Fjd
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Posts posted by Fjd
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Responsible parents keep an eye on their kids. Freeways are dangerous too.
Kids should have to wear a lease with harness attached to their parents with a harness.
Keith
Silly comment.
When people go to a zoo, or whatever, they should be in a reasonably safe environment.
Inclusive of enough safety for at least, the far majority of "normalcy"
Including children, not necessarily including the relatively very small % of like.suicidal mentally ill for example.
Guarding against the likes of that would be (subjectively of course) prohibitive, and would lead to your suggestions. Lars
This was NOT.
O, and BTW, my children never had bike helmets growing up. Lars
Actually Keith's comment is not silly, not at all. Child leases are readily available, there's a reason for that, and I don't think it's a silly one, unless it's being diagnosed by the silly mind, or irresponsible people.
Anyone, absolutely anyone, with multiple children of that certain age (which can vary depending on parenting, and mental capacity) can confirm the difficulties and impossible task associated with being 100% protective. Parental diligence is the best safety net for children. If you're the type that depends on the codes and/or the government, you need to be biach slapped and given a wake-up call.
Child leashes have come a long way and are now often disguised as back packs. I know a couple of young mothers that felt the panic of a missing child that are now proponents of using the child harnesses when they must have the children in riskier situations.
Does anyone remember the story in 2015 where the parent was dangling the child over the railing at the Zoo for a better view and dropped the child into the cheetah exhibit?
http://www.cnn.com/2015/04/12/us/cleveland-zoo-cheetah-fall/
Do most parents actually know how to act safely while visiting the zoo and watch out for the safety for those under their care?
Well obviously not. Let’s see where else we can place blame. What about the school system? Of course, if that darn education system required course work on “zoo safety precautions.” Since the school system failed us, maybe the Zoo could pick up where the school systems failed?
Maybe the Zoo should install barbed wire and motion detectors that sound really loud and obnoxious alarms at the area of breach; and require child harnesses attached to the child and attached to an adult for children under nine years old.
What about an hour course that would include online testing and scoring that parents and children must pass with a 75% score before entering the Zoo? Is 75% enough, or would this type of score be determinant that the person still does not understand “zoo safety precautions.” Should the score be 90%?
The general course learning topics could include;
Learn how not to dangle your children over the edge of a barrier for a better view of the animal.
Learn how to read and follow the directions given on all warning signs posted at the Zoo.
Learn how not to let your children tease the animals while you watch or take pictures or video tape the actions.
Learn how to keep your child close at all times, especially if the child is too young to read the Zoo warning signs.
Learn how to just say NO to a photo of your child when that child wants to put his or her head into the mouth of a lion or alligator regardless of how cute you think the photo opportunity might be.
Learn how to teach your child how to show a general level of overall respect for the wild animals, especially since these animals will run the risk of reacting to an unusual situation on instinct vs any amount of training that animal may have.
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Can't argue with the last part of the statement but there's nothing wrong with metal, some of it is actually pretty revealing and hard to reproduce. The snap of the beater on the skin of a kick drum, the thickness of cymbal crashes, the tightness of the bottom end of a double bass / double kick without it turning into mush, the growl of a rock singer, all are things that will sound like crap on cheap speakers and are easy to hear the differences.
Before I reply, I wanted to compliment Bubo on an excellent piece. It's hard to put music impressions into words. Well done.
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Agree MetLO, there is nothing wrong with metal as a listening genre. The only problem I have is you opened up a whole new can of worms.
The problem with metal is how to compare it to the source material, just as you said. When you hear a cymbal crash, how do you know if it really sounds like an 18" splash cymbal or a 22' ride cymbal? When the vocalists screams out a lyric (I'm being descriptive, not critical) how do you know if it's in tune?
That being said, the definition of the metal band for criteria for testing speakers then becomes "does it sound good to MY ears?" That is where using metal as a media becomes difficult to generalize because you might like your metal as it sounds when played LOUD, I might like metal because of the driving drums or maybe the definition in the bass guitar line, just as you suggested.
But if we both used a grand piano, we could both agree if a middle C on the recording sounds like a middle C played live! on the piano, or we might agree that a trombone sounds like a trombone.
When you are using something like metal to evaluate speakers I just think it becomes even more subjective. There's nothing wrong with that, it's just different strokes for different folks.
That's why I like to use familiar music in male vocal, female vocal and piano. It exposes a speaker's strength and weaknesses very quickly.
I'm not sure I follow the rationale of a recording of metal with a cymbal vs. a recording with a piano. Why wouldn't you have the same issue with the piano as you do with the cymbals?
For example, in a similar exercise in trying to determine if the cymbal really sounds like an 18" splash cymbal or a 22" ride cymbal, it would seem that the issue with the grand piano (since you specifically identified a "grand piano" I'm eliminating the added layer of detail when using an upright piano) if you could determine if the middle C on the recording sounds like the middle C played on a Steinway, or a middle C played on a Yamaha, or a middle C played on a Bösendorfer?
What started as a comparison between two speakers seems to have gone off the interstate and into the woods. Not complaining at all. This is a good read. Thanks for your RF-7II vs Heresy III thoughts.
if you could determine if the middle C on the recording sounds like the middle C played on a Steinway, or a middle C played on a Yamaha, or a middle C played on a Bösendorfer?First we would have to agree on what sounds like a Steinway, Yamaha, Bosendorfer, Bechstein, Fazioli, etc. That's a conversation by itself with a good chance for disagreement. Post production can add another layer. Does it sound less like a Steinway because of how they tweaked the master recording?
