JohnA

k, It would be tough to build a list of the running changes, because there are so many exceptions to the rules. For instance, 1982 is supposed to be the first year for the K-55-M, but I've seen later K-horns that still had the K-55-V and associated crossover, yet were supposed to be original.

Hi James, At the Klipsch factory, they had a Belle center supporting a 32 inch TV. They had added 2 pieces of 2x4, cut to fit snuggly on each side of the K-501 to transfer the load from the top to the bass horn. That should prevent any sagging of the top.

All over the back side of the horn. 2 layers should be enough.

Due to the limited production rate for the Belle, the K-505 horn is produced by a different process than the others. It is more expensive per unit, but has vastly lower tooling cost. I noticed the difference during the trip to Indy and ask. Ay $50 each, I need to find an excuse to buy some K-401s!

Mr. Paul would have LOVED it! I think Miss Valerie would have, too, because her sweetie would have looked more elegant. Steven is correct. The multiple watches began as an aid to flying. i have always had a watch with multiple time zones for the same reason.

I have seen a ceiling speaker with a dual voice coil woofer, 2 tweeters and 2 crossovers just for your application. I believe the woofer was 6 1/2". I can't remember what the brand is.

Chemical paint stripper and elbow grease.

The woofer is not inverted, the squawker and tweeter are, They should be due to phase shifts caused by their respective filters.

Randy, Is the I-link a digital out? I've never seen a DVD-A player that had a digital out. Mine only outputs analog when playing DVD-A. To prevent piracy the industry wasn't supposed to build DVD-A digital outs.

Hey Gil, What's a "Valerie Type" (horn)?

Al, What is the scale along the bottom?

Dee, The 2 devices on the aluminum Ell are zener diodes. The trade name is KLiP Circuit. They chop off all of the signal to the tweeter above 2 watts and do it harshly. It you remove one from the Ell, the circuit will not work and the tweeter will get a cleaner signal, sounding better at high volumes. I've disconnected mine and have not damaged a tweeter with a 140 watt amp. If you have AlNiCo tweeters, don't it.

A cracked cone is serious damage and should be repaired. I don't understand, "To clarify, there is nothing wrong with the base cone but the crack is in the material closest to the floor". As a temporary measure, you can use Elmer's glue and thin paper like smoking paper to reinforce the crack from both sides, but the real solution is to have the driver reconed or replaced.

My guys learned the Nintendo 64 very quickly at 6 and 8. The spurting games aren't readily available for it, but theres lots of N64 games out there, new and used. We still got it, with 3 controllers and ~12 games. i'll ask if I can sell it if you are interested. My oldest acts very ADHD. He will sit motionless and play PS2 or N64 for an hour.

I think you need to go over the wiring again. What you have drawn could be a 6 dB band-pass on the squawker and a 6 dB high pass on the tweeter with no low-pass for the woofer, with minor mistakes on the connections. What is the driver complement? I'll bet it is supposed to have the architecture of a Type A (low-pass, high-pass, high-pass), with the values adjusted for the 500 Hz K-5-J horn.

There is/was a guy from Israel. It may be Guy Landau.

Congratulations! $C1500? You Bum! Somewhere there is a blemish in the veneer that Klipsch QA could not tolerate. When that happens they get painted by the factory. Mr. Hunter told us a heartbreaking story of some mahoghany K-horns going into a theater for a teeny flaw.

Yes, they are 1989 models. Are they black?

No Dave, I didn't get the Rebel IV. I didn't do something on auction sniper I was supposed to do. That one looked pretty nice, too. Tell us more about this new Shorthorn. BTW, my mono Heathkit EA-3 is in transit and should be delivered tomorrow!

" I cant escape the feeling whenever I read the threads on amp topologies that there is something inherently wrong with using an amp to flavour the music - whether that be enhancing the mid-range, boosting the bass or curbing the treble. In the simple Max book on audio (which, if ever written would be about 10 pages - better call it a pamphlet methinks) the job of an amp is to amplify without adding or subtracting anything from the music." Hi Max, This is exactly my stand, as well. If I swap in another amp, and it does not seem to cause a change in sound, I'm happy with that amp (or component) and by default, the one that came out. I don't really WANT an amp that sounds "sweet" or "liquid". If someone else wants those things, he should be able to save up and have it.

Greg, If you are not going to upgrade the parts in your Type AA, the ALK is about the best you are going to get. The biggest difference between the two is the tweeter circuit. Al's networks have a dB or 2 less loss in the tweeter end so they sound a bit hotter. They are cleaner, too. The change in sound may be what Randy dislikes about them. Remember everybody hears things differently because of our genetics. I may like a system you hate even though we hear it together. Where do you live? Maybe somebody can help you do an audition.

Yes.

Hey D, There's no reason a Class A amp cannot have negative feedback. I've only known of one transistor Class A amp that does not have negative feedback, the Monarchy. It may have it in some stages. Amplifier design is a highly technical subject. I barely understand the simple parts, though.

Amplifier classes describe the method of operation. While come classes are easier to make sound good, the Class is NOT a dependable method of determining quality. In layman's terms: Class A - the output devices (tubes or transistors) are on all of the time. It is the least efficient and runs VERY hot. Class A does not suffer from "crossover distortion" caused when an output device turns on from an off state. Class A amps often sound better that all others and the Hornies' favorite design, Single-ended Triode (SET) is Class A. Class B - perhaps the most efficient "topology". An even number of devices are required; one device amplifies the + side of the electrical wave and another device amplifies the - side. When not amplifying a device is off. Runs very cool, only very careful design reduces crossover distortion enough to sound great. Class AB - the most popular topology; the + and - devices are turned on for all of their half of the wave and a little of the others wave. This allows an AB amp to operate in Class A for small voltages (say to 1.5 watts) and act as Class B most of the time. This is a nice compromise and is quite efficient since all of the devices are not "On" but for a short time and at low wattage. These will often run warm, but not hot. Class D - is a sort of digital amp I don't fully understand. The devices are switched on and off with the input signal. this makes, I believe a bunck of essentially square waves that are filtered to cut out the ultra highs and return the output to a wave that looks like the input. This is sometimes said to be the most efficient amp design and easily achieves extrodinary power in a small, cool package. Normally used for subwoofers and cell phones. There are some other types that are highly exotic. One is Class H. It's sort of like Bob Carver's trick amps where the power supply tracks the input signal so the amp can only put out the power it has to at the time. Good audio amps are nearly always Class AB and Class A. However, I believe McIntosh made some very good sounding Class B amps. Notice I did not mention power? It is not directly related. A 50 watt Class A amp is a 50 watt amp; nothing else.

Well, Ken, The crossover looks properly made. I'd say you don't like the sound of the Type A or that the K-55-M has a bit more output then the K-55-V, though it is not supposed to.