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Everything posted by maxg

  1. Well that one beats me - and I live here!!! Well in Greece rather than Italy but you get the idea. Most unexpectd place I ever saw Klipsch was in the home of a high end dealer here in Athens - he sells Montana speakers and a bunch of other makes - but he had KHorn's at home - not sure if he still does - this was a few years ago.
  2. Shawn, Thanks - the 5000 Hz fooled me at first sight then when I posted I saw the zero above it - oh and yes that does look flat enough - most interesting. Dean, I wasnt refering to a step backwards performance wise but time wise - it was in response to your 21st century line which just happened to look very much like the 1950's - hence stepping backwards in time if not in performance. Just to stress - I have nothing against a good 2 way at all - I was mightly impressed with the RF7 on one occasion but that, in common with most 2 ways I know of, crosses over nearer 2K than 500 Hz. It just seems to me that anything at 500 Hz X-over is screaming to be placed in a 3 or more way although it may be fully possible to achieve a 2 way design. Out of interest - what benefit would you expect to garner from a 2 way implementation other than the loss of a single X-over point? Do you see any potential drawbacks? My limited experience with 2 ways is that they can often come across as being a bit lean in the midrange - which is probably the most important part of the spectrum to me at least. I recall it being a regular accusation aimed at the RF7 for example. As a final bit of lunacy - I have been looking at Tannoy's dual concentric design. I wonder if there is a version that might suit hornloading - perhaps in a folded horn which might just address some of the timing and phase issues inherrent in the design (on a passive X-over at least). Tis but a passing fancy - probably not workable - I havent sat down to investigate it or anything. If anyone wants to save me the effort - just tell me why it is idiotic.
  3. Shawn, Am I reading that wrong or does it start at 5000 Hz rather than 500? edti - oops - I am reading it wrong - starts at zero Sorry.
  4. Max, Yes, the K'Horn started out as a two way then went three way. From what I have read PWK always wanted to go back to a two way... hence the Jubilee. 500hz crossover is fine for some drivers to handle two way with no problems in the home. Just need a better driver then the K55 to do it. Shawn Genuine question: Horn loaded driver that goes from 500 to say 17500 flat(ish) on axis? Not a beast I know of but I would be real interested in finding one for another project.....
  5. Wasnt the original design of the Khorn a 2 way? I think this is going backwards rather than forwards. Anyway - 500 Hz xover point is not a great place to start for a 2 way - asking rather a lot of the other driver IMHO - probably why the design went 3 way in the first place.
  6. I am not sure how we got from snoring to sex - but if we figure that out it might provide the answer to the question above. Snoring after sex is bad - but it is worse during!!! Pickup line number 42: "How do you like your eggs in the morning." Put down number 33: "Unfertilized."
  7. If I am going to be honest about this Erik you are about the truest audiophile I know - in the real sense - rather than the club card waving - only going the approved way approach. Could it be that a true audiophile leaves no stone unturned in his or her quest for audio nirvana? "I came to a fork in the road and took the path less travelled by. This has made all the difference." (paraphrased) Audio wise - that could be you and it could be me - could be anyone with a Horn loaded system, anyone with a SET amp or anyone with a surround sound amplifier it takes a degree in electrical engineering to work [] Aside from that it looks like I have found a source of drivers for the speaker that shall not speak its name and am waiting for Tony to happen upon a pair fo a decent price on ebay. Wouldn't you just know it though - prices are climbing on the damn things right now. Still - I am sure he will get a pair eventually and we will have a proper play. Finally - I must be a real audiophile - I am in an audiophile DVD that was written up in TAS or Stereophile or something like that over there - apparently. Seemingly they loved it - ergo - signed, sealed and delivered Audiophile over here....
  8. If, in your opinion the enchilada sauce changed the sound in some way then you are certainly a true audiophile. Try pasting some on the amp to really give the sound a kick... Thus far you qualify for distracted and absent minded - audiophilia or no.
  9. I would hazard a guess that more than about 10 posts on this forum and you are an audiophile. Basically an interest in the equipment beyond merely being able to playback music that aims to improve the quality of that playback.
  10. Dedicated mono setip - [8-|]. Jealous as hell. Way to go - connect them to Cornwalls? Shouldn't that be.....Cornwall. If ya gonna go mono - go mono! Dont need no stinking stereo setup - one monoblock (with volume control) one speaker and this table. Hell of a conversation piece aside from the sonics - just invite round the 11.2 home theater crowd and enjoy the looks when they hear it. Allan - majorly impressive work there - looks almost as good as the plastic tables.....[]
  11. Certainly warmer. A few members of ACA have their stuff - you might want to check ouf some of the profiles on the ACA site to see who and with what. My impression of the power amps was certainly positive and they do look the part - large heavy monoblocks with little gauges on them shownig power. Gotta love that kind of thing....
  12. Interesting Mike - that could be it - I was reaching with the horn effect room. Duke, Hard to tell on the distortion levels as I am not accustomed to such volumes but it only seemed to hurt the ears through volume - no obvious clipping apparent. I dont think the amps in question have enough headroom to do 80 wpc anyway - but I cannot swear to it.