We all have our go-to songs when listening critically or comparing gear. You come to expect certain qualities when listening to familiar music.
Audio is so subjective. There are many common paths but ultimately we're all chasing something different from one another.
Since you took a small piece of my post and missed my original question in the quoted portion above, I'm not sure if you actually answered my original question; and if you also have difficulty following the rationale (or if the rationale is clear to you) as to why a recording of the heavy metal genre with a cymbal vs. a recording with a piano would be different and why the listening test using the piano would be better than the listening test using the cymbals? Although, with the nuances that you have added in your post, it seems to come down to "does it sound good to your ears" in both situations.
My original question was "Why wouldn't you have the same issue with the piano as you do with the cymbals?" Said another way, I was curious and wanted to see if I could gain more insight into why did wvu80 believe that his use of the piano in his tests were better and valid while he tended to discount MetropolisLakeOutfitter’s use of metal and cymbals in his listening tests?
My point was more in relation to how easy it is to believe that your own individual test (e.g., using a piano) is better in general (vs. only better for you specifically) than someone else’s test; and tried to demonstrate it where the assertion in question appeared to be that listening to a certain type of music (e.g., heavy metal), questioned that someone else could not possibly tell the difference between the smallest and least expensive cymbals in a drummer’s cymbal set-up (typically used to add “accents” to a drummer’s sound) and the largest and most expensive cymbal in a drummer's cymbal set-up (packs much more punch for a rock drummer than other cymbals).
Given the above (although I technically believe the differences between a grand piano and an upright piano or even a digital piano would be a better analogy to the differences between a splash cymbal and ride cymbal), since wvu80 specifically referenced "grand pianos" I simply introduced three grand pianos that can have the exact same tuning for middle C (e.g., adjusting the strings to the correct pitch or frequency), but very identifiable differences in tone.
Overall, in general, while I was reading this thread there seems to be a lot of criticisms going on in a lot of different directions on what constitutes a valid test and what does not constitute a valid test, and to me, these criticisms do not really seem much different than the criticisms leveled in another thread about the stupid language that a paid reviewer uses in the audio magazine reviews.
In my experience, unless a reader has a solid frame of reference and perspective into the other person’s listening environment (and where on the continuum does the level of ear training fall in relation to the reader), the review, while great reading and great entertainment, probably has little meaning and use for the reader's own listening environment. In fact wvu80 probably made this point the best in this post.
I like the "versus" type threads, I find them interesting.
New vs Old, big vs little, cheap vs expensive, it's all good. I like these informal, subjective listening tests. I have no problem with guys who like charts and graphs, sometimes that can objectively explain a subjective observation. For me, charts and graphs most often make my brain go numb.
I did a speaker comparison some time back and I quickly became bogged down in figuring out the "ideal" setup for each speaker. How to level matching source material, listening to each speaker EQ'd flat vs using EQ, finding proper placement in the room since room can be 50% of the sound one hears, using a sub, not using a sub, etc etc etc.
There was just no way I was ever going to produce a level playing field. Instead I choose to get each speaker sounding as good as I could in its own way, whatever that means. Then judge each speaker against the other with the best sound I could get.
Good enough.
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Can't argue with the last part of the statement but there's nothing wrong with metal, some of it is actually pretty revealing and hard to reproduce. The snap of the beater on the skin of a kick drum, the thickness of cymbal crashes, the tightness of the bottom end of a double bass / double kick without it turning into mush, the growl of a rock singer, all are things that will sound like crap on cheap speakers and are easy to hear the differences.
Before I reply, I wanted to compliment Bubo on an excellent piece. It's hard to put music impressions into words. Well done.
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Agree MetLO, there is nothing wrong with metal as a listening genre. The only problem I have is you opened up a whole new can of worms.
The problem with metal is how to compare it to the source material, just as you said. When you hear a cymbal crash, how do you know if it really sounds like an 18" splash cymbal or a 22' ride cymbal? When the vocalists screams out a lyric (I'm being descriptive, not critical) how do you know if it's in tune?
That being said, the definition of the metal band for criteria for testing speakers then becomes "does it sound good to MY ears?" That is where using metal as a media becomes difficult to generalize because you might like your metal as it sounds when played LOUD, I might like metal because of the driving drums or maybe the definition in the bass guitar line, just as you suggested.
But if we both used a grand piano, we could both agree if a middle C on the recording sounds like a middle C played live! on the piano, or we might agree that a trombone sounds like a trombone.
When you are using something like metal to evaluate speakers I just think it becomes even more subjective. There's nothing wrong with that, it's just different strokes for different folks.
That's why I like to use familiar music in male vocal, female vocal and piano. It exposes a speaker's strength and weaknesses very quickly.
I'm not sure I follow the rationale of a recording of metal with a cymbal vs. a recording with a piano. Why wouldn't you have the same issue with the piano as you do with the cymbals? For example, in a similar exercise in trying to determine if the cymbal really sounds like an 18" splash cymbal or a 22" ride cymbal, it would seem that the issue with the grand piano (since you specifically identified a "grand piano" I'm eliminating the added layer of detail when using an upright piano) if you could determine if the middle C on the recording sounds like the middle C played on a Steinway, or a middle C played on a Yamaha, or a middle C played on a Bösendorfer?
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Selling it? No, those reviewers are actually handing out free bottles of it when they put out anything besides specs and price.
Disclaimer: I know someone who works for Monster Cable. I politely declined when he offered to get me some of their product at a discount.
