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About erik2A3

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  1. Because of the fact that the occurrence of the viscous droplets is directly under the firm, 360 degree pressure and tension of the zip tie securing the cap to the board, I'm thinking the sap-like goo may be residual adhesive between the outer insulation and the inner cylinder that forms the body of the capacitor. I've seen the same gunk on heat-damaged Solens in amplifiers. Sticky, messy stuff! A wipe of acetone on paper towel should take care of it, and performance wise a non-issue. Just my half-cent's worth Dean 😉
  2. Agreed. They brought a completely renewed sense of presence, sheen, shimmer, and light to what was already really excellent sounding reproduction. Dave has reminded me about the need for a break-in period, but I knew immediately that I was going to keep them. The sound is of course their best trait, but the thinking and design work, as well as the absolutely perfect fit in the cabinet, make the MAHLs a top-tier upgrade. This isn’t just about DETAIL for its own sake, but rather about more sharply, crisply, and cleanly giving more equal weight and definition to subtle yet critically important HF information — information that helps lend a sense of realism and 3-dimensionality. I couldn’t, and in fact wouldn’t, do without them now.
  3. I can't recall if I mentioned we are now listening to a recently acquired and near-mint pair of Chorus IIs. With long term experience with Heresies, La Scalas, and Klipschorns, the Chorus IIs are providing some of the best listening I've heard -- on their own and in the completely factory-stock condition we got them. Of course I've both heard and read about the several upgrade paths others have taken with the Chorus, my interest tended to have to do with wanting 'more' upper frequency prominence than I was hearing, though what was there was definitely very good, and reminded me of the Heresy IIs I used to have (that now reside in my dad's living room, along with the Dyna ST70 that drives them. We purchased a pair of titanium diaphragm; and, while I found them distinctly smoother than the former phenolic part , I was still missing the really sharp transient snap and non-harsh detail I like to hear with plucked guitar, brushes on snare, cymbal pings, etc. And then I remembered the beautifully machined tweeters from Dave A. ....and suddenly dinner is ready! I will follow-up with more later, along with a picture or two. Short story, the MAHLs are probably the best Klipsch upgrade I've implemented. For now,
  4. As with Forte's vs Chorus in your room, give both tube and solid state a try. I don't agree that there is a universal 'best', but rather a choice based on personal preference and your own experimentation. I've built and used tube amps for years with Heresies, La Scalas, Klipschorns, and now Chorus IIs. I am running a Parasound Halo right now, which just what happened to be in my system. It's superb sounding, but am using a very good valve line stage (The Masterpiece, as it's called, from Transcendent Sound). If you have the opportunity to try a tube amp, do give it a chance! There are some that I think would be outstanding with your Chorus IIs. Let your own ears and brain make the decision -- not someone else', regardless of how much experience that person has. It's always completely up to you!
  5. We just acquired our like-new Chorus IIs, and they sound incredible...the-best-we've-had good in our large room w/vaulted ceiling. However, those of your with Forte's are honestly making me curious about that smaller, Forte' system! And I appreciate the Chorus II crossover schematic. While I have had different preferences for signal capacitors, I can't help but make note of the midrange settings on the auto former. Another possibility here is to move the squawker setting up, along with the appropriate new value of capacitance in order to maintain the original crossover frequency. This change obviously brings about greater midrange output which might possibly help improve the perceived frequency balance in the OPs listening room. If it doesn't help, it's easy enough to return things to factory positions.
  6. As you found, some speakers can most definitely over-power some rooms. We've had Klipschorns, La Scalas, Heresies, and most recently, Chorus IIs. The Chorus IIs seem to be an ideal match, but I can definitely see how that might not be the case in a smaller space. And no you are not crazy! In fact you are being discerning about your taste, and this is a case where the horsepower of a V8 might be a poor choice. Art Dudley, one of the current reviewers for Stereophile (former editor of Listener -- which I miss terribly!), recently replaced his big Altecs with another pair of speakers after moving to a new house when he found that the woofers swamped everything else. But try this before you decide: Since the Chorus IIs have both the active 15" on the front baffle, as well as the 15" passive radiator on the back, move the cabinets further away from the back wall and out into the room than you have the Forte's. That way, less low frequency energy will get muddled up against that back wall, and the speaker will have more room to 'breathe.' Maybe you'll find a better frequency balance that way. Gary (I think it was) above set up a great little equation consisting of all the components of a system, the most important of which arguably probably being the room. Ultimately it may simply be a case of a big speaker in a room in which the resident listener finds the bass overpowering. Good luck! Consider this to definitely be a GOOD problem to have!
