RRFL

The Australian ones looked like this from the back. Also when the main capacitors blew their tops of they blasted across the top of the main circuit board.

I bought it around 1981, lol, so it's your age, it's single ended class A on one side of the speaker and class A/B on the other side. The Class A controls the Class A/B, very complicated, but the sound is "invisible clarity" when compared to many other reasonable top shelf amps of the day. It cost me $3,000.00 back then and the pre amp is the C2a $2,500.00 the model before CD's came out. The C2x had 1 phono input removed and replaced with a CD input. Heh, I thought you were talking about the monkey, not me. I guess I didn't realize my bday was on this site. You mentioned your age somewhere, lol.

This unit below, made a bigger difference for my system than I was expecting. I got it mainly to separate digital from analog equipment and give the digital better performance. I did not expect such a difference with the analog equipment. It was on sale for half price so I just went for it. Definitely, it is worth while. You can make a system sound like a much more expensive system so it's capable of paying for itself in certain circumstances IMO. It is most likely that the less expensive equipment will benefit more as generally the more expensive amplifiers will have reasonable filtering systems within their power supply. The mains power coming into your amp is almost a direct drive to the speakers via the flow control of the power transistors tracking the audio signal. So if there is noise and ripples in that power, it can be superimposed onto the audio signal. Consider, as an analogy, having a shower and then someone else turns on another tap and the temperature in the shower changes. Then they do that very quickly. Symmetrically Balanced Power Furman P-2300 IT E. Furmans Symmetrically Balanced Power provides a virtually invisible noise floor by reworking incoming AC into a balanced power output. Similar to a balanced audio signal, balanced power splits a single voltage path into two separate voltage paths which are in opposite polarity, cancelling out noise and distortion on the incoming line. This noise reduction is extraordinarily efficient and linear across a huge frequency range, unveiling harmonics, overtones and low-level signals commonly masked by AC line noise.

I bought it around 1981, lol, so it's your age, it's single ended class A on one side of the speaker and class A/B on the other side. The Class A controls the Class A/B, very complicated, but the sound is "invisible clarity" when compared to many other reasonable top shelf amps of the day. It cost me $3,000.00 back then and the pre amp is the C2a $2,500.00 the model before CD's came out. The C2x had 1 phono input removed and replaced with a CD input.

My understanding from back then, lol, was that some one in Sydney was reworking the 700's and matching the transistors so the resistor that compensated for the mismatches became redundant. Apparently, this improved the performance significantly. I have no idea of how many 700B's I worked with in fully horn loaded JBL Quad 4 Ways that I operated for various people. I never had one blow up on me and everyone was very careful with the rack design loads of cooling extra support the transformer for transport so while it was in the truck in the racks they did not rip of the front panel smash circuit boards and bend the rest of the casing "right off". Great care was also taken in moving the racks and placing them into the truck in certain positions. They were all the rage as they were the most affordable for power output. Generally the 700's drove the W bins and the 45x60's. The mid horns were 400's as were the high horns. A friend of mine named Trevor had a very well configured system with a beautiful Sound Craft mixer and no compression. He had me operate it when ever possible as it never failed while I was using it and I always kept the meters on the scale. I did not have to see how loud I could get it as I was not deprived of volume at home as I had LaScala. Everyone said I always got the best sound out of his system and it was that I mixed backwards setting all the outputs to unity and the channel faders to 0db. Then I mixed from the input trims. His system was very quite and I preferred a little hiss to distortion. Most people liked to see the little red lights flashing everywhere as they tried and struggled to get more level. "Wrong". So the 700's would live if you did not abuse them and I actually got very good results with them. It's always a case of maintaining sufficient headroom, the more the better.

JC, my top end is starting to look like yours..........K402/K1133 and a 1" throat tweeter instead of a 2" like your K510/K69. According to Roy, your tweeter section is overkill for home but was designed to blast though a movie screen.........but that has never stopped you. LOL. In fact my bottom has a similiar range as yours although I suspect yours has much lower distortion and the Tractrix "squeeze" of your midbass/bass horn is far superior to my "cheapScala" Peavey FH-1 which are a VERY solid build indeed. Next, I may build a pair of Volvotreter's 77 Hz. Conical bass horns since they are only 1 Meter long, but have that desirable STRAIGHT AXIS, that sound better IMHO, as taught to me by the amazing Peavey MB-1 horns. Those 77hz are sensational and I'm very keen on the 320hz Round Tractrix. Very artistic and would definitely please the girls. . I'm sure the finish would be very durable and no evictions after dinner and drinks would be necessary. Have you built Volvotreter's bass horns with the EVM 15L (Bruce Edgar's favorite woofer)???? If so, do you have measurements? If so, could you post a JPEG of the curve? I have not built them, however, the design inspires me. I will consider these in the future after my current projects are completed.