Just because someone says "it sounds good", doesn't mean that you will agree with them. I've been chased out of several rooms that had supposedly great sounding systems - and I thought they were awful. This forum has seemingly come full circle - many simply consider good sound anything that gets loud enough to crack plaster.
So true Dean, and I also know several people that consider good sound to be anything that gets loud enough to crack plaster, one of my cousins among that group, although, I believe that her frame of reference and tastes are evolving. I have also tried to get people to better understand their own personal frame of reference and what they consider "good sound," along with better identification of their own personal listening goals with mixed success.
Let's think about the term "snake oil" from a slightly different perspective. Is a review an instance of "snake oil" or just good old fashioned advertising, now updated for this world we live in where one comment can go viral and bring down a product in a matter of days? In many respects it seems that a significant portion of the population will call something they don't understand or something that challenges a historical belief that could cause a shift in thinking, "snake oil." In certain respects, maybe somewhat like the Salem witch trials in the late 1600s.
Does anyone remember the bike forum post and the subsequent Wired Magazine article in 2004 where a Kryptonite lock was picked with a ball point pen? Think about it for a moment, a 50-year-old lock design was rendered useless when a brief post to an internet forum revealed the lock can be popped open with a cheap plastic pen. Given the tremendous impact of that one post, some say there is a paradigm shift upon us in how to think about marketing and advertising.
http://www.wired.com/2004/09/twist-a-pen-open-a-lock/
Many that are working in the marketing/advertising industry tend to believe that the advertising which succeeds best at seeding relevant and useful impressions, is likely to be the most effective. In the past, I have touched upon how Red Bull embraces “content marketing” in addition to a television ad or magazine ad; and how the Red Bull product has practically universal name recognition whether a person likes the product or thoroughly despises the product.
Now let’s think about marketing a product through “reviews” whether written by a “paid writer” or a “consumer.” Either way, product reviews written by real people may actually, from a historical perspective, be the most underappreciated aspect of a marketing campaign, especially in the consumer-content media universe. While there have been a few companies that recognized the opportunity early, content media has only recently seemed to captivate the advertising and media worlds. Audio companies and audio magazines / audio websites just seem to have a “jump” on others and have been ahead of the game in this regard.
In general, I believe that an aspect that many people fail to realize is that a “review,” whether a review in a magazine or online; and whether the review was written by a “paid writer” or a review based on “customer feedback” is now becoming somewhat of a type of significant “marketing” channel in its own right for many industries. Just look at all of the online review sites dedicated to collecting “reviews” such as Angie's List, Epinions, Yelp, ConsumerAffairs.com, Zagat, TripAdvisor, Niche, Glassdoor, RateMyProfessors, RateMyTeachers.com, Computing Reviews, among others.
Of course, following close behind are unique competition wars and various types of unethical behavior; such as the positive reviews that are sometimes written by the businesses or individuals being reviewed; while negative reviews are sometimes written by competitors, disgruntled employees, or anyone with a grudge against the business or product being reviewed.
Shoot, this type of activity has even spawned new revenue generating work flows for the PR industry with businesses called "reputation management" firms that can be hired to submit false positive reviews on behalf of businesses.
"Company Settles Case of Reviews it Faked"
http://www.nytimes.com/2009/07/15/technology/internet/15lift.html?_r=0
"Medical Justice caught impersonating happy patients on Yelp, RateMDs"
In general, I believe that you can find that Jupiter Research, Forrester Research, The Kelsey Group, comScore, among others, all have studies that show that ratings and reviews influence consumer shopping behavior. Several years ago there was a report issued by Jupiter Research citing research that 48% of online shoppers find it critical that retailers post reviews. That report also found that the number of online shoppers who found reviews the most important feature in a site doubled from 2005 to 2006. Think about that for a minute, more people than ever before consider a review to be the most important feature for consumer shopping; and one of two people are going to leave a business/product website and not buy the products of the company primarily because there were no ratings and reviews.
A study from 2011 asked, “Which type of advertising has the most impact on the buying decision?” The percentages in relation to various advertising categories from the respondents are listed below:
- Television - 83%
- Magazines - 50%
- Online - 47%
- Newspapers - 44%
- Radio - 32%
- Billboards/outdoor advertising - 13%
Magazine reading and online reading are very “active” processes that involve focused reading and screening of the material on each page. Essentially, the reader makes an active choice when turning pages whether or not to look at it more closely. While it may only take a few seconds to evaluate a specific page, the reader does have to look at a page in order to decide not to read it any further. On the “flip” side, every time something is found interesting or appealing or annoying, the reader can take as long over it as he or she desires, regardless of whether the section is editorial, a review, or traditional advertising (or even a forum thread where a person continues to linger on, although annoyed, and read and post even when they cannot stand the topic or the forum members' posting to the thread); all leading to a level of increased "awareness."
Given that magazine advertising and online advertising have such a significant impact on buying decisions and considering the active involvement aspect of the reader with magazines and online reading (vs. the passive nature of television advertising), I’m not surprised that most audio-related magazines include reviews of audio products and advertisements for those same products, as they are designed to both work in unison during a marketing / advertising campaign.
I look at reviews primarily to help my sense of awareness of what types of product are out there in the market place; and look to other sources of information to determine if something will fit my established criteria. Who knows, I may not buy new, but at some point, with a certain level of previous awareness, this stuff may eventually hit my "audit bucket" list when looking at the secondary markets for used equipment.
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When and who exactly moved the HQ from Hope to Indiana?
