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  1. Rinse the record with warm tap water, try to keep the label dry Use some mild dish soap that is already diluted and clean with your fingers Wipe dry with a cotton dish towel on the plush side after shaking it out Then leave on a dish rack, wooden is best After that, I use a velvet disk brush with a little diluted alcohol to give the record a quick wipe when I play them You could also wipe with a micro fiber towel and distilled water
  2. Just took at look at the Triton 1 web page Drivers GE 6 drivers inc powered subs & 4 side radiators vs. 3 driver Forte with passive 15in rear radiator Spec out Triton Frequency Response:.....................,,.. 14 Hz – 35 kHz. Efficiency:... 92 dB. Forte 3 FREQUENCY RESPONSE (+/- 3 dB) 38 Hz – 20kHz, SENSITIVITY 99dB @ 2.83V / 1m Not totally different design philosophy, but different: F3= Simpler crossover, passive (not powered) speaker, horn loaded mid-range & tweeter, much better efficiency F2 is the best sleeper I have heard so far, F3 is an updated version of a proven design. Don't recall GE other than at a show...but too many speakers to remember.
  3. Recommend you play a female voice with a piano through both, several tracks, perhaps several different females with zero processing on the voice reverb is hard to get away from. Freebird Capella on the Duets soundtrack for male vocal good test track If you can hear this, you have a great stereo If voice sounds natural the amp and speakers are spot on, especially female Piano goes from zero to wide open on the amp and the speakers pretty much every frequency you are likely to hear. Test Tracks https://www.youtube.com/watch?v=AEv6NotxuC4 https://www.youtube.com/watch?v=dzNmG_lpNw8 https://www.youtube.com/watch?v=gVGCzTlT2hI Too bad they didn't put this out on CD or DTS https://www.youtube.com/watch?v=zRgHgftQY84
  4. Go on Craigs list or e-bay and score a TOTL surround receiver for less than 200 Someone who wants the latest surround chip sets, can't get much for their used receiver I like the Class AB Pioneer Elites and Yamahas, 100WPC will blow your head off, 5.1 is perfect I prefer the THX tested and approved amps, a few examples below, all day long at give away prices Burr Brown or other TOTL DAC built in, room eq, eq, ability to roll off high end, or go direct from the DAC to the output with 120db SN Be sure to get a mint unit, manuals, mic for tuning the room, and remote, box is a bonus Example research on AV forums and Audio Karma for model reliability etc.... https://www.ebay.com/itm/Pioneer-VSX-1014TXK-THX-Select-AV-Receiver-Surround-Power-110-W-Massive-sound/183528699479?epid=46571437&hash=item2abb29b657:g:jEYAAOSwY2Jb5uEV:rk:1:pf:0 https://www.ebay.com/itm/PIONEER-ELITE-VSX-81TXV-7-1ch-770w-THX-Certified-Home-Theater-Receiver-HDMI/253959286380?epid=60216615&hash=item3b21272e6c:g:GTEAAOSwb3hb0mY3:rk:3:pf:0 https://www.ebay.com/itm/Pioneer-Elite-VSX-54TX-AV-Receiver-7-1-Channel-THX-Orig-Price-1-500/323514746465?hash=item4b52fb4661:g:caAAAOSwrGlby5h5:rk:5:pf:0 https://www.ebay.com/itm/Yamaha-AVENTAGE-RX-A1000-7-2-Channel-280-Watt-Receiver/173627146519?epid=97513283&hash=item286cfc0117:g:pHgAAOSwolpb4hg8:rk:29:pf:0
  5. Congratulations on your new LaScalas The link below is a collection of my modest improvements and lots of other modifications from other owners I put them into a collection as a I read them. My strong recommendation is one modification at a time, then pause for a while. If you are having cabinet modifications, new woofer, and 2 way crossover with new horn, I strongly recommend you get a quote from a local kitchen cabinet shop for a pair of new bass cabinets with the braces, 1 in Baltic birch, And depending on the horn and driver, they can make you a two piece cabinet like the LaScala 2s Home sales are down from what I read, so a shop might be willing to be reasonable with you. If you like your new 2 ways better than the LaScalas, put them in another room or sell to pay for the new ones. https://community.klipsch.com/index.php?/topic/159419-lascala-update-upgrade/
  6. Matti Otala Biography with Citations and contact info for a job or good question ? http://www.otala.com/pages/mao/ Thread discussion https://www.diyaudio.com/forums/solid-state/125541-matti-otala-amplifier-milestone-dead-alive.html IEEE Paper by Otala http://hifisonix.com/wordpress/wp-content/uploads/2017/10/The-Theory-of-TIM-Matti-Otala.pdf Links to papers http://hifisonix.com/tag/matti-otala/ Audio Design Library http://hifisonix.com/category/audio-design-topics/ Otala research papers, a few of them https://www.researchgate.net/scientific-contributions/2035124192_Matti_Otala
