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Posts posted by JohnA

  1. Technically:

    Both have the all same drivers and, for many years, the same crossover. The Belle uses a K-500 squawker horn. It must be crossed at 500 Hz. The La Scala uses the K-400 from the K-horn and must be crossed at 400 Hz. The K-500 is shorter so it will fit into the shallower Belle cabinet. Shorter horns can't go as deep. The Belle's bass horn is shallower and wider, but otherwise similar in design. The La Scala's bass horn was designed to be as compact as possible. That makes the bends "tight". The more gentle bending of the Belle's bass horn *may* allow it to reach higher frequencies.


    The Belle is pretty. The La Scala is not; it is a PA speaker that can be finished and dolled up a bit, but it will always have visible plys at the joints.


    Little difference. Some, like Tony, that have heard them side by side say you can tell them apart.


    We all know that.


  2. The wooden horn is the K-5-J. It was used in the 50s. The Metal horn is the K-400. It was used in the 60s through the 80s sometime. Now, the horn is the K-401, a composite of some kind used since the K-400. The K-55-V was used with the K-5-J and the K-400. The K-55-M was used with the K-400 and K-401. As of this year the "new" K-55-X(?) will be used with the K-401. The K-55-X is essentially the K-55-V. The K-400/401 is said to have less high frequency beaming and a smoother response curve. Others like the sound of the K-5-J better. All of mine have the K-400 and I can't verify any of the claims.


  3. Hetman,

    I was able to obtain the exact specified values for the caps. I can't remember the cost, but I got my Hovlands from madisound.com. I used a 6 uF and a 7uF in parallel for the 13 uF squawker cap.


    The Type AA network uses 6 dB slopes for the woofer/squawker crossover with no HF rolloff on the squawker, then an 18 dB high-pass slope for the tweeter plus a pair of zener diodes to limit power input to the tweeter further. The diodes sound awful when you reach their power limit!

    The attached Type A network is 6 dB all around and has little tweeter protection. Converting a Type AA to Type A would be easy, even as an experiment.


    This message has been edited by John Albright on 05-07-2002 at 09:29 PM

  4. I'm with John Warren on this. I've replaced the caps in my Type AAs with Hovland Musicaps. The change to the tweeter was noticible and nice. It became clearer and cleaner. Changing the squawker cap was inaudible, but you never know 'til you try.

    I was put in the situation of replacing caps because my La Scalas were mismatched. One had a K-55-V and Type AA and the other had a K-55-M and a Type AL (awful). I bought a lab built Type AA from Klipsch, but the 2 uF oil caps are no longer available, so they used something else. After a while, I just couldn't stand and replaced all of the caps so they'd both match.

    Rebuild yours with good parts. It won't change the character of the speaker, but will improve it slightly.


    This message has been edited by John Albright on 05-07-2002 at 04:28 PM

  5. I wouldn't be surprised if DPL had surround info in the front speakers, too. That would emphasize the surround aspect. If you are not using surround speakers yet, ignore any surround info and sounds. Do not try to calibrate the surround setting even if you hear something.

    Where is your sub? If it is closer to one main than the other, you might hear (see) a slight difference in output level when comparing the sub to another speaker if you move the dB meter. Sit at your listening position. Set all speakers to the same level, say 75 dB, while you're sitting there (you may have different settings for every speaker), then calibrate the subwoofer to that same 75 dB at your seat. Finally, leave everything set that way and watch movies!


    This message has been edited by John Albright on 05-05-2002 at 12:49 PM

  6. Though of questionable effectiveness, the purpose of spikes is not to isolate the speaker from the floor, but to prevent minute movements of the cabinet and therefore the tweeter. The theory is that the short wavelengths produced by the tweeter are more suseptible to timing errors and doppler effects since the wavelength and minute movement are so nearly the same.

    Think about it, sharp spikes pushing through the carpet to make hard contact with the floor could not be more isolation.


  7. Try to keep us posted. I'm sorry Mr. Paul is not doing well.


    Mr. Paul, and the Klipsch Fans Tour at the factory. Look at that smile! We're listening to the Jubilees.


    This message has been edited by John Albright on 05-03-2002 at 07:11 PM

  8. If you have corners for K-horns, you'd be better off building a pair and putting the L-S components in them. The K-horn's rated response goes down to 35 Hz and the L-S is now rated to 53 Hz (quite realistic), so you're not gaining that much. I'd guess that's about 2/3 of an octave. Still, If you could use K-horns, I'd rather have two of them than to have 2 L-S and one or 2 K-horn bottoms in the room.


  9. For now I'm using 3-0. The squawker seems a little "recessed" sometimes and the tweeter a little hot. I've been planning to take one to a co-worker's house to do some testing on the bass horn. I'll try to get curves on the squawker, too. Al, do the new calculations change your recommended tap selection?


  10. It DOES require cabinet mods. I believe it was designed by djk. It involves putting a port into the woofer's back air chamber and closing off the upper section where the squawker and tweeter live. You've then augmented the bass with a bass reflex cabinet. I also think it requires a filter circuit on your power amp to flatten the bass response at the bottom.


  11. Since most of the sound in a movie comes from the screen, explosions, too. A sub on the center wired like you describe would be great. BobG does it, now. A similar effect can be had by setting your center channel to crossover to your subwoofer(s) and setting the sub out to Sub+LFE.


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