Fast996

I have called ACE and Panacea and both quote the K402 and K510 with drivers and I would like to purchase the horns separately. If anybody has done this please message me...thanks Roger

I'm not a high volume guy and can set the system up so that it doesn't take very loud levels to optimize the system. I am starting to research different driver options like BMS,Radian and others. Btw these 3415's will do 600 seats.

What would you recommend as a crossover for a 3-way passive or active .The 3 way is what i am going after as my room is large. 30 x 45 the total open space is 1400 sq ft.

Right now the plan is a 3 way. No doubt these will rock when finished.

When you buy the K402 & K510 horns with the Klipsch drivers are they 1 1/2" or 2" ? As far as I know both horns are 2" throat is that correct? The future drivers will be TAD 4002 on both horns 16 ohm and 2". In the picture with the Klipsch drivers the HF horn is not the K510 but another horn . Does anyone know the number of that horn? thanks, Gary

If the Klipsch horns are 2 inch then I'm fine. I would need some EQ,at least I think so,but I need to talk to the designer of the 3415. From what I've heard of the Tractrix horns they should sound very open and natural...I'm hoping for that.

The passive network supports a 3 way setup as that was original with the TAD TSC 3415. The originals are no longer being made,so I think the Tractix horns would be a good fit. I would use the TAD drivers with the Klipsch horns provided they are 2 inch throats. With the network the bass can be directional which could give exceptional sound. The bass will go below 20 hz .

The TAD bass arrays arrived this week.

I am looking to mount the Klipsch K402 +k510 horns to my pair of TAD Tsc3415 Bass bins.The bass units weigh 340LBS each with horns and drivers 380 lbs each. I will eventually use the TAD 4002 drivers but have the Klipsch drivers for now. Here is an image of how they will look. I am hoping these will sound very good as the TAD bass drivers will go down to 20HZ.What kind of sound can I get with the Klipsch horns mated to the TAD'S The height will be 85 inches..Has anyone used this combo.?

We shall see on those MWM's maybe I could have them crated shipped later....just depends on cost vs new

Those TAD 4002 are out of production.... http://www.technicalaudiodevices.com/professional/

Maybe others will chime in on their latest thoughts and trials....hoping.

Those Bass bins and 402 that will be a 3 way....I think would be better for me.

I just want a seamless dispersion field thrown a the listener. I can increase clarity,dynamics,ect easily

I would go passive and have somone is proficient do the crossover.

Any vast consensus on a 2 way vs 3 way in these big horns?

Coytee this certainly won't be done over night but my goal is to have it completed @ EOY . I have been it audio for 50 years, but these horns will be a challenge to get done where they are coherent.

Coytee that photo with the big bins and the single horn 2 way....do you know if anybody has done a short 3 way with the mid-hf horn?

Coytee...thanks for the reply....I'm near Lake Tahoe,Nevada. I have another system downstairs in a 300 sq ft alcove with 2 subs....2 custom dual 16 1100 pounds and a Velodyne FSR-18...the bass is exceptional,but I want to be sure that I don't get penis envy with this new system.

I always wanted a big Klipsch system. I have renovated my downstairs and have about 1400 sq ft,all open. The only problem is the ceiling height varies depending on the location from 7ft, to 9ft....so about 84 inches is my limit. I was looking at a KPT-JUBILEE/535-B setup or a KPT-MCM-II-B minus the 305 horn. The Jubilee would be a 3 way bi amped and the KPT 15 inch would be a 3 way also. Has anybody have the larger set up minus the 305 horn and if so how does it work. The related equipment would be a pair of VAC Renaissance 140's and a 70/70 amplifiers + a modified Accuphase C200 preamp Any on hand experience would be greatly appreciated

Hi Travis, 1/4" 2 track nearly finished , a year and a half restoration .... I'm finally getting the MR70 done. The head stack is off to JRF so just waitng now and finishing the restoration. Enjoy,

"An ambitious entrepreneur, Sawyer was running a small record-pressing plant called Apex at 2009 W. 69th when, around 1965, he partnered with an older recording engineer, Vaughn Morrison, who designed and built a studio one door west. Most people knew it as Sunny Sawyer's studio and others simply called it Apex, but its proper name, painted on its glass-brick facade, was Morrison Sound Studio. In '61 Morrison had produced a top-ten pop hit, "This Time," for Indiana native Troy Shondell. "Morrison was a genius," says legendary Chicago engineer Ed Cody, who often hired him to make stampers for his records. "Very knowledgeable." Though relatively small, maybe 1,200 square feet, the recording room had a rounded ceiling designed to disperse sound evenly. "Acoustically it was a live room, instead of a big dead-sounding studio," recalls Jerry Mundo, a musician and songwriter who frequently worked there. "It didn't suck up a lot of sound, so most of the things we did came off bright and very definite." The studio was stocked with high-quality Austrian microphones and an Ampex MR-70 four-track tape recorder, a costly top-of-the-line machine. "Unfortunately," Mundo says, "only three tracks were working, so we'd have to mix down and ping-pong. It was tedious, but it was better than having one track or two tracks." This article mentions Vaughn Morrison a recording engineer and studio owner from the Chicago area.He had an MR70 4 track machine used to record the Jackson Five circa 1967.Morrison sold the studio and moved to California.There were 2 MR70'S in a warehouse in Chicago that where in need of repair that sold in 2006 . You can find references to the MR70 on the internet they show up in the most unlikely places as this article attests.The Recorder sold for $7000 in 1967 a very large sum for such a small studio but Morrison was a recording engineer for 59 years .It would be something to hear how he came to purchase it ,many small studios probably had them like Kearney Barton Studios in Seattle. . http://www.chicagoreader.com/gyrobase/the-jackson-find/Content?oid=1191672&storyPage=2

Hey Jay I just noticed you already post on that forum.The 222 you were impressed with at that time you had just got it.....still so? Best, Gary

Hi Jay, Very nice setup how is the 222 matched to your Studer A810? Do you like it compared to the stock Studer electronics? I was thinking of going that way on my A820 there has been a lot of talk on the What's Best Forum about Kara's amp. Would like know your thoughts on 222. Thanks, Gary http://www.whatsbestforum.com/showthread.php?679-New-Tube-Tape-Preamp-out-soon Here are the projects I am working on now with my Ampex 350 440 MR70 http://www.whatsbestforum.com/showthread.php?1374-Ampex-electronics-for-the-best-possible-sound

MR70 restoration Reply Delete Edit Favorites Contact Hi Travis, Our restoration of the rare MR70 is shown below the Ampex was in poor working order.It took 4 months of tweeks and TLC. I saw you had one of these also as I think there are only 40-50 working units out there worldwide in studios or collectors hands. You are probably correct as 75 seems like a number that was mfg with maybe 50 complete decks worldwide remaining. These decks were overbuilt and are heavy workhorses listen to the relays during switching .This old girl will last for years. Something that a Studer 820 can't boast I know i have one of those too! Enjoy, Gary