  13. In some of the other posts here and abouts there are several discussions on the validity of measurements when discussing power requirements for a given set of speakers in a given room. Whilst I am not going to enter that fray I will just offer the following rather odd measurements I took recently with Tony at a fellow audiophile's house: Just as a bit of background the house in question has some rather large, rather old tannoy speakers that I understand to have sensitivity of 96 db/w/m. The guy is running a 45 wpc tube amp and according to Tony at a distance of 18 feet from the speakers they were hitting 113 dB. This is obviously BS and I told Tony such. We got into an arguement that was settled on a visit of the 2 of us to the house in question. Turns out - at least according to Tony's digital SPL meter peaks were indeed hitting 113 with an average of about 106. Doesn't matter how you calculate it - on the face of things this is impossible if you crunch the numbers. However - here we were experiencing it. Now it could be that Tony's meter was off - but we have used it before and judging by the volume in my ears I do not think it was that far out. What I do think was happening was the effect of a slightly strange room. At one end it was about 10 feet wide. At the other end it was nearer 15 feet - maybe more. The room was very long - guess over 30 feet and I guess it was acting rather like a Horn. Going from about 6 feet away to 18 feet away made no discernable difference to the SPL. In a nutshell - the measurements and calculations we use are not wrong - but they may not apply in all cases due to the vaguaries of room design. First time I have experienced it personally - but there you go. Of course I ended up with egg all over my face an a nice little victory for Tony - but at least he didn't rub it in - too much.....
  14. All the experience in the world just goes down the drain the moment you own a Pat Metheny record. Life is unfair but... heh! Phew - so my 42 years of classical listening is saved. Frankly - other than reading the name on the forum from time to time I have never heard of Pat - I have no idea what form of music he performs. Whatever it is I have the feeling it never made it big in Europe....
  15. See. In my first post on this, I said someone would complain about the validity of the test. Thanks Max. For the record, I believe the "VRD's" could be picked out from a Yamaha surround sound amp (given a specific set of conditions) - but that does not mean that in the quiet of one's own home this would be true. It also doesn't mean it wouldn't be true. Tests are most interesting when folks are asked to write their observations of what they are hearing when they are listening to it - in addition to "ranking" the amps. It is amazing how folks (who believe they are comparing one amp against another) will hear the same amplifier playing the same music and alternate being claiming it sounds incredible and claiming it is the worst thing ever. They will identify it as lush one minute and then identify it as cold and sterile while listening to it again a minute later. Nerves or psycho-acoustics? Sorry Robert - testing is something I have been thinking about for a while and you just gave me the opportunity to voice my thoughts. Nerves or psycho-acoustics? Probably a combination. Group pressure can come into play too - What? You can't hear the difference? Are you deaf? etc.etc. Having said that - I have attended a Nordost demonstration that proved to me you can convince anyone of anything when it comes to sound. 9 interconnects - from cheap computer units to Valhala's. Each one a huge leap forwards from the last. Dramatic differences - wow. But - at the end of the test - we went back from Valhala's to the computer connections. Yes we still heard differences - but somehow the differences we heard going from one cable up to the next one in the range did not appear to be cumulative. If the Valhala appeared to be, say 10% better than the next one down it also appeared to be 10% better than the computer cable. The next one down (can't remember the name) also sounded 10% better than the computer cable but 10% worse than the Valhala. Never could get that one explained. Very very clever presentation.
  16. You have to stop this - I am running out of coffee. Computer now looks like it fell into a cess pit. Anyway, just to explain a couple of long term members of the forum recently got a chance to hear the 901 and dared to say we were quite impressed with what we heard. The thread has gone on over 20 pages now and wont die (it will now of course - immediately no doubt). It is apparently illegal, immoral and probably fattening to like both Klipsch and the 901.
  17. combination of factors - but actually Robert - yes. My mind has gone blank on the names of the people who charted the ear's response curve - dammit. Anyway - forget amps. Just get someone playing an instrument sit up close then walk away. As you get further away the detail diminiishes with the highs and lows going first. Fletcher munshen - munsen - munchen something like that - oh my mind is gone completely these days....what was I saying?
  18. They did: http://www.elpj.com/main.html That looks like a cool weekend project for no other reason than nostalgia. I wonder where you can buy that horn? Do not go there - oh what a tale of woe that one was. Actually it could work quite well at times (and with an engineer on stand-by) - but the original company that made it went belly up, then the one that took it over and as far as I know the third one is in trouble. Essentially my guess would be it needs about another $million in R&D and they aint got it.
  19. Yes - it is a working Cd player apparently . Ignore the arm - it is read from below - see the pictures following on from that one.
  20. http://www.jieyu-design.com/producthtml/cdplayer.html The world gets slighter madder every day it seems....
