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Ski Bum

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Everything posted by Ski Bum

  1. Dug another $2 in change from between the couch cushions, I'm back in for another roll of the dice, and in on the Forum Jub agreement. (With Jubs included, is it any wonder the thread has gone on longer?)
  2. The Schitt should work very well, provided that the +/-6db range of adjustment at the critical 2 khz (smack in the squaker's band) will be sufficient for your needs. Another option that I've used to achieve exactly what you're aiming for are any of the Yamaha stereo kit equipped with the variable loudness knob. It's essentially a midrange attenuation centered at 1.8 khz or so, but with much broader range of adjustment (can attenuate -30db), along with some treble reduction, but leaving the bass intact. It's crude, perhaps, but very useful and effective, and seems almost tailor made for Klipsh Heritage.
  3. I have decent enough math skills but they fight in vain against the prospect of a $900M jackpot. $900,000,000. Whew, that's a lot of ducats. Nine hundred million reasons to let the math go out the window.
  4. No. Even with a full rehab back to spec, the Creek won't sound like a single ended tube amp.
  5. Low order harmonic distortion has ramifications in both tonal coloration and perceived loudness. That can happen in either a line stage (pre-amp) or power amps. A tube line stage can be designed as squeaky clean as you wish, it's a pretty easy task, as is engineering in however much "tube sound" as desired (reflected in how much or how little nonlinear distortion the stage produces). A tube amp, on the other hand, has a more challenging task, as the source impedance of the amps is typically well above zero and the loads they're connected to are all over he map, so there is impedance mediated linear distortion associated with the amp/speaker interface, on top of the non-linear distortion typical of tube amps. Taking this even further, different topologies produce different harmonic spectra, e.g. pp designs inherently cancel out even order harmonics and produce predominantly odd harmonics, where single ended types preserve even and odd harmonics. Line stages are almost exclusively single ended, but single ended amplifiers have severe practical limits (tend to be low powered, which was the whole reason for the development of pp approaches in the first place). For those reasons, I've always found the tube sound to be exemplified by the amp/speaker pairing to a higher degree than using tubes elsewhere upstream in the rig. Either method is as valid as the other, it's just a matter of how dirty you like your martinis and which recipe will get you there.
  6. Steve Deckert has no KHorns that I've ever seen, but it's been a long time since I lived in Peoria. He does have some corner horns of his own design which utilize a single "full range" driver. Virtually all speakers, including Klipsch, are designed assuming a near zero output impedance from the amplifier. Any amp that has slightly higher than zero output impedance, such as your Torii, will invariably result in frequency response aberrations (linear distortion) when facing a wildly swinging impedance load. The aberrations are really not that much. On the old networks that used autoformers it amounts to a db or two (which I have measured), which is enough to skew the tonal balance of the speaker. On fIII, which don't have those swings up to 100 ohms+ in the midrange, would fare better. Linear distortion can be corrected by either a crossover network / drivers that present a fairly flat load (think zobels here, although they do come with insertion losses and are contra to high sensitivity), thus sidestepping the problem, or by upstream equalization (which needn't be heavy handed, as the aberrations are not great). The Torii amps are very good IMO, pp that preserve a large chunk of that SE sonic personality but with significant balls.
  7. If any of your kit has a midrange tone control (I know the yamaha does, in the form of the variable loudness knob which are typically centered between 1-2 khz), tweaking it will help bring the soundstage forward with boost and more recessed when backed off. Stand mounted works ok (see my avatar), but requires quite somewhat more heavy handed eq to restore proper bass balance. Your casters won't reduce the bass too much to play with placement, but it should be even better when they're firmly planted on the floor. What also works sans any eq is using corners or closer proximity to the back wall, where inches can make rather dramatic differences (and, as a result, mids will be relatively lower, helping with the soundstage depth thing). Dollars to donuts the fortes with placement optimized for bass within the room will probably have tighter, more accurate bass and similar extension as that puny Boston sub. Also, while you have them on casters and can play with placement, consider this: the fortes are rather directional, which means they can be toed in heavily (think axis crossing well in front of your mlp, which may equate to 45 degree or more toe-in); this gets your ears off axis from the mid horns (again, helping the depth of field of the soundstage), eliminates early side wall reflections, while preserving tonally accurate late reflections (again, improving the soundstage), and producing a broad sweet spot that doesn't change when you move around in your chair (via time/intensity trading in acoustic parlance).
  8. Merrick Garland would like a word. I thought politics were verboten here. What gives?
  9. Need more info. If you're listening at low to normal volumes, the popping is likely coming from upstream somewhere. The only time speakers would make a popping noise they generate themselves is if they're being overdriven (woofers exceeding excursion limits). Upsteram root causes could be an intervening gain stage that's clipping, or some sort of idiopathic digititis (I had a Yamaha universal player that would audibly click periodically, but only on SACDs, leaving dvd-a and cd unscathed).
  10. Don't conflate series or parallel wiring of speakers with bridging amp channels. Bridged amp channels will "see" half of the impedance, so an 8 ohm speaker appears as a 4 ohm load on bridged amps, etc. Your idea is reminiscent of Decware's smallest amps, which can be series bridged because of the way the negative speaker leads are tied to ground (or not, as the case may be). Their method appears to be different than what you have in your diagram. In the case of the Decware amps, the speaker is connected to the pos of one channel, neg of the other, and the remaining unoccupied pos/neg posts are connected to each other. Don't do anything yet, at least not until you determine you won't fry your speakers or amp. You should post exactly what kit you're working with, and hopefully some of the more seasoned and knowledgeable members can shine some light on this.
  11. Coleman makes a quick-pitch tent (get the "4 person" version, which is just big enough to accommodate a pair of adult sized sleeping cots, as opposed to the "2 person" which is kid sized). Up in seconds, down takes a whole minute.
  12. Ski Bum