From the November 20, 2011 website as found on the "wayback machine" site.
https://web.archive.org/web/20111120082837/http://www.klipsch.com/about-us
Fred S. Klipsch and his wife, Judy, purchased Klipsch & Associates from Paul in 1989, moving business operations to their hometown of Indianapolis, Indiana, while continuing manufacturing and distribution in Hope. Fred’s decision to purchase the company almost seemed like destiny.
In the mid-1980s, Fred Klipsch saw a loudspeaker advertisement in a magazine that bore a familiar name—his. He tore out the Klipsch & Associates ad and carried it around with him for three years before calling the company’s founder. Although they had never met, Fred and Paul Klipsch discovered they were cousins and, without an heir, Paul began talking about a way to keep his privately held company in the family. From there, Fred and Judy would spend the next two decades transforming the humble company into a highly regarded global brand and technology powerhouse, while keeping Paul Klipsch’s legacy alive. (Read Custom Retailer story on Fred and Judy's 20th Anniversary of owning the company.)
Fred and Judy, along with their passionate team, have completely redefined product categories. They’ve navigated the company through major changes in the audio market, as records and cassette tapes have given way to CDs and MP3 files and television channels are now broadcasting in 5.1 surround sound.
Today, Klipsch sells hundreds of premium speakers for every lifestyle, application and budget. The brand’s diverse product portfolio encompasses home theater, professional cinema, installed whole-house contracting, commercial, computer speakers, iPod docks and headphones.
As the audio world continues to evolve to meet the listening preferences of consumers, Klipsch will look to the future with an eye for the past. Everything Klipsch does today and 100 years from now will reflect Paul’s no-compromise spirit and the brand’s commitment to delivering the world’s most powerful, detailed and emotional sound reproduction.
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I had to look up a portion of these to make sure I got the band right for the time period (many songs have remake versions after those on my list) and verify they fall between 64 and 67; however, I remember listening to them from the radio, Mom's records, Dad's records, television, commercials, movies, etc.
The following songs in the first group had always given me the impression of having somewhat of a 1950's "style" of "rock n roll" music and an "American Bandstand / Dick Clark" type of dancing.
Mitch Ryder and The Detroit Wheels: Devil With A Blue Dress On and Good Golly Miss Molly
Lovin' Spoonful: Do You Believe In Magic
Searchers: Love Potion Number Nine
? and The Mysterians: 96 Tears
Sam The Sham and The Pharaohs: Wooly Bully
Beach Boys: Help Me, Rhonda
Tom Jones: It's Not Unusual
Four Tops: I Can't Help Myself Sugar Pie Honey Bunch
Supremes: Stop! In The Name Of Love
Gerry and The Pacemakers: Ferry Cross The Mersey
Beach Boys: California Girls
Petula Clark: Downtown
James Brown and The Famous Flames: Papa's Got A Brand New Bag
Lovin' Spoonful: Summer In The City
Nancy Sinatra: These Boots Are Made For Walkin'
Beach Boys: Barbara Ann
Manfred Mann: Do Wah Diddy Diddy
Martha and The Vandellas: Dancing In The Street
Drifters: Under The Boardwalk
Surfaris: Wipe Out
Aretha Franklin: Respect
Sam and Dave: Soul Man
Association: Windy
Easy Beats: Friday On My Mind
Spencer Davis Group: Gimme Some Lovin'
Marvin Gaye and Tammi Terrell: Ain't No Mountain High Enough
Peter, Paul and Mary: I Dig Rock And Roll Music
Jackie Wilson: Your Love Keeps Lifting Me Higher And Higher
Roy Orbison: Oh, Pretty Woman
Beach Boys: I Get Around
Kingsmen: Louie Louie
Louis Armstrong: Hello, Dolly!
Shangri-Las: Leader Of The Pack
Reflections: (Just Like) Romeo And Juliet
Roger Williams: Born Free
This group is representative of the type of "rock n roll" records that I had bought back in the day.
Buffalo Springfield: For What It's Worth
Bobby Gentry: Ode To Billie Joe
Doors: Light My Fire
Rolling Stones: I Can't Get No Satisfaction
Byrds: Mr. Tambourine Man
Troggs: Wild Thing
Bob Dylan: Like A Rolling Stone
Yardbirds For Your Love
Animals: We Gotta Get Out Of This Place
Standells: Dirty Water
Box Tops: The Letter
Jefferson Airplane: Somebody To Love
Who: I Can See For Miles
Kinks: You Really Got Me
Animals: The House Of The Rising Sun
Rolling Stones: Ruby Tuesday
Turtles: Happy Together
Mama's and The Papa's: Monday, Monday
Simon and Garfunkel: The Sounds Of Silence
Simon and Garfunkel: Homeward Bound
This group that follows are my examples of songs for "slow dances" with either the "partner" you brought or maybe the "partner" you want to take home.
Neil Diamond: Cherry, Cherry
Dusty Springfield: You Don't Have To Say You Love Me
Brenda Lee: Coming On Strong
Frankie Valli: Can't Take My Eyes Off You
Neil Diamond: Girl, You'll Be A Woman Soon
Dusty Springfield: Wishin' And Hopin'
Sonny and Cher: I Got You Babe
Marvin Gaye: How Sweet It Is (To Be Loved By You)
Procol Harum: A Whiter Shade Of Pale
Temptations: My Girl
Righteous Brothers: (You're My) Soul And Inspiration
Frank Sinatra: Strangers In The Night
Percy Sledge When A Man Loves A Woman
Lou Rawls: Love Is A Hurtin' Thing
Ray Conniff and The Singers: Somewhere My Love
Four Tops: Reach Out I'll Be There
Righteous Brothers: You've Lost That Lovin' Feelin'
Finally, the last group contains a selection of the obligatory Monkees and Beatles songs.
