Fjd

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! .

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.

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. 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

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 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.

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

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 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

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/

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/

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.

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

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

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.

The Harman Kardon HK775 (mono blocks) and HK770 (stereo version with less power) series of amplifiers that hit the market from 1980 through 1983 were high bandwidth, high slew-rate amplifiers built only with discrete components and a minimal use of negative feedback. I believe that this series of amplifier benefited from the “trickle down” effect of Dr. Matti Otala’s engineering work on the legendary, no cost constraints, Harman Kardon Citation XX amplifier. The HK775 was a fully symmetrical DC circuit design with quad differential cascode, a very large toroidal transformer, two 15,000uF capacitors in the power supply, discrete components only, and a protection circuit that was outside of the signal path. .

It seems like a good time for another glowing tube picture. .

This was an interesting thread on how the wiener amp developed. http://www.diyaudio.com/forums/class-d/267039-proper-tda3116-pcb.html Lots of great builds (a few that I really liked below) over on the DIY Audio site buried in those threads and it looks like several favor the CineMag input transformers. I've also seen the Jensen JT-11P-1 input transformer used in conjunction with various chip amps too. There a several really interesting options for the power supply too and I've read the wiener amplifier card can be run easily on 24V too.

I bought my girlfriend the Marantz SR5009 that allows her to connect all of her network stuff and Scrappy's Klipsch RP 5.0 speaker setup for her apartment a while back; and she seems to be extremely pleased with the setup. When I start working on the larger system, I'll probably go with separates and have been looking at the Marantz AV8802A or AV7702 mkII.

Ya, this is another thing I have considered, that's another reason I was considering upgrading to something with pre outs I wouldn't mind getting a nice external amp for the La Scala's. Though the spec's on the La Scala's say the maximum continuous wattage rating for them is 100 which is what my current receiver pushes. Would it be bad to push more continuous power to them than the recommended? In relation to driving La Scalas with more power than recommended, I would read the following "Dope from Hope" articles that can be found at the link below from the Klipsch education page: http://www.klipsch.com/education/dope-from-hope Vol. 7, No. 5, June 1966, "Blown Tweeters" Vol. 8, No. 1, July 1967, "Guarantee Void!" Vol. 13, No. 1, January 1973, "Fuses for Loudspeakers" Vol. 13, No. 2, June 1973, "Speaker Destruction" Vol. 14, No. 2, May 1974, "Power Ratings" Vol. 16, No. 1, January 1977, "Amplifier Ratings to Drive Klipsch Systems PWK once said, "bragging about how much power your speaker can absorb is like bragging about how much fuel your vehicle can burn."

Was it Nelson Pass's design? If so I would love to hear those monsters. Looks like they weren't cheap http://www.dagogo.com/maxxhorn-immersion-floorstanding-speaker-review. There is a sub-forum at diyAudio called Full Range I am looking at. I think something like these could be built. Frugal-horn.com is a smaller version. Maybe a good projectsomeday.Sent from my SM-N920P using Tapatalk Just because I thought they looked cool, if I had the room and the extra money at the time, I had the opportunity about two years ago to buy a nice pair of Hedlund back-loaded horn speakers with Lowther DX4 full-range drivers. I remember when the Hedlund design was really popular for the Lowther DX2, DX3 and DX4 full-range drivers but had not given it much serious thought when first introduced. However, as with anything audio, there seems to be trade-offs and compromises. While we would not have the same time-alignment issues with the full-range driver set up such as the Lowther / Hedlund combination, I believe that the modulation distortion is much higher on the full-range driver set-up as compared to horn loaded loudspeakers such as the Khorn, Belle or La Scala. The other aspect that is difficult with the full-range driver set up, is when you want to turn the knob up and listen at levels that approach concert level, Khorn and La Scala can handle the concert peaks, while the full range set up, not so much. Time align the Khorn, Belle or La Scala drivers within that quarter-wavelength measure at the crossover region, and you may just have the best of both worlds.

One clarification is in order. The actual gold plated pair belong to another forum member and is something that I think really looks cool with the gold plating and cocobolo wood used on the base. I didn't have gold in the budget and decided I liked USNRET's "black liquid gold" plating when he put his VRDs up for sale.

I've used MagneQuest transformers on a few projects (DS-025, FS-030, TFA-2004 Jr with Cobalt/M4 pinstripe laminations and one of the EX models with nickel laminations) and a few of the Electra-print transformers (including a pair of 5K 8ohm air gapped silver winding transformers that I picked up on the secondary market cheap and have now re-purposed for my build of Maynard's Little Sweetie mono blocks); and have come to believe that with tube amplifiers, there seems to be huge dividends in buying the best transformers that I can afford. I need to see where I can raise some cash for the MagneQuest upgrade on my VRDs. I'm curious if Craig is using the S-271-A or a model not listed on the MagneQuest site? Thank you so very much! I will enjoy. Do you think I need to check/adjust the bias? Congratulations on purchasing the VRD mono block amplifiers. I haven't been online for several weeks due to some fairly extreme work commitments (that has another week or two to run its course) and the last time was around when you were having issues with matching the preamplifier that output less than 2V to the horn monos that required the 6V input. I'm happy for you , wish you lived closer Id love to hear your setup . 14 h 58 min away Wow, I thought your NOS Valves preamplifier was already gone, but it looks like 2Bmusic found a NOS Valves preamplifier to go along with the VRDs? Now that he has the amplifiers, all that is left is to add some bling. Of course, gold plating similar to this pair may just need to be the next upgrade he makes.

Now talking about three legs does make me wonder where this woman buys her shoes; and if she has to buy two right and one left or two left and one right or three left, etc.?