    Amp Camp Amp

    I'm pretty psyched, actually, as it will be my first dip in the solid state single ended pool. Long time SET/SEP fan, so hopefully this kit will scratch the same itch (with the bonus of about 6db greater headroom than my current flea watters).
  13. Ski Bum

    Amp Camp Amp

    Do you folks think the larger 24v supply will suffice, or is a regulated supply the way to go? (I suppose I'll find out, just pulled the trigger on the whole kit. I can always go with a different supply if it doesn't meet expectations.)
  14. In the context of this wonderful discussion on existentialism, anti-intellectualism, religious zealots with ulterior motives, moral cycles that correlate with the rise and fall of nations, and all that other socio-political-economic good stuff, I'll submit for your pleasure The Basic Laws of Human Stupidity.
  15. Hmm. Works for me, but let's give it another go: http://www.aandmcustomsteelspeakerstands.com/ And if that doesn't work, it's "A and M Custom Steel Speaker Stands"...I see their prices have gone up, but they're still in the 'bargain' category IMO. Good product.
  16. Fusion 12 Tempests vs. slightly updated forte II (crites networks, ti tweet diaphragms, stand mounted) Overall voicing: Tempests are on the warm side of neutral, where the fortes are less so and need some eq (mainly due to my using them on stands, which is not how they were intended to be employed). Directivity: Fortes are slightly more beamy than the Tempests, which equates to less uniform coverage at shorter distances. In my big room the fortes are fine, but I can get away using the Tempests almost near-field in the office rig. I follow the heavy cross-fire orientation on each to take advantage of time-intensity trading. Bass: Fortes dig deeper, and seem tighter or more 'dry' in their bass capabilities. I still find the fortes to be one of the best compromises w/ Hoffman's Iron Law of any speaker out there. Tempests roll off in the mid-40's or so, but more pronounced mid-bass kick. I love 'em both.
  17. Oh, there's quite a bit more to speaker engineering than that. Fortunately, there are a bunch of folks who've done the hard work for you. Check out diysoundgroup.com. I've built the Tempests, and they're really, really good. Compared to my slightly updated forte II, they have a better overall tonal balance (more on the warm side), a bit smoother, but with all the dynamics intact. And I see wvu80 beat me to the punch.
  18. Raising the speakers up gets the speakers into more optimal position and does help improve the image/soundstage, but there is loss of boundary reinforcement/bass, so the speakers will benefit from eq if you raise them. See my avatar for an example; those stands are available HERE (no affiliation aside from being a happy customer); I have to peel back the mids and highs quite a bit to restore the warm tonal balance I prefer.
  19. Does your B1 have any tone or eq functions? If/when you eventually stand mount your fortes, which I highly recommend for the improved image/soundstage, their tonal balance will be altered, and you'll need the ability to tweak/eq.
  20. http://kuvo.org/ Awesome jazz station out of Denver, they stream, and they're commercial free. Real jocks/musicologists spinning the tunes.
  21. It makes sense. I'm pretty sure diysoundgroup has some sealed types that would conform. It's also the approach of the old M&K brand. Well, at least the sealed alignment, with careful attention that the actual acoustic roll off @80hz was smooth and a genuine 12db/oct per THX specifications. They were anything but sensitive, but capable of getting quite loud without complaint. The MPS 150 used three tweets and two 5" mids in order to achieve it's dynamic capabilities. They had some well earned popularity on the pro side in production and mastering facilities back in their day.
  22. Speaking of Toole and measurements, since Klipsch has an anechoic chamber they might want to consider doing the "spinorama" approach. If the results are good, maybe they would even publish them and tout what they've designed in the marketing materials. I wonder how the new FIII would do, for example.
  23. My personal trigger is stupidity. Calling a class of people "wusses" is stupid. Blaming professors for brainwashing college students with Marxism is flat out stupid. Trying to have a discussion of epistemology on an audio forum is pointless and stupid. Allowing lies to propagate unchecked, while being intolerant of a few naughty words, is stupid. This place hasn't become wussified, it's just gotten more stupid, or the stupid has gained more influence here than it really should. That's taking place in our society at large, not just here in the forums. Here's a piece written by one of those dastardly college professors, of economics, and it has important things to say about human interactions, relevant to discussions on political topics as well as magic speaker wires. Oh, and BigStewMan, this is for you:
  24. It boils down to room acoustics. With separate subs and mains, the subs can be placed where they best couple to your local acoustics, leaving you the freedom to place the mains for optimal imaging. Those locations rarely coincide, making the sub/main approach more adaptable. And Heresies are kick-butt mains. You may even want to elevate the Heresies on stands, to get the drivers up to ear level and away from obstructions. Heresies are sealed, which makes it fairly easy to blend with subs. Whether you run them full range like Muel suggested or high passed employing bass management, you shouldn't have any problems achieving a smooth transition to your sub(s). With your budget of $900, you're getting to the point where you could consider a pair of subs. A pair of modest subs can smooth your in-room response in ways that a single, more expensive sub never could. How much do a pair of modest sealed 12" subs from SVS go for over there?
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