Monkees: Last Train To Clarksville
Monkees: I'm A Believer
Beatles: Help!
Beatles: Ticket To Ride
Beatles: Eight Days A Week
Beatles: We Can Work It Out
Beatles: Paperback Writer
Beatles: Yellow Submarine
Beatles: A Hard Day's Night
Beatles: Twist And Shout
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That is typically a 1 piece 3 way speaker. So that would have the bass bin built in. Is that what you're asking?
Isn't that a view of the rear of the LS showing the top half of the entire unit.
The hatch encloses the back of the portion with the mid horn and tweeter and has the input cup.
We then see about 1/3rd of the back of the bass bin.
WMcD
Isn't that a view of the rear of the LS showing the top half of the entire unit. The hatch encloses the back of the portion with the mid horn and tweeter and has the input cup. We then see about 1/3rd of the back of the bass bin.That's my take
That is typically a 1 piece 3 way speaker. So that would have the bass bin built in. Is that what you're asking?
I though the LSI were suppose to be made with the HF and LF on the same terminal together.
When words can't seem to accomplish the task at hand, I say we must revert to more pictures. When I come across the salvage guys with La Scala professional loudspeakers, I seem to find that the more permanent installations of La Scala professional loudspeakers that were pulled for remodeling or building demolition tended to be the "one piece" professional La Scala loudspeakers; while the guys that tour and play various clubs, seem to favor using the "two piece" split La Scala professional loudspeakers since they are easier to load and unload on multiple nights for a club touring schedule.
One piece permanent installation La Scala professional loudspeakers with only one terminal block and a pair of terminals for the amplifier similar to the one piece home version; however, the professional version has a closed back where the home version does not. Woofer, midrange and tweeter all connected through a one-piece crossover network that does not need to be spit between two cabinet pieces.
Two piece touring La Scala professional loudspeakers where the speaker terminal block has terminals for the amplifier connection and terminals to connect the high frequency top hat with the low frequency bass bin.
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I have a nice pair of Altec 1003B multi-cell horns (2 rows of 5 cells per row) with 288K drivers for my outdoor music system.
In the chart that I have included, the “Horn Model Number” indicates the number of cells and the horn cutoff frequency. For example, the 1505B = a 15 cell horn (3 rows of 5 cells per row) with a cutoff frequency of 500 Hz.
The “Sound Pressure Level” is interesting since Altec gave measurements at 30 feet and 100 feet with full rated power applied to each driver over a frequency response range of 600 Hz to 2,400 Hz (note column “b” indicates horn configurations with one driver, two drivers or even four drivers for certain horns).
Full power rating for the drivers listed in the chart:
288 = 40 watts
290 = 100 watts
730 = 75 watts
It looks like they are marked sold and given the number of rows and cells per row, the horn looks like the 1505B.
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Hey mossy bottom,
It's funny you should say that...
I just spoke to guy who is selling his Scott 222,
It's in absolutely BEAUTIFUL condition.
And it's in total stock form.
But he wants $900, and I can't afford that much right now, but this thing is in such amazing condition, I might ask him if he would take a deposit on it, and allow me some time to pay the Balance and then bring it home.
I just know that if I hear it hooked to the heresys, I'd love it.
If you really have interest in a HH Scott, there is a HH Scott 222c for sale on the forum that has been restored up to original specifications and it appears that he has some room in his price to negotiate (I assume since he states reasonable offers). I have bought items from the seller in the past and the transactions have been executed hassle free.
I pulled the first post and a couple of pictures from the link below.
https://community.klipsch.com/index.php?/topic/162713-fs-hh-scott-222c-refurbed-by-nos-valves-75000/
I am going forth with selling my Scott. Its a great integrated stereo, I just need to sell it ( well don't need to, just think its my best option) to fund other audio adventures.
Up for sale is a H.H. Scott 222c refurbished by NOSvalves, roughly two years ago. There are a couple slight issues. One is that the volume seems to faint in the right channel. Until i turn the knob past the 12 oclock position. Then it comes in fine. I will try some deoxit on it this afternoon and see what happens. Second i chipped one of the bias knobs when i first received it. However you are still able the bias it just fine with pliers. Replacing it shouldn't be to complex, if you are handy with a soldering iron.
Asking $750.00 O.B.O. plus shipping. Located in Omaha, NE where local pick up is always welcome.
pm me with questions or reasonable offer.
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And thank you Luther for the treat you brought from Smittys. They were incredible.
I will second that! Those were truly fabulous!I'm glad everyone like the sausages. It helped that I could cook them low and slow on Rodney's wood burning smoker. If you're ever in Austin, you have to make the trip over to Lockhart and try Smitty's brisket. It's even better than their sausage.
I just love those pictures of the smokers that Smitty's Market and Kreuz Market use.
I was in Austin, TX for a couple of days back in the late 1990's and people were telling me to visit the Iron Works BBQ and Salt Lick BBQ. I'm curious if you have tried the following and have an order of preference?
Smitty's Market
Kreuz Market
Black's BBQ
Iron Works
Salt Lick
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“These things we do, that others may live”
Memorial Day is certainly upon us, and for many, I suspect the long weekend and the large gatherings with family and friends, signify the start of summer. I know that I enjoy the local parade, hitting the local rib burn-offs; and also enjoy firing up the large grill and smokers for the festivities.