  7. Basic looks awesome with La Scalas IMO - accents an already very sculptural speaker! So. No, not sold. I traded them for a like new pair of Chorus IIs. From a historical and I suppose somewhat emotional standpoint, the La Scalas win. I will say that the Chorus IIs are among the very best speakers I have ever heard, however. I really, really like them, and the pair I picked up in Phoenix (maybe you saw them on CL?) is in perfect condition.
  8. Enjoyed meeting with you too Russian Spy! So impressed with your work on that Bottlehead amp!
  9. Phooey! I heard those some years ago, listening near-field, and thought they were excellent.
  10. So. Check Bluejeans: https://www.bluejeanscable.com and Paul Speltz's Anticables: http://anticables.com. Of course there are a billion other places. These two reflect what I think is good design based on simple fundamental principles - and both without superfluous decoration and ornamentation that does nothing but add cost. IMO. Where you can choose between a long run of IC and one of speaker cable, try to make the longer distance be the speaker level signal. It is much less susceptible to losses over longer runs than line level. If you have a preamp that can drive great lengths of IC (I do), than it doesn't matter! Oh, I got an 8ft pair of Anticables several years ago. Highly revealing and transparent (no bandaids over poorly recorded material; will NOT warm up or dull music replay). ***Note! if want cables advertised to be soft, highly flexible, etc., etc., soft PVC insulation, these are NOT the cables you want. They are incredibly stiff, but not at all impossible to work with. And to me, they look very good in an understated sort of way.
  11. Conductor quality/material and dielectric - insulation - are good things to consider. I find PVC marginally acceptable, and am not interested in how flexible the stuff is. Well, not entirely true: I have found that stiffer cables tend to sound better than soft and flexible varieties. PE (polyethylene) has been an improvement over common PVC and is not as expensive as PTFE (aka Teflon). Basic electrical components, inductance, capacitance, and resistance and their measured performance specs. speak much louder to me than how easy to work with and flexible it is; and, as such, my speaker cables and IC more often consist of materials not usually advertised as 'speaker cable' per se'. As soon as the term 'Audio or Audiophile grade' is applied to the product, price seems to sky-rocket. Wire is wire, and can sound different just as capacitor dielectric materials can sound different -- and, once again, one will find cap insulated with PTFE tending to be significantly more expensive than other poly types. And so, with that in mind, one CAN do very well in terms of wire and insulation appropriate for audio use. I pulled the following out of my Ebay Watch list: Silver plated copper under a thin layer of Teflon: https://www.ebay.com/itm/Twisted-Pair-16-Gauge-Teflon-Stranded-Mil-Type-E-Wire-Green-White-USA-Made/153221866504?hash=item23acbc2408:g:YroAAOSwfEdbxsmb Another possibility is simple enamel-insulated magnet wire (as in the kind used to wind inductors and transformers). High quality copper with hard, thin insulation will (SUBJECTIVELY AND IMO) will tend to have electrical characteristics that appeal to my own priorities. They will tend to have less audible loss, mainly high frequency, to me over longer runs. I was experimenting in the very early 90s with coaxial cables used for speaker runs, and learned of Jonh Risch, with whom I communicated a couple of times back then, about his cross-connected pair of Belden 89259 (I think it was......my memory is foggy. Long time ago). Speaker level signals are much larger than phono or line level signals, and are thus less prone to losses in the same way that IC is. Resistance becomes a key component. Have fun, don't forget as I did for years to listen to the music instead of the sound of electronic components!
  12. Certainly the OP is NOT questioning Paul Klipsch's knowledge and experience. I didn't get that from his post at all.
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