TBrennan

Haven't been around here in awhile, just thought I'd show my old pals here (if any are left) what I'm up to now. JBL CS-3115s

The GPA diaphragm is NOT the elusive and legendary "light", not that it makes any real difference. Most of the reputation of the so called "light" is based on articles and assertion by Jim Dickerson. Personally I never heard a difference nor have I seen a difference in high frequency extension documented by testing. If such a difference exists it's very subtle.

An interesting aside. The difference between the diaphragm pf the 902 and the "symbiotic" of the 908 is not in the material of the dome but the surround materail, the 902 using the traditional folded aluminum and the symbiotic a plastic material. This plastic surround gave higher power handling because the old aluminum surround could crack under high stress. So anyway I read online where an old Emilar guy who'd worked at Altec (Emilar was an offshoot from Altec) said the reason the symbiotic had less high frequency extension was because the diaphragm had a thicker mounting ring, thus the diaphragm was farther from th phasing plug with a resulting loss of highs. This was done for marketing reasons, the sales people for some cockamamie reason wanted a difference in performence between the two. Note that Emilar used, and Radian uses an aluminum diaphragm very similar to the Altec symbiotic with no loss in highs. Radian was in part an offshoot from Emilar.

Yes Marvel, the Emilar bowtie. I'm using a pair with Altec 902s atop my Altec 605s, using the woofers of the 605s. Crossed at 1200hz with a Teac T-amp on the treble drivers and a QSC on the woofers. Preamp is a Dyna PAS-3 and an ART active crossover is used. It's my bedroom hi-fi and used mostly with Sirius radio or a Thorens record player as sources. The bowtie is a nice sounding horn. When freestanding it needs some damping and there's distortion if used with a 800hz crossover. However a turn of the dial up to 1200 cleaned that right up. I suspect the horn isn't really loading down to it's claimed 800hz lower limit. But I must admit I really bought them because they look so cool. Regards

That's preferable to listening to LaScalas.

Regardless of the reason for their prefences wine lovers CAN discern differences in double blind tests, something wire lovers CAN'T do.

To modify a Heresy crossover for best sound just clip the two wires inside that run from the terminals to the crossover.

Waddaya mean, "mere La Scalas"? That's not my quote. I would never use the word mere when describing anything Klipsch-especially Heritage. Except for something like: "A mere quart of blood had spilled from my ears after listening to the concert on my Klipsch speakers!" Yeah, well there's no doubt that LaScalas can make you ears bleed, even when listening at low levels.

Classic uses the HPS 4000 system at the Tivoli and other theaters, that's considerably better than mere LaScalas behind the screen.

They may be working normally. Some people like those speakers and some have the reaction you're having.

I've seen you leave the ghetto Coytee. But you've nothing to fear.

Oh I'm just havin' a little fun Bruce. I lurk once in awhile but have little to say, things seem kind'a calm here. Some Klipsch guys go to AudioKarma but most fear to venture out from AK's Klipsch ghetto.

Make the grille of a solid piece of 1" thick plywood and it will increase the value.

SMLE works for me.

You want to know about the 802-Gs and the 511s? The 802-G was the last of the Alnico magnet 1" exit Altec drivers. It used a new phasing plug and a lighter diaphragm than earlier 802s and is considered by many the best of the Altec 1" drivers. It was the driver used in the Model Nineteen and with proper compensation is capable of extended response. 802-Gs usually fetch high prices. The 511B is a radial horn with 90 degree horizontal and 40 degree vetical patterns. The horn can be used with a crossover as low as 500hz given a capable driver. The horn has collapsing vertical directivity which gives it extended high frequency response on axis. Horizontal directivity is fairly constant. The horn has a large following and many consider it as good a sounding horn as any, I'm of that opinion.

The Altec Nineteen is the best all in one box-turnkey Altec. Compared to previous Altecs it has extended bass and treble response. IMO compared to a Khorn it has cleaner more lifelike midrange, more extended highs and better imaging. Bass goes as deep as the Khorns but won't get as loud. I rate the speakers even on clarity. Nobody buys a Nineteen and starts swapping out drivers, horns and woofers.

8th Air Force?

This thread brings to mind several advantages to being Gay No alimony No child support You can buy your lover hi-fi gear instead of jewelry You can go walleye fishing and duck hunting with your lover You can SHOW your lover how you want it done.

The Klipsch speaker comparable to the L-200 is the Cornwall. Many JBL fans consider the L-200 to have flabby and boomy bass and prefer the later L-200B which was "tightened-up". The forums at www.audioheritage.org will have much information and discussion of this, you can search old discussions.

Coytee's Jubilee rig ranks top-shelf with the better ones I've heard and is certainly the best set of Klipsch speakers I've heard. Sound was dynamic and effortless but one expects that from a large- format theater system. The tonality was spot on----bass was nicely extended and very clean, midrange properly presented and the highs quite extended and very clear---everything was very clear and not a hint of earwire. The Ben-Hur test was passed with ease. Were I buying new Klipsch speakers I'd bypass all the all other stuff including Heritage and go with these.

" are you trying to tell me that Chuck Berry was better than Eric Clapton, Robert Cray, and Keith Richards ? " Keith Richards probably thinks so. I never got the Clapton thing, he was good in Cream and had a couple of flashes since then but basically since Cream he sank into soporific noodling doldrums IMO. As for Cray, well when you're from Chicago you don't pay much attention to east coast Blues, not when you have players from Mississippi, west Tennessee and Louisiana around. You know, fellas like Buddy Guy. ;-) Hell, I knew a CTA bus driver who plays nights at the Harlem Ave Lounge and could burn Cray down. IMO

"Guys like Yngwie, George Lynch, Paul Gilbert, Steve Vai, Jason Becker, Marty Friedman, John Petrucci - those guys can play." And will be long forgotten when people are still listening to Berry. And learning from his music.

"That it fails to include great solos by Wes or Herb or Joe," Wes, Herb and Joe who? "or by Segovia/Bream/Barrueco etc is laughable." Never heard of 'em. But I don't know the name of the guy who played "Louie Louie" either.

"Can't you get this sound on anything and everything if you play it through La Scalas?" The ole LSs were also very good for "Caress of Steel".

The solo in "Louie Louie" by the Kingsmen is very good. I like "Walk Don't Run" and most of the Surf instrumentals too. Johhny Ramone needs credit too for being a great guitar player who DIDN'T like solos, there's alot to be said for relentlessly banging those chords out. His playing on "I Wanted Everything" is like a buzzsaw cutting your head in half, very effective. He had a HUGE live sound, sounded alot like Leslie West not that he played anything like West. I saw Martha and the Vandellas at a hot-rod show in, what, 1964 or 65.