However, Memorial Day is also a time when each of us will most likely hear stories about the heroic citizens who have lost their lives in military conflicts. We should never forget this aspect of Memorial Day.
I would like to encourage everyone to take the time and listen, REALLY LISTEN, to these incredible stories. When taking the time to really listen, we have a rare opportunity to hear many stories that are actually more about the fine attributes of courage, compassion and overall selflessness embodied in these individuals.
If an individual doesn’t have access to military veterans, one great way to gain access would be active participation in some type of volunteer work to help support a local military charity. I’m sure there are other great ways.
One of my more recent learning opportunities involved the US Air Force’s elite 83rd Expeditionary Rescue Squadron during "Operation Enduring Freedom" for missions in Afghanistan. For those that may not be familiar with para-rescue operations, here is a nice historical overview.
https://en.wikipedia.org/wiki/United_States_Air_Force_Pararescue
The members of the 83rd are highly trained individuals that are prepared to conduct life-saving medical evacuation missions. In the typical day in the life of a person that is part of the Expeditionary Rescue Squadron, that tends to mean parachuting out of planes in order to reach downed pilots that may be located on the edges of cliffs where helicopters cannot land. In addition, a typical day in the life of the expeditionary rescue squadron may tend to mean opening a crashed armored vehicle with a set of the hydraulic “jaws of life” in valiant efforts to save the lives of the combat soldiers trapped inside.
Said another way, the key, and core aspects for each member of the expeditionary rescue squadron’s job is to SAVE and PROTECT.
Save and protect, as a job description; can a job description get any simpler than that? I suspect that we may not be able to write a job description any simpler; and from another perspective, we may not be able to write a job description that is any NOBLER. Think about it, in order to save and protect, these soldiers are putting their own respective lives on the line to save the life of another soldier wounded in the ongoing environment of combat.
Now, I suspect that it should start to make sense for anyone reading this post why I started this post with the quote at the top; considering that the motto of an expeditionary rescue squadron member is: “These things we do, that others may live.”
Think about it, each and every day, without any fanfare, more than a million Americans from every branch of the armed forces go about their duty quietly so that we may live freely. Of course, for some of us, it is all too real that not all of them make it home.
Please keep in mind as you really listen to those stories that Memorial Day is a time to reflect on the sacrifices of all the men and women who laid down their lives for our country.
Please pause for a moment this Monday to remember all who died protecting this great nation as they are the guardians of our liberty and freedom.
I know that I will; and I also know that I am proud of all veterans for their willingness to serve our country.
Here is a link to an overview of the 83d Expeditionary Rescue Squadron emblem.
Description/Blazon
On a disc Celeste, above a landscape Azure, parted by a sun streak Or, and a shoreline of the first, a duck looking to dexter Gris, detailed of the second, eyed Argent, beak and tail stripe of the third, on its head three rotor blades of the second, its dexter wing shading its eyes, all within a narrow Red border. Attached below the disc, a White scroll edged with a narrow Red border and inscribed "83D EXP RESCUE SQUADRON" in Red letters.
Symbolism
Ultramarine blue and Air Force yellow are the Air Force colors. Blue represents the sky, the primary theater of Air Force operations. Yellow refers to the sun and the excellence required of Air Force personnel. The emblem portrays the mission of a rescue squadron assigned helicopters and amphibious craft. The landscape indicates both mountainous and level terrain and water. The life raft, piloted by a caricatured duck intently scanning the horizon, indicates search; the rotor blades, worn as a head piece by the duck, indicate helicopter capability; and the yellow stripe on the duck's tail is a recognized air rescue aircraft marking.
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From that original surfer Dude Jeff Spicoli to the forum Dude......
Jeff Spicoli: Wait a minute, there's no birthday party for me here! Hello, Mr. Hand.
A nice round of applause for your birthday from Mr. Hand.
Mr. Hand: What's the reason for your truancy?
Jeff Spicoli: Just couldn't make it on time.
Mr. Hand: You couldn't, or you wouldn't?
Jeff Spicoli: See, there was a full crowd at the food lines.Jeff Spicoli: All I need are some tasty waves, a cool buzz, and I'm fine.
Jeff Spicoli: Awesome! Totally awesome! All right, Hamilton!
Jeff Spicoli: Hey, Bud, let's party!Jeff Spicoli: People on 'ludes should not drive!
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To your birth, we raise a glass.
For your birth, let’s celebrate with class.
Fire up the Klipsch, and the rest of the gear,
Then let’s all toast, by drinking some beer.
I wasn't sure who the Dude was at first, then after reading a few posts I realized this was an old forum friend. Maybe as part of the birthday toast, we can offer up a few potential avatars to go along with the new name. Here are a few new avatar suggestions.
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20% off before shipping not sure what the price was originally kinda vague
The K-horns are $16,000 a pair, Heresy is $3,200 a pair. Last I checked there were still a few K-horns available. This guy has been shopping these all over the place.
I tend to believe that when we are talking about the "living embodiment of PWK's 8 Cardinal Points" every year of Klipschorn production is special.The issue is the price...$16,000.
Unfortunately, many of us may no longer be the target market for a new pair. However, it would appear from the information above that calhockey10 and MetropolisLakeOutfitters are estimating that it could take about $12,800 to acquire the new fancy walnut with the fancy name badge pair of 70 anniversary Klipschorn loudspeakers.