  7. 1977 PDF http://www.jockohomo.net/data/7470.pdf Nice write up by Olin Lathrop Transient Intermodulation distortion (TIM) is usually measured by putting a burst of a fixed frequency into a amplifier and then measuring what actually comes out. By Fourier analisys, you can see that changing amplitude of a frequency actually implies additional frequencies. This is why AM radio stations can't be spaced too close together. They don't just radiate at the carrier frequency, but some range on either side of the carrier frequency. The additional frequencies of a single-frequency burst cause particular trouble to some types of amplifiers, and the resulting distortion appears more noticable to human listeners than more general distortion. Put another way, audio quality isn't just about total distortion level, but the type of distortion too. Different types of distortion are more objectionable than others, and TIM is of the more objectionable type. This is why there is sometimes a separate spec for TIM in addition to the overall distortion spec. TIM seems to be exacerbated by amplifiers that don't have much frequency headroom above the highest desired frequency, and a high global feedback ratio. Design techniques to minimize TIM include: Making the internal signal path of the amplifier still have gain well above the highest frequency of interest. For example, for a "HiFi" audio amp that must work up to 20 kHz, you may want individual stages to be reasonably flat to 100 kHz. A simple passive low pass filter in front of the amp that limits incoming signals above the specified operating range. This together with point 1 means that the active part of the amp will only see frequencies for which it's gain is relatively flat. This can be as simple as a one or two stage R-C filter. The gain of each stage should be stable and well-defined. Do not rely on global feedback to deal with high and unrestrained gain of individual stages. Keep the global feedback fairly low, which is the same as saying keep the open-loop gain of the overall amp only somewhat above the final desired gain of the whole amp. 10-15 dB seems to be a reasonable range. If all the stages individually have reasonably flat gain, then not much feedback will be needed to guarantee overall flat and predictable gain anyway. https://electronics.stackexchange.com/questions/156643/what-is-transient-intermodulation-distortion Decent write up, beat is one of the RF items I could learn more about, Radio the final frontier. https://en.wikipedia.org/wiki/Intermodulation A frequency spectrum plot showing intermodulation between two injected signals at 270 and 275 MHz (the large spikes). Visible intermodulation products are seen as small spurs at 280 MHz and 265 MHz.
  8. PM sent Nov 18 is doable for me. you might want to put it up on the old thread for visibility
  9. Worth reading from the chip set and board level makers, goes over the issues. Actually, highly recommended reading........ https://www.electronicdesign.com/analog/can-class-d-amplifier-audio-performance-get-any-better http://www.irf.com/product-info/audio/classdtutorial606.pdf https://medium.com/@EPC_Corp/egan-fets-in-high-performance-class-d-audio-amplifiers-11e94d78c4d2 The differences in power dissipation and efficiency widen at moderate power levels. This is important for audio, because long-term average levels for loud music are much lower (by factors of five to 20, depending on the type of music) than the instantaneous peak levels, which approach PLOAD max. Thus, for audio amplifiers, [PLOAD= 0.1 × PLOAD max] is a reasonable average power level at which to evaluate PDISS. At this level, the Class D output-stage dissipation is nine times less than Class B, and 107 times less than Class A. For an audio amplifier with 10-W PLOAD max, an average PLOAD of 1 W can be considered a realistic listening level. Under this condition, 282 mW is dissipated inside the Class D output stage, vs. 2.53 W for Class B and 30.2 W for Class A. In this case, the Class D efficiency is reduced to 78%—from 90% at higher power. But even 78% is much better than the Class B and Class A efficiencies—28% and 3%, respectively. These differences have important consequences for system design. For power levels above 1 W, the excessive dissipation of linear output stages requires significant cooling measures to avoid unacceptable heating—typically by using large slabs of metal as heat sinks, or fans to blow air over the amplifier. If the amplifier is implemented as an integrated circuit, a bulky and expensive thermally enhanced package may be needed to facilitate heat transfer. These considerations are onerous in consumer products such as flat-screen TVs, where space is at a premium—or automotive audio, where the trend is toward cramming higher channel counts into a fixed space. https://www.analog.com/en/analog-dialogue/articles/class-d-audio-amplifiers.html
  10. Class D pluses: High effiency Switching power supplies, no giant transformers Low Heat Allow for greater channel density in surround amps where heat and power become big issues Minus Don't spec out against AB and A amps and sound quality has been an issue "The power supply voltage directly amplitude-modulates the output voltage, dead time errors make the output impedance non-linear and the output filter has a strongly load-dependent frequency response. An effective way to combat errors, regardless of their source, is negative feedback. A feedback loop including the output stage can be made using a simple integrator. To include the output filter, a PID controller is used, sometimes with additional integrating terms. The need to feed the actual output signal back into the modulator makes the direct generation of PWM from a SPDIF source unattractive.[6] Mitigating the same issues in an amplifier without feedback requires addressing each separately at the source. Power supply modulation can be partially canceled by measuring the supply voltage to adjust signal gain before calculating the PWM[7] and distortion can be reduced by switching faster. The output impedance cannot be controlled other than through feedback. " https://en.wikipedia.org/wiki/Class-D_amplifier Class A is what all amps are compared to as the Reference Can you have good and bad designs in each, sure. Class A can be used to heat the room Excellent write up on Amp Types, I can't read it too many times https://en.wikipedia.org/wiki/Power_amplifier_classes