JC, my top end is starting to look like yours..........K402/K1133 and a 1" throat tweeter instead of a 2" like your K510/K69. According to Roy, your tweeter section is overkill for home but was designed to blast though a movie screen.........but that has never stopped you. LOL. In fact my bottom has a similiar range as yours although I suspect yours has much lower distortion and the Tractrix "squeeze" of your midbass/bass horn is far superior to my "cheapScala" Peavey FH-1 which are a VERY solid build indeed. Next, I may build a pair of Volvotreter's 77 Hz. Conical bass horns since they are only 1 Meter long, but have that desirable STRAIGHT AXIS, that sound better IMHO, as taught to me by the amazing Peavey MB-1 horns. Those 77hz are sensational and I'm very keen on the 320hz Round Tractrix. Very artistic and would definitely please the girls. []. I'm sure the finish would be very durable and no evictions after dinner and drinks would be necessary.[6]

Correct, I definitely believe this is not just with Yamaha but with most receiver manufacturers. Nothing has changed since the 70's. A receiver has one power supply and does everything except wash the car. I say bring back the Pre Amp, the Power Amp, the Tuner. My solution is to use and Ashly NE8800 as the preamp. I don't need a Tuner as I can use the internet for radio. My Yamaha Power Amp has 2 power supplies one for each channel. It delivers.... and it's as old as that monkey eating fruit at the zoo.[]

I've seen them described as one of the few amplifiers that can destroy the speakers they're connected to, when the amp blows up. My LaScala lived through the 700 series II. Then I loaned it to a friend and the speaker jack slipped out of the speaker shorted and "another one bites the dust."

Well, here is another view into bi-wiring from a source that I respect.Chris This is a link on voltage drop for mains cables: http://www.engineeringtoolbox.com/electric-wire-voltage-drop-d_1688.html In our commercial installations we sometimes have long cable runs between the speakers and the amplifier rack so we TRI-WIRE each connection. We went to the electrical wholesaler and measured the resistance on various roles of cable. The plan was to achieve zero ohms in the cable run for the lowest possible cost. Our competitors use cheap crapy wire and get sloppy sound. We found the best solution was to use the very common 32amp house hold mains cable. It has 3 conductors "Active" Neutral" Earth". For each of the 2 required speaker wires we use a single run of this 3 conductor cable by trimming back the Neutral and Earth on each end of one cable about 24inches shorter than the active. Then making a cut in the insulation on the active again 24inches from the end so we can solder the Neutral and Earth to the Active and then the Acitve has a 24inch tail making it easy to slip into speaker terminals. For the other wire just repeat leaving the Neutral 24inches longer. The picture attached shows the colour coordinated tails going to the speaker terminals but unfortunately the transition from 3 cores to 1 is out of the picture. The bottom 2 amps are bridged for subwoofer each KPT-684 and the top 2 amps drive 4 KP-362's 1 channel each. This system has been in constant operation since December 2000 without any failures. The 2 cables run loosely beside each other between the speakers and the amps. We have done listening tests and there is a difference. If for example your speaker is 4ohm and your wire is 2ohm only 2/3 of the power gets to the speaker. Also the damping provided by the amplifier is degraded.

lol Flame Linear 700.

This is why it's so great that Roy Delgado has tested and published settings for the electronic crossovers, usually Electro-Voice Dx38s, that are used when bi-amping Jubilees and JubScalas. Trying to find the right settings by ear at home would not come close to the factory lab-tested settings and would not sound nearly as good. The K402 and K510 tweeter horns need some complex EQing, but using the Dx38 with recommended settings makes it simple. In my own experience, it also makes the output from the La Scala bass horn much smoother and more pleasant to listen to. The K69/K-510 LaScala Bi-amped solution is an ideal upgrade and that the crossover settings are available is the icing on the cake.

Sometimes the K-69A/K510 combo is called the KPT-904-HF. That's what's marked on the boxes mine came in. It's a mid driver and a tweeter horn, and is not used in most pro cinema applications, so mixups sometimes happen in ordering. I'm just suggesting you be very careful that you and the order taker are in perfect agreement about what's being ordered. Thanks for that Pat. My understanding is that the KPT-409-HF is a KDE-75-8P 3" titanium diaphragm compression driver on a K-510 horn. So that makes the drivers being the difference between the to systems. I will definitely double check the details as it was a mix up that had an additional KPT-402-HF ordered with my replacement JUB LF. The order was placed as half of what was ordered previously. When the order was originally made for my Jubs back in July 2011 the KPT-409-HF was mistakenly ordered and this was spotted by Roy. The next mix up was shipping and my Jubs were sent over by air freight at sea freight rates. The replacement came by sea freight and took forever. So yes it is very important to check the order especially as any mistakes will take a long time to correct.