Choose the loudspeaker first, then address the appropriate room acoustic issues in relation to the loudspeaker choice. Does your listening experience leave you with the feeling of something being off key, timing is wrong, the bass seems to linger, there are unbalanced time decays, peaks and valleys in the overall frequency response that can be easily heard? Well, it just may be room acoustic issues that a new amplifier or a new preamplifier can never solve. As long as a person has a grasp of how AC voltage moves between pieces of gear and understands impedance matching with the gear selection, the formal preamplifier as we know it may not even be necessary in many music reproduction systems. However, it seems that you will need an amplifier to provide some level of voltage gain, an amplifier that can play nice with the loudspeaker impedance curves and an amplifier that can handle any music peaks you will want to reproduce and experience in relation to your music selection, among other criteria. Here are a couple of PWK classic white papers to keep in mind when building a music reproduction system. In “Dope From Hope, Vol 4, No. 3 August 21, 1963” PWK indicated that “In quality or accuracy, all loudspeakers err by greater or less amounts. Comparison between them is not the best way to evaluate them. Comparison with live sound would be much better when and if possible. Then one would not judge which sounds best but which sounds most like the original. If the original sounds bad, then surely, so should the reproduction.” In “Dope From Hope, Vol 5, No. 1 Feb. 24, 1964” after the proper loudspeaker selection, PWK outlines that room acoustics are the second most important/critical aspect in achieving good audio. To borrow an iconic phrase from Ten Bears, "there is iron in your words." Yep, I just got done watching the movie "The Outlaw Josey Wales" and decided to read a little. You sure outlined way too many variables to even think about all of the potential impacts when considering the audio reproduction chain as the initial capture of the performance all the way to the output from the speaker in a home listening environment. In my experience at the “home” level, for a well-implemented system, well-engineered circuits constructed into amplifiers with quality parts of the appropriate specifications, whether tube or solid state, will appear to exhibit more similarities than differences on my Klipschorn implementation. Wow Gill, I always enjoy reading your posts as you always know how to cull the “wheat from the chaff”!!! The multitude of variables that cannot be controlled or even identified seem so overwhelming! Thinking about it from the perspectives you have outlined, it seems that we are essentially converting the acoustic pressure of a performance into an electrical signal, meaning that every recording begins with a microphone and ends with a loudspeaker, along with hundreds upon hundreds of potentially mediocre parts that include opamps, capacitors, wires, cables, resistors, transformers, etc., etc., etc. In some respects, this seems to mean to me that there just isn’t a “holy grail” gear component, whether it be amplifier, preamplifier, cable, power cords, etc., regardless of what the audio industry reviewers may tend to have you believe. Shocking news indeed!!! In addition, another piece of shocking news, is how easy it can be to come to the conclusion that most of the source is “crap” too once a person reads the “loudness wars” and “missing octave” threads. All the preconceived "stereo-types" (another poor attempt at a pun) from my youth utterly smashed, shattered, broken into unrecognizable pieces; and spew across the lawn like a strong fall wind blowing old, dead, dried leaves (at least the colors can be great). Is it any wonder that my forum signature is really my attempt at parody or mild satire about the audio industry? Yea, I know, keep the day job! It has become perfectly clear to me that there just isn’t a “holy grail” gear component; and one component in my home cannot necessarily undo any of the twisting, mangling, disfiguring, contorting, dirtying, cleaning, and reconstructing of the AC voltage that occurs long before it gets to my gear. ["Listening to music is often a holistic, multidimensional experience that includes emotions, reactions, and involvement in the music."] Experiencing any form of art, including music, is such a personal experience that is unique to that individual; and that personal experience cannot necessarily be reliably bottled, measured, quantified and homogenized for mass consumption in any way, shape or form. The experience cannot be correlated solely to a DBX test or an audio magazine subjective review. "it is important for us to remain cognizant of the fact that we are always looking through a small window on a very complex experience and to remain forever skeptical of our own conclusions and methods and as well as remain open-minded about the conclusions of others." - Bob Katz engineer of the Chesky recordings I firmly believe that the ear (e.g., a “trained ear” and even an “untrained” ear) can enjoy the music reproduction experience; and along the way detect very small differences that seem very inconsequential on the surface. I certainly cannot find fault with those that just use their ears and go with what provides the listening experience they are looking for and try not to question the person's individual selection of gear. However, I try to remind that although the ear can detect very small differences, the brain (and this applies to the brain of the “trained ear” as well as the “untrained” ear) may not exactly know what specific aspect of the music reproduction chain to attribute the difference. All bets are off whether something will work for me until I’ve heard something in my listening space. ["They make miniature tubes and miniature loudspeakers, but they have yet to come up with a miniature 32-foot wavelength." – PWK] Regardless of what they try to dupe you into believing with all that Shakespearean prose called a “review,” you just can’t change physics. We never could and we never will. It sure seems like great entertainment can be had for all.

More insight for Paul's game. Wow...Your ability to ferret out meaning from this is very scary! Nope, instead of using words that seem like they could be found in certain renaissance-period poetry (or maybe one of Metropolis' acid trips), I just typed the most common "stereo-typical" common-person descriptions that have been stated thousands upon thousands of times across various internet forums. I agree and I switched from reading reviews to pulling weeds back in the 1990s. Although the vocabulary may change, reviews today do not seem much different than they were 40 years ago.

More insight for Paul's game.

Maybe it is just too obvious, but it sure seems like the stereo-typical review of a high end solid state amplifier with an even higher end tube amplifier. Of course, the reviewer is NOT using horns and is probably using low efficiency direct radiator speakers in the efficiency range of 86dB - 88dB 1 watt / 1 meter.