  21. Not to get all Schroedinger about this but I have spent a fair bit of time considering the implications of double blinds on audio equipment - and partaken in a few tests myself and have come to the conclusion that the act of testing directly effects the observations themselves. Music listening, for me, is all about mood. It not only affects my choice of material it also affects how I listen. Sometimes - when I am in an all analytical mood I choose deliberately superb recordings (as a primary objective) and then listen to the system. Other times, when I just want to chill out, I choose superb performances and then listen to the music. (So sad that the 2 so rarely coincide!) The thing is - I cannot force my own choice. Under test, however, there is always an element of stress (totally new element) along with the desire to "get it right". For me this seems to result in listening so intently I don't actually hear anything - I am thinking all the time "did that piano note decay the same way?" Or, "was that lead violin as far forward on the last system?" This goes on ad-infinitum and large parts of the playback simply pass me by. I swear that during one of these thought processes they could change from Opera to Rap for a few seconds I would probably miss it. The funny thing is - whilst listening in my musical mood I often pick up things on the playback that I dont when I am being analytical. I hate to use that tired expression "PRaT" (it is probably not even quite the right term) but it is only when I am really lost in the music that I appreciate the tone and rythm of the piece - the overall flow if you like. I will relate a quick story here: I was over at a friend of a friend's house who was building a new CD player. He had 2 outputs on the unit - balanced and unbalanced. Whilst I was there he asked me which one I prefered of 2 choices - he did not tell me what he was changing as I recall. Anyway - he plays back over the balanced and then over the unbalanced - without bothering to adjust the volume. I was only semi-concentrating - if at all really and, as luck would have it, he was playnig back a favorite piece of mine. I chose the unbalanced connection instinctively and told him so - the music just came across much better and over the balanced connection it was too harsh. He was stunned and complimented my hearing. Apparently everyone else that was asked chose the louder balanced connections. It was as a result of this I got involved in some double blind tests. In those I failed miserably. I guess due to the fact I was not as relaxed as I was at his house where in reality I didn't give a monkey's. To bring this back to VRD's Verses anything else - you may well - under test conditions, show that no-one can pick them out from a Yamaha surround sound amp operating in 2 channel mode - but that does not mean that in the quiet of one's own home this would be true. Just my 0.02
  22. So you are not a bottle of wine - but Roc is a beer?
  23. One is not going to buy 901s. Too risky. Of course not - that would be insanity - but just for completeness the latest model (the V6) is the one to not have. The first versions were not ported and needed rather a lot of power to generate any bass at all - couple of kilwatts per channel is an ideal starting point. Later versions that were ported, had different drivers and different supporting structures needed rather less - 100 wpc would do at a pinch. Funnily enough Bose claim you can run them with 5 watts. As Klipsch recommend at least 20 wpc for Heritage you can take that with a pinch of salt. Note : I am not saying you need 20 for Klipsch - lets not go there folks - I know people that run them with 1.1 wpc and are apparently happy with the results.
  24. That one put coffee on the screen. One of the funniest comments I have read in a while - welcome to the forum - you have just experienced the Colter-effect. Michael bought so many of Klipsch's speakers they hired him in the end. Basically going to a dealer to audition Heritage is a bit of a waste of time - anywhere in the world. You can almost always find owners nearby who are invariably delighted to demonstrate their systems and this will give you a much better impression. I am in Athens, Greece and I have a choice of about 5 homes I can visit at the drop of a hat with KHorns - all within the city limits. As for the disinterest shown by the salesmen - the lack of optimised facilities and so on I can tell you it is not unique to audio. Not too long ago I was looking for a new car. I went into a local Subaru dealership and was totally ignored whilst, I presume the owner, chatted and drank coffee with what looked like a friend. Couldn't give a damn. I hoped in and out of various cars - looked as interested as I could, opened the hood of one of the cars - basically did everything I could do baring driving one off his forecourt and not a flicker of interest. I left and ended up buying something else - it obviously mattered not to him. I bet Subaru wouldn't be too pleased if they found out but I can't see why I should help them as they so tangibly failed to help me. Back on topic - amplification. Depending on who you talk to, the music you listen to, the size of your listening room and a variety of other factors you need something between 1 and 500 watts to drive a KHorn. Most on here use tubes and are in the 3.5 to 60 wpc area. There are 2 amp manufacturers on this site that make amps suitable for use with Khorns - with happy customers on here too. Check out the Nosvalves VRD (www.nosvalves.com I think) and the Juicy music pCat - (www.juicymusicaudio.com - again I think). Juicy music also make pre-amps that are very popular (and might even have been reviewed by your own publication if memory serves).
  25. Is this amp integrated? If not it could be your pre-amp. Do you have a balance control on the amp/pre-amp? Can you fix the problem with that? Is it a small adjustment or a major turn of the dial to fix the image? I would suggest first off reversing the inputs to the amp - left in right channel and right in left channel - does the problem move? If the problem does not move return the connections to their original positions and next swtich the speaker cables from left to right and vice versa - again - does the problem move? If the problem does not move with either of the above changes then your amp does indeed appear to have a problem - or it is the room that is boosting one side over the other. How even is the layout? For example - if one speaker is in a corner and one not you can get a major boost in output from the cornered speaker - as much as 6 dB.
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