I just placed a request for a quotation:- Two of the Jubilee woofers KPT-KHJ-LF RAW Two of the midrange KPT-402-MF with K-1133 driver Two of the KPT-Grand-HF-T being a K-69 driver on a K-510 Horn One of the full range KPT-4350-MS Eight of the KPT-8001 surround speakers Eventually, I will unpack my Jubilee and set them up, lol, when I get time to finish the Cinema. Just have to get all the sound absorbing materials now. I ordered another KPT-402-HF since I now have 3 so I can upgrade my LaScala bedroom system to a 2way.

Here is the Build Thread for the 1st THT LP I knocked up. http://billfitzmaurice.info/forum/viewtopic.php?f=5&t=17511

Before you start on the crossover, it might be an idea to get some old piece of gear and remove the components and then rearrange them into something more interesting. You can practise getting the solder to melt without melting everything else connected to the bit your soldering. If you can't get it to work then best to select another option for the crossovers. After you do the work on the crossovers you would want to be sure they are 100% otherwise it might be better to leave them as they are.

If you compare the sound of the very latest SS amps to the 1200B often the latest will be a massive disappointment. The 1200B was a traditional rating of 100w/ch 8 ohm both ch driven 20 - 20K. There is a lot around today that on paper at a glance appear better. I think a lot of the stuff around today is just smoke and mirrors.

I believe this is reasonably accurate as far as I remember. The last of the Saul's stuff around 1975 designed and built in USA was the 1200B Integrated then the 3300 pre Model 240 power Model 250 Power Model 500 Power. The 1200B was the combination of the 3300 & 240 in one caseing. The matching tuner had a scope for tuning. I still have my 1200B I bought back in 1975 when I was selling HiFi. The smaller integrated amps were the 1120, 1060, 1030 designed in the USA built in Japan. The smallest receiver was the 2015 and I connected it up the the Klipschorns we had in the shop and it sounded quite OK. The 1200B with the Klipschorn was remarkable being the highest powered lowest distortion integrated amp in the world at that time. The next series of Marantz was different and I still have the brochures with the new products in my file. At that time I lost enthusiasm for the product line. The 1200B was replaced by the 1250 and I suspect it was basically the same design as they then quoted the extra 25w/ch in the specs that the 1200B produced on HiFi reviewers tests. The 1200B produced 20% more than spec on test full bandwidth. I have found my 1200B is excellent for breaking in 4 ohm sub woofers at 20hz non stop for days on end. We used my 1200B with my LaScala extensively as the Front of House for small live pub bands back in the 70 & 80's with outstanding results. People still ask me if I still have my Tuscan Yellow LaScala and my 1200B. There is a totally different sound with valves and it took me a while to accept transistors. Valves will always be as valves are IMO and I can totally accept why many people are dedicated to those "vintage" vintage creations from Saul. Saul Marantz sold his company to Superscope in 1964 and I believed went deeper into speaker design. Superscope began producing Marantz products in Japan with Standard Radio Corp circa 1966. Standard Radio Corp became Marantz Japan in 1975 after which all Marantz gear was Made in Japan. In 1980, Superscope sold Marantz Japan Inc. to Phillips, only retaining rights to the name in North America, at the time, Phillips and Sony were creating the compact disc. In 1992, Phillips bought the North American Superscope rights. In 2001, Marantz Japan bought out Phillips interests in the company. In 2002, Marantz Japan and Denon were bought by a Japanese consortium, D&M Holdings. So from the Late 1970's to 2002 Marantz was very different to that it was before. I still reckon a small 1972 Marantz receiver will work fine on the Klipsch Heritage line and of course there is always something better available for when you want to upgrade.[]

That depends on if the car has a cool engine.[]

Well there you go, the Australian Distributor back then had us all believe otherwise.

Many years ago I bought a brand new Marshall Time Modulator. http://www.audiorents.com/library/userManuals/1_Marshall_5002_TimeModulator.pdf I was the only individual in Sydney to have one as all others were in Recording Studios. It does automatic triple tracking, with an analog bucket brigade. It does flanging both negative and positive and its sound is unique with the extreme notch depth. Everything is done inside a DBX Compression / Expansion system and it's very clean and quite. I use it for vocals mainly and the singers become instantly addicted as it's smooth warm and very human. There are now software simulators available and the originals like mine are now sought after. Combining it with the 18 analog oscillators in my memory moog creates 54 and that is fat as. In hind sight I should have gotten a second one and the Marshall 5050 that linked the pair of time modulators together. Then you could do zero cross flanging and just get totally lost playing with it or rip your speakers to shreds. LaScala were definitely a must have to get sufficient head room for some of the effects. My favourite effect I called "automatic triple tracking reverberated flange" which feels like your head has been turned inside out and inverted (like in a sci fi movie) and that is before having a beer. So more came from Marshall than Legendary Amplifiers.