  11. You can probably get an excellent used TOTL surround Receiver Yamaha or Pioneer or other for $200 Once the don't have the latest decoders, their value drops like a rock Don't buy one that is Class D, stick with the Class ABs 100 WPC should do just fine turn off all of the digital features, and try running in direct stereo aka bypass The built in DAC will probably have TOTL chip sets like Burr Brown or other and a SN of 120db You can add a sub later, since the system already supports it Later if you go with 5 Heresies, you can run it in Surround 5.1 or 5.2 which would rock, then turn off all of the processors and go direct to listen to music in stereo The receiver will allow you to EQ both the room and the speakers if you wish. I like the THX rated Pioneers with remote in excellent condition, you have to check for the HDMI interfaces, the new chip set is what Dolby Atmos ? The SC was the TOTL but you have to check for the reviews on line, some units are more lovable than others and reliable too. https://www.ebay.com/itm/PIONEER-ELITE-VSX-33TX-THX-5-1-Receiver-EXCELLENT/202489839818?hash=item2f2555c0ca:g:wxwAAOSw3Zhbor0M:rk:2:pf:0 https://www.ebay.com/itm/Pioneer-Elite-VSX-54TX-AV-Receiver-7-1-Channel-THX-Orig-Price-1-500/323514746465?hash=item4b52fb4661:g:caAAAOSwrGlby5h5:rk:4:pf:0 https://www.ebay.com/itm/Pioneer-SC25-Elite-7-1-Channel-Digital-Home-Theater-THX-Receiver/332837602257?epid=97526440&hash=item4d7eaac3d1:g:0CsAAOSwNWhbtqcm:rk:6:pf:0
  12. Text from the AD "klipsch k horns in a light cherry finish. I bought these unfinished and had a furniture shop stain and spray 3 coats of clear. Also added Crites crossovers and tweeters. Ex/Con. 4500 OBO no trades please and NO I do not need help selling. The only reason for sale is I had a 20K$$ UV Mimaki printer die and I need to replace by Nov. 1 The dark photos are my I-Phone the lite my Ipad actual color is between the two. No rips, stains, nicks or gouges Nonsmoking home."
  13. Try them with the 2205s before doing anything else. Great sounding used Yamaha gear can be had for almost nothing compared to other options. Just like the LaScalas 2 Watts will take your head off.
  14. 5 Heresys would rock with 2 subs, Heresys fit nicely on coffee tables, Ikea has some nice black ones for $10ea. 5 LaScalas would rock with 2 subs 3 LaScalas across the front with 2 Heresys in the rear, 2 subs would rock Center and rear (3) Heresys and 2 LaScalas Front, 2 subs would rock Heresy 1 or 2 are available mint for $350 pair (5= $1050 total). Might take a 2-3 months to find excellent all walnut or cherry etc. LaScala 1, pairs in excellent shape can be had used for $1200 (5 = $3600 and would take longer to find 3 pairs) The advantage of the Heresys and the LaScalas is front firing, no corner mandate, and footprint is doable. I prefer the TV at eye level, so I would be inclined to go with Heresy Center slanted up under the TV, 2 LaScalas as the fronts for Stereo Listening plus surround, and Heresys on coffee tables in the rear would rock. Every LaScala needs a smoked glass top, everyone mistakes them for a place to leave a cold sweating beer can..... Photos show the evolution of my systems, the little Klipsh speakers and Yamaha Amp rack were an experiment in surround sound, I liked so much for my small room, that I left it. I was very happy with just Stereo and the LaScalas. For Scale the TV is 50 inches.
  15. Exactly, you can play with moving them a little closer and a little further apart, sideways in front of your listening position to generate a unified sound, that is seamless with some imaging. We auditioned 2s about 6ft off the back wall 15ft wide by 22ft est room. Both forward facing about 10ft apart. Awesome is the word. Amps were MC 30s, very highly regarded, first half watt as good as anything out there. I assume Klipsch went through the design and updated the tech to match their current state of the art using the original design concept as the baseline, there are always trade offs. If the 3 is only as good as the 2, it is a world class sleeper. In case I missed it, what are you using for test tracks? My fav is smooth female vocal and may be a piano, if both sound accurate then good. If you have some tracks where the female vocal turns it on, if she sounds like she is sitting in your lap blowing in your ear, don't tweak your system any more.
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