In relation to the twelve common higher-end brand names listed below that can be found mentioned in many audio publications, can you find a better price/performance ratio in the respective top of the line loudspeakers for each of these brands?
While I'm sure that some will ultimately believe they have, I believe that in almost all of the instances in question below, the specific model that I have listed or the top model of the general brand that I have listed, will cost much more and arguably none will be following PWK's 8 Cardinal Points.
Revel Ultima Salon2,
Legacy Audio Whisper XD
Joseph Audio
Thiel
Salk Sound
B&W
Wilson Audio
Ariel Acoustics
Kef Reference 207/2
Focal
Dynaudio
Avantgarde
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And I'm not so sure after several hours of the 600's my hearing is any better!
Absolutely NO disrespect for the mighty 600s, but that is WHY your K'horns seem to sound better. It is an inherently unimprovable design with such physics and theories we have to work with. The K'horn is the living embodiment of PWK's 8 Cardinal Points.
Dave
There is nothing special about 70 years. If it was 50 or 100 years, ok. Even 75, But 70?????
I tend to believe that when we are talking about the "living embodiment of PWK's 8 Cardinal Points" every year of Klipschorn production is special.
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No phono section?
Send it back it's useless for stereo.
There actually is a phono preamplifier, but the phono section adds $699 [build yourself] or $999 [assembled] to the price.
http://www.transcendentsound.com/Transcendent_Sound_Phono_Preamp.html
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I couldn't find the specs on the Klipsch site; however, from the specs I found below showing 98dB sensitivity, 75 watts should allow you to hit slightly over 116 dB peaks in the music easily at one meter from the speakers.
When considering the listening distance, while there is not a drop in sound per meter, the listener will experience a sound level drop of 6 dB per doubling of distance.
The wildcard that I’m not familiar with is related to the impedance curve of the speaker. For example, the KG 5.5 uses a parallel speaker connection for the two woofers. When speakers are connected in parallel, the impedance is reduced, which means that for the same amplifier output voltage, the current demand on the amplifier will be increased. As an example, if you have two 4 ohm woofers connected in parallel, the total impedance is 4/2 or 2 ohms.
The two-way KG Series KG 5.5 floor-standing loudspeaker was first introduced in 1994 and manufactured by Klipsch until 1997.
Specifications: FREQUENCY RESPONSE 34Hz-20kHz(+-)3dB
POWER HANDLING 100 watts maximum continuous (500 watts peak)
SENSITIVITY 98dB @ 1watt/1meter
NOMINAL IMPEDANCE 8 ohms
TWEETER K-85-K 1″ (2.54cm) Polymer dome compression driver
HIGH FREQUENCY HORN 90(o)x60(o) Tractrix® Horn
WOOFER Two K-1023-K 10″ (25.4cm) Injected Carbon Graphite cones
ENCLOSURE MATERIAL Medium density fiberboard construction (MDF)
ENCLOSURE TYPE Bass reflex via front-mounted port
DIMENSIONS 37.5″ (95.3cm) x 12.25″ (31.1cm) x 17.5″ (44.5cm) WEIGHT 69 lbs. (31.3kg)
FINISHES Whitewash, Lt. Oak, Med. Oak, Cherry, Walnut, Black Satin veneers, Black vinyl
BUILT FROM 1994 BUILT UNTIL 1997
Well not a fully horn loaded system they are still very efficient. Anything above 35 watts solid state will drive them as high as you wish without distortion. Relax and use what you've got for awhile and then, if yo need to, make move from there.
Thebes brings up an excellent point, as long as the impedance of the KG 5.5 doesn't dip too low for the amplifier, the 35 watts should allow him to experience the true feeling of the 109 dB peaks that a grand piano crescendo will hit during a concert.
Sure is a nice advantage when using a high efficiency speaker given that every doubling of power is another +3dB of loudness. Those guys with the low efficiency speakers (e.g., 86 dB) sure have it tough when it comes to watts as they would need 256 watts for the same 109 dB peak.
1 w = 86 dB
2 w = 89 dB
4 w = 92 dB
8 w = 95 dB
16 w = 98 dB
32 w = 101 dB
64 w = 104 dB
128 w = 107 dB
256 w = 110 dB
Now with 98 dB sensitivity of the KG5.5
1 w = 98 dB
2 w = 101 dB
4 w = 104 dB
8 w = 107 dB
16 w = 110 dB
32 w = 113 dB
64 w = 116 dB
128 w = 119 dB
256 w = 122 dB
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How do you like the 800S? It was supposed to add more bass and less treble, and the regular 800 was supposed to stay in production for peeps that want that. I think I would actually prefer the 800s, but I'm not sure.
I will let you know once I get the Bryston should be around Thursday , I really have not spent much time with them yet
Anything yet? BTW, I still haven't received my nifty Klipsch Director's chairs yet. Wonder where the hell the USPS lost them.
Looks like the Bryston was put up for sale yesterday to make room for a nice Simaudio Moon Neo 430HA.
https://community.klipsch.com/index.php?/topic/163945-bryston-bha-1-black/
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To paraphrase those indelible words uttered by the one and only Sargent Shultz and parodied by good old Arte Johnson, "Very Interesting." Several of us have been responding in the thread below. It seems that instead of a "double post" it looks like he got a "double thread" that posted one minute apart.
https://community.klipsch.com/index.php?/topic/163961-good-watts-for-kg-55/
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Now that you have built one First Watt clone (since we all like to spend other people's money on this forum), if, or should I say when, you are up for a "different" build, I would suggest the Aleph J in order to sample a First Watt single-ended class-A two stage design that will match up very nicely to a larger variety of speakers as opposed to one of the other more esoteric single-ended, single gain stage designs where it becomes very difficult, if not impossible, to source certain parts. .
