above, he seems to have gotten it out of context and Journey couldn't possibly have thought it was a bad song, but probably wished they had done it.
-
1 hour ago, gottajam said:
What about marshmellows? Can we use those? I bet those have some serious damping qualities!
Actually, since a Class A solid state amplifier can fry an egg, I've been wondering if it could also roast marshmallows afterward?
-
11 hours ago, twk123 said:
I just took thumb tacks and used them to stick my cables to the top of the baseboard so they didnt touch the carpet. Same thing as this really but mine cost about 20 cents.
Interesting, as part of this room treatment, have you matched the baseboard wood by using a type of wood that has a synergistic resonance frequency in relation to your audio system and desired listening experience?
For example, it would appear that some have moved to softer woods instead of the traditional hard woods in order to dampen seismic vibration and thus eliminate unwanted room resonances where the dampening effects of the soft woods appear to help contribute to providing an environment for mellower harmonic content and listening experience, which some now believe can be attributed to the choice of wood taming certain piercing high frequencies sometimes associated with horn loaded speakers..
-
2
-
untitled700.jpg.6f815b2cb2fcbbdd4d567cd1ec2926b4.jpg)
untitled600.jpg.735c0f289c3061b5323f9484790bf977.jpg)
'n' brats,
Forte III
in General Klipsch Info
Posted
Thanks guys for the short “Wayback Machine” trip, which took me back to the early 1970’s; and just where is it that you have actually gone, Joe DiMaggio?
It has been a really long time since I’ve heard anyone reference “California speaker" or "California sound,” and I’m sure you both know most of the following, since I suspect you both were buying stereo gear in the 1970’s, but it may be of interest to those that were too young, not born yet or just happened to start buying audio gear later in life.
If we consider the time-period USNRET referenced of 1974 - 76 and the “definitions” describing sound of that time-period, it was both that upper midrange peak (L100 had ~ 6dB at 9Khz) and the thumping, more punchy bass, which was different than most any of the retail consumer speaker choices before it (e.g., Acoustic Research acoustic suspension designs or sealed box designs), which actually set the JBL L100 apart and tended to define the “California sound” or “West coast sound” for the general retail consumers.
It seems that, in general, with technological advances, distribution changes eliminating regional barriers and introducing wide-scale distribution that now includes international brands, marketing changes, life style changes, among other changes have blurred the lines these days where, Jolting Joe has left and gone away.
Generally, in 1970's America, I remember that there tended to be “two main camps” for loudspeaker design and sound characterizations. While I’ve heard it called Boston-sound and California-sound in relation to the different approaches with certain “high-level design criteria” for loudspeakers, where I grew up in the Northern part of the mid-West, we tended to characterize it more by the very general geographical manufacturing locations of the companies building the speakers and called it the “East coast sound” vs. “West coast sound.”
Of course, living in the Northern part of the mid-West, in many instances we tried to “spurn” both the East coast and West coast in our decision making process, hence choosing the designs of a certain Southern mid-West manufacturer located in Arkansas that was building Klipsch loudspeakers.
Given the above, the East coast loudspeaker manufacturers tended to be located around the Boston area and used acoustic suspension designs or sealed boxes such as the designs from Acoustic Research, Advent, Allison Acoustics, Boston Acoustics, KLH, etc. The acoustic suspension designs were harder to drive, needed a lot more amplifier power, and were generally described as having smoother, more neutral, “accurate” sound with deep, clean bass; although even today, I realize that it is not unusual for 15 different people to often define “accurate” or the other sound characteristics in 15 different ways.
The West coast loudspeaker manufacturers, such as JBL, Altec Lansing, Bozak, Cerwin Vega, etc. tended to have the ported enclosures or bass reflex enclosures; and certain models used horns. At the time, these designs generally were characterized as having higher sensitivity needing less amplifier power, “brighter” sound, and “punchy, thumping bass,” which seemed more suitable to many people for rock n’ roll and jazz music of that period.
It’s 1974 and you just pick up Aerosmith's new second album, “Get Your Wings,” which just hit the record store shelves. Drop the needle down on “Train kept a Rollin,” then sit back and take it all in through a pair of JBL L100s. Who knew at the time, that it could possibly get any better than that?
The internet forums are full of anecdotal correlations and theories regarding the divergence in the West coast designs from the East coast designs. Some of the more common appear to be related to the requirements and needs of the specific industries served by the West coast manufacturers, for which design goals tended to filter to the retail consumer products, where the commercial requirements were different than the perceived requirements and needs of the retail consumer customers served by the East coast manufacturers. In addition, for similar reasons related to access, the actual commercial products were more accessible to those on the West coast.
For example, Altec, JBL, and other West coast manufacturers had been designing for the requirements and needs of companies that did business in the recording industry and the movie film industry, where these commercial companies were also based in similar geographical locations at the time; and while we can see that certain design goals found their way into consumer retail products, there were various barriers at the time for more wide-scale acceptance, merchandising, marketing and distribution.
Some of the anecdotal correlations outline that the East coast manufacturers may have been more consumer retail products focused and more influenced by British designs and similar, smaller living situations in the big cities such as New York, Boston, and Philadelphia, which included much larger concentrations of apartment dwellers where physically smaller speakers were needed for the smaller living spaces.
Anyway, it can be fun to speculate about the reasons, and this little nostalgic trip down “memory lane” back to the early 1970’s has been a fun little diversion, as I procrastinate momentarily with the income tax filing deadlines fast approaching.