The Heresy all versions are a great choice for the most compact of the Heritage range. A sub woofer is not necessary, it's an optional extra resulting from the recent popularity of home theatre. You can place the Heresy into the corners of your room to add the effect of corner loading which increases the performance of the Heresy significantly. The Cornwall using a 15" ported woofer is the next smallest in the range and has a lower bass extension than the Heresy. The Belle is the next smallest and fully horn loaded. It's the most compact of the fully horn loaded trio which then goes to LaScala and the K-Horn. The K-Horn is possibly the best option as the 3 fully horn loaded models are the most sensitive. The K-Horn sitting in a corner takes up less space than you would think due to it's triangular shape. They are actually very compact extending about the same distance out from the corner as the Cornwall. You don't need to turn the K-Horn up loud for it to sound optimum. At whisper quite midnight to 6:00am levels the result is outstanding to say the least. The detail will amaze you. IMO there is more value in the price of a pair of used K-horn rather than something smaller plus the cost of a sub woofer. That would include the majority of new cutting edge designs out now in a store near you.[]

lol yeah but no but yeah but NOOOOO My chips would get wet and blow away.

btw don't forget that in a corner the Jubilee is very compact and will somewhat shrink in apparent size where as the 942-4-T will be 2 inches closer to a flat wall but huge by comparison in a corner due to the Jubilee being almost a triangle.

I have copied and pasted the specs for the two LF units below as set out in the Cinema Brochure. The Legend needs to be read in front of each line. I have not heard either system as yet. I have bought the Jubilee System with the KPT-KHJ-LF and the KPT-402-HF fitted with the K69 driver configuration as recommended by Roy. I have bought a pair of new LaScala in 1976 and I'm familiar with a fully horn loaded system. I have sound mixed bands through numerous fully horn loaded and also direct radiator systems over the years. Many different brands configurations and sizes. Fully horn loaded Quad 4 way systems are very powerful no compromise. For me the "fully" horn loaded system has less overall distortion and for me the experience is more realistic and instantaneous. For me the ported or bass reflex systems are slightly smudged. They sound excellent and most of the time I'm mixing bands through Bass reflex systems. When I get home and then listen to my LaScala I get that instantaneous exactness, like the sharp edges are still sharp and for me additional bass extension is of secondary importance to those sharp edges remaining intact. I think it's very personal. The Jubilee is a 400watt and the 415 is 1600watt. I believe that's the continuous power handling but it gives you an idea of the amplifier requirements. The "calculated" max output is 128db for the Jubilee and 133db for the 415. So on that basis you gain 3db each time you double your speaker so 2 jubilee gets 131db and 4 jubilee gets 134db. So the calculation is approximate and other factors can impact that as I have noted people say a jubilee is very equal to a 415 so power compression could be a factor. The 415 is outstanding for it's size and type as is the Jubilee so your choice is between a pair of best performers. The Jubilee being horn loaded will properly corner load. As far as I'm aware, a bass reflex design is not as successful in a corner as a horn loaded design. A sealed or infinite baffle is more successful in a corner than a bass reflex design, as far as I'm aware. Considering everything I could only choose the Jubilee. ****************************Legend: Frequency Response1 Power Handling2 Calc. Max. Cont. Output3 Sensitivity4 Coverage DI Q Nominal Impedance Transducers Input Connectors Height Width Depth Weight 1. 3M, Half-space anechoic 2. AES Standard, continuous pink noise 40Hz-10kHz, 6dB peaks 3. Calculated at 1M half-space at power handling power input 4. SPL at 1M, half-space anechoic with 2.83V input *******************Jubilee LF KPT-KHJ-LF 45Hz-800Hz ± 4dB 34Hz-1kHz -10dB 200 watts (40.5V) per woofer 40Hz-800Hz 128dB 105dB Horizontal 90° ± 20° 200Hz-1kHz Vertical 90° ± 20° 200Hz-600Hz 8dB ± 2dB 200Hz-800Hz 6.3 8 ohms (4.1 min. @ 120Hz) woofers wired in parallel Two K-1080-KP 12" woofers Barrier strip 40.0" (101.6cm) 41.5" (105cm) 24.5" (62.23cm) 180 lbs. (82kg) *************************KPT-942-4-T "LF unit" KPT-415-LF 43Hz-750Hz ± 3dB 26Hz-900Hz -10dB 800 watts (58V) per woofer pair 40Hz-800Hz 133dB 107dB Horizontal 90° ± 30° 200Hz-1kHz Vertical 60° ± 30° 300Hz-3kHz 8dB ± 2dB 200Hz-600Hz 6.3 8 ohms (4 min. @ 150Hz) per woofer pair Top and bottom woofer in parallel and middle pair in parallel Four K-45-EP 15" woofers Barrier Strip 48.75" (123.83cm) 35.75" (90.8cm) 22.5" (57.15cm) 200 lbs. (91kg)