I got my Aleph J done and it has been put into service. What a great project, not as easy as the M2, but very close. I have not done a real side by side yet but soon and I really appreciate the suggestion to build it. It does some things better than the M2 and has a very quiet noise floor.
I call it my Ford F150 of Amps as it sounds great on all of my speakers, a great all around amp. At the moment the Aleph J is running the Belles I am using for rears in my Jubilee HT system, with (3) M2s running the F, L, and C. I cannot begin to explain how good it sounds. I will say when I get shot at in Fallout 4, I duck in real life. No kidding it sounds that real.
Work commitments have kept me away for a while, but wanted to congratulate you on another great amplifier build. The Aleph J is an incredible amplifier, works really well with horns, and a great introduction into the world of single-ended class-A solid state amplification. While the Aleph J is a fantastic amplifier, sometimes I find it hard to believe that the F3 has even less distortion and a much lower level of noise than the Aleph J. However, the F3 is more limited in speaker matchups where it seems to work best with the higher efficiency speakers and no easy way to obtain a F3 these days. When I replaced my F3 clone with a genuine demo F3, from what I understand, production of the F3 went well beyond the 100 originally planned, but I believe finally retired once the SIT amplifiers were introduced.
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Well not a fully horn loaded system they are still very efficient. Anything above 35 watts solid state will drive them as high as you wish without distortion. Relax and use what you've got for awhile and then, if yo need to, make move from there.
Good point, as long as the impedance of the KG 5.5 doesn't dip too low for the amplifier, the 35 watts should allow him to experience the feeling of 109 dB peaks of a grand piano crescendo.
Sure is a nice advantage when using a high efficiency speaker given that every doubling of power is another +3dB of loudness. Those guys with the low efficiency speakers (e.g., 86 dB) sure have it tough when it comes to watts as they would need 256 watts for the same 109 dB peak.
1 w = 86 dB
2 w = 89 dB
4 w = 92 dB
8 w = 95 dB
16 w = 98 dB
32 w = 101 dB
64 w = 104 dB
128 w = 107 dB
256 w = 110 dB
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From the specs below showing 98dB sensitivity, 75 watts should allow you to hit slightly over 116 dB peaks in the music easily at one meter from the speakers.
The wildcard that I’m not familiar with is related to the impedance curve of the speaker. For example, the KG 5.5 uses a parallel speaker connection for the two woofers. When speakers are connected in parallel, the impedance is reduced, which means that for the same amplifier output voltage, the current demand on the amplifier will be increased. As an example, if you have two 4 ohm woofers connected in parallel, the total impedance is 4/2 or 2 ohms.
The two-way KG Series KG 5.5 floor-standing loudspeaker was first introduced in 1994 and manufactured by Klipsch until 1997.
Specifications: FREQUENCY RESPONSE 34Hz-20kHz(+-)3dB
POWER HANDLING 100 watts maximum continuous (500 watts peak)
SENSITIVITY 98dB @ 1watt/1meter
NOMINAL IMPEDANCE 8 ohms
TWEETER K-85-K 1″ (2.54cm) Polymer dome compression driver
HIGH FREQUENCY HORN 90(o)x60(o) Tractrix® Horn
WOOFER Two K-1023-K 10″ (25.4cm) Injected Carbon Graphite cones
ENCLOSURE MATERIAL Medium density fiberboard construction (MDF)
ENCLOSURE TYPE Bass reflex via front-mounted port
DIMENSIONS 37.5″ (95.3cm) x 12.25″ (31.1cm) x 17.5″ (44.5cm) WEIGHT 69 lbs. (31.3kg)
FINISHES Whitewash, Lt. Oak, Med. Oak, Cherry, Walnut, Black Satin veneers, Black vinyl
BUILT FROM 1994 BUILT UNTIL 1997
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Based on many of your great comments on grounded grid preamp, I bought a Wyetek Ruby preamp. The reviews were stellar (but aren't they all) and I got a good deal.
I bought a used Grounded Grid preamp, preassembled. It is DEAD quiet and sounds quite nice. It is also very light. I replaced a Cary, which has significantly more power, but is not as quiet. Also, the Cary has a headphone output, balance controls, muting, remote control, etc.
Nonetheless, this is a very nice sounding preamp. A new kit is $499, plus there are some recommended mods such as a better volume control which mine has.
Excellent strategy or lucky, it doesn't matter either way since it appears that you were able to successfully use the Wyetek Ruby to divert the mounting attention being given to the Grounded Grid preamp while you negotiated its purchase. And to think that I almost linked the Audiogon listing to your pre amplifier thread.
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Possible to Transport a Klipschorn on its Side?
in General Klipsch Info
Posted · Edited by Fjd
While I was in Connecticut I also did not have access to a truck or van and did not have a tow hitch on my car; therefore, I have rented the Enterprise cargo van (of course, I bought the unlimited mileage given the distances I was covering) to complete several longer trips for items that were too large for my car. I used Enterprise because it was a mile from my apartment, the lot was part of a shopping complex and large enough to leave my car, and the pricing I got was about $100/day plus gas (timing it right I could easily cover 600 - 700 miles round trip for the one day charge); however, while I did not have a Uhaul location close enough that was convenient, the rate on the side of the Uhaul vans have always piqued my curiosity.
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