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Everything posted by JohnA

  1. The KSF 8.5s are pretty good sized towers aren't they? If so, I'd set them to Large. Your receiver is setting the Low pass for the subwoofer, so I'd set the sub to a somewhat higher frequency so its xover doesn't cause uneven repsonse when added to the receiver's. 100 Hz should be O.K., but the frequency should be selected by the performance of your other speakers. John
  2. You're on the right track with no Mortgage! Get a copy of "Audio/Video Interiors". They usually tell who designed the Hts shown in the mag. John
  3. I just got back a few hours ago. The trip was GREAT! It was beyond our wildest dreams! We got our pictures made with Mr. Paul. Miss Valerie is sweetest grandmother you'd ever want and a great hostess. She practically worships Mr. Paul. Trey, Matt, PhilH, Jim Hunter and everybody we met at Klipsch were Class Acts! We got several nice souvenirs. And we spent quite some time with the Jubilees. They are smoother than the K-horn and very powerful. I think they will further the "Legend". Pictures at 11. John John
  4. You have a mormal pair of LATE Heresy Is. That squawker is used in the H IIs. The early H Is had K-55-V squawkers. john
  5. The K-33-E, the latest version, is optimized for the Belle/La Scala/K-horn back air chamber and compression chamber volumes. It is said there are few better for use in folded horns. If you have a -B, the -E is a nice upgrade. Al Klappenberger's xovers are flexible and very sweet sounding. You'll like them and they will help you match the output of other squawkers. You HAVE wrapped the squawker horn and tweeter with damping material, haven't you? Have you tightly stuffed the HF cabinet with poly fiberfil? John
  6. I guess I can understand "ugly". They're supposed to be sort of avant-garde; I think they are striking. They are over simple in my book. My Act-3 has no frelling tone controls! John
  7. Mondial has bent over backward to help with my ACT-3's "noise" problem. They've spent lots of time explaining the reasons they chose to produce it with such high gain and how I might solve the "problem". I had 2 choices, turn the amp input gains down, or send it in for modification. I elected to adjust the amps, but Tony practically begged me to send it back. It's hard to say too many nice things about Mondial. The Aragon line of amps are tough to beat, too. John
  8. I have never heard a Belle, yet. I have 4 La Scalas. The Belle and La Scala use the same drivers and for most of their life used the same crossover network. The major difference is the squawker horn in the Belle. It is shorter and therefore has a higher cutoff frequency. Since the crossovers are most often the same, you can expect the Belle to have slightly rougher amplitude response around 400 to 500 Hz since her squawker operates nearer the horn's cutoff frequency. None of this is supposed to be audible, at all. John
  9. John, Nice work! Do you have any finished pics? I'm particularly interested in the squawker and horn. They might be applicable to a La Scala. I have a pair of Type ALKs and a pair of Type AA that I hot-rodded with better caps and no KLiP circuit. The sound is similar with the Type ALKs having a better transition from the bass horn to the squawker horn. otherwise they are very similar. John
  10. Colin's description of Carver amps (AWA Phase Linear, a previous Carver design) is the same as mine. Not for Klipsch. I have 140 wpc Parasound amps. They are TOO big. I have discovered the first 1.5 watts is Class A and it transitions to Class AB above that, so these are not as bad as many SS amps. None the less, I RARELY use more than 10 watts per channel (114 dB peaks, LOUD!) A 25 watt (x 5) Class A power amp is all I'd ever need. Parasound has considered this but sees no market, so affordable Class As are not readily available. John
  11. Rat Shack has a pretty good +10 dB in line amp. I've even used 2 in series powered with one power supply with good results. John
  12. Remember those drivers can be OH'd cheaply. John
  13. I'm pretty sure the middle section IS (includes) the diaphragm. I have a spare. They are the same for T-35s T-35As, Bs and all K-77s. If you have the Alnico T-35/K-77 be really careful taking is apart. If the pole piece in isde the magnet moves you'll have to have it remagnitized, tough to do, nowdays. John
  14. Start by wrapping the horns in rope caulk or Dynamat to damp their resonances. Then I'd look at crossover upgrades. I believe the Cornwall mod is described here: http://www.audioreview.com/reviews/Other/product_5472.shtml It's possible to use, say a K-604 horn on a Cornwall. The Cornwall has a crossover at 600Hz. I believe the 604 is a tractrix horn, John
  15. The black plastic boxes are 2 uF capacitors. Klipsch had to change to them when the 2 uF Aerovox caps were no longer made. John
  16. I think the AB-2 is the latest for the Belle. Don't they have extra input terminals? John
  17. sunnysal, How are things after the earthquake? Did your house get damaged? Hope not. John
  18. Isn't that one of the signs in Revelations? John
  19. The latest xovers have extra terminals for bi-wiring. This could be used for passive bi-amping. The older xovers can be modified, but I don't have a schematic to show you how. What netwirk is in your Belles? John
  20. How about RB-5s or RF-3s for speakers, about $800 a pair. I really like the looks and specs of the NAD L40. No place to hear one around here. If that's not to your liking, look at Parasound and Acurus for moderately priced seperates. Jolida makes some neat tube integrated amps for not too much. The sky's the limit for tube $$$. John
  21. H2s should be great! A KLF-C7 makes a good convential center. I use one with my La Scalas. John
  22. True bi-amping requires the removal or modification of the internal crossover, yes. A 3-way system could be tri-amped, or the crossover modified so that the HF amp sees the mid to tweeter crossover. One point is to get rid of the passive xover and its impact to sound. Properly done, the electronic xover is a high quality, expensive piece about the cost of a good pre-amp. I don't think this is done much, anymore, outside of LARGE pro audio systems; the outdoor or stadium stuff. I suppose "stacked" means plugging one F-mod into another and then into the power amp. The configuration mdeneen and I suggested would only use the receiver's volume AFTER the system had been balanced using the integrated amp's volume. For this reason, the "Y" and F-mod must be connected to the AUX in. Passive bi-amping uses no electronic xovers and thus fails to reap the benefits of eliminating the passive xover components. It is an easy way to put unused equipment to use and get more power (giving more headroom). If used for this, both the high-pass and low-pass F-mods MUST be at the same frequency. You must have one for each channel. Unstrapping the bi-wire terminals will allow bi-wiring, of course, and passive biamping (no F-mods). True Bi-amping will require extensive modification to the crossover and you will end up with, most likely, a similar looking pair of terminals on the back. John
  23. If I were you, I'd use the La Scalas for mains and surrounds (I do) and one H2 for center and the other H2 for the rear ES/EX. MOST KILLER! For that system the room should be 18' x 20', or bigger, just to have room for the speakers and furniture and not be crowded. John
  24. I've read they are. Jake "We're on a Mission from God."
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