mobile homeless

Well, I just prefer all out dissent... No messing around. In fact, if I cant think of something antagonistic to add, I hang back, waiting for something else to come my way; it makes my day much like a Sonny Rollins break in Blue 7 or Hendrix in Bold As Love... Heh... Indeed. Well, if I must admit, I am about as bad as they come tweak wise as well, I just have learned to not focus on it too much. I at one time had all cables elevated, with speaker cable on phone line ceramic insulators and all power cords kept at a distance from the IC and Speaker wire. In addition, all the plugs were inserted with the proper polarity after testing. All components were on either some version of tip toe or puck. I made a Michael Green imitation threaded stand that made the TNT Flexi look Flexi. All my CDs have green ink around the edges. I clean all my vinyl on my VPI 16.5 record vacuum. I never turn off my equipment unless I am not listening for a few days so it all stays warm and stable. The Rega Planet NEVER gets turned off, even when out of town. If I am listening to the Linn, I will leave it on all weekend. All my monitors have lead and sand filled stands with the wire kept away from the metal. I position my speakers with tape marked on the floor after I get the toe in and distance correct, this done with a tape measure and level. My Linn has a separate stand that is level, rigid, yet light. I put deadening materials to dampen the chassis on certain pieces...a california river bed rock with sorbathane bits is on my Creek Passive. My Cary has no top so as to keep the interaction to a minimum. I clean my IC and speaker cable connections once a month. I dont listen to any music for 10 minutes while warming up the tubes if I do turn them off. The Cary preamp NEVER gets totally turned off, only on standby. I dont touch any of the glass on the tubes with my bare hands keeping oils of the glass. I use different tubes for differnt types of music or mood. etc etc etc Yet I have somehow learned not to actually focus on these things, still leaving the music as the main focal point. After years of messing with it, it all starts to become second nature.... or just used to the disease. kh

You should write more often; I like your style. I did realize a bit late that you found the CAV50 - see other post in this God Fearing Forum. I am sure will be happy with it, although I think you have to hear the SET difference at some point, especially since you have the perfect speakers for it. 3.5 watts would make them get up and do your taxes. Van Morrison would even be impressed, although not before burning himself touching the "cool glowing orbs." Wait a minute... IS Van Morrison even alive still? I had this strange vision that he died recently; or was that just his music? Oh well, I do believe he is still breathing, for whatever that's worth. I might just go throw on some Van Morrison on vinyl just to get into the mood of this thread. kh ps-You do realize that is literally the first time Mr. Wright has ever visited any of the forums? The poor bastard was probably ready to gnaw his own leg off after reading that thread. Welcome to land of the amateur DIY fiend.... he knows just enough to make it all perfectly wrong. This message has been edited by mobile homeless on 12-05-2001 at 06:37 PM

Speaking of prolific, I have been a virtual posting demon today. Perhaps it is because I have two projects due? Ah, the procratination horror...forums are like a godsend to a procrastinator, especially one that writes and works from home. DeanG, your comment about the system at late night is very true, although I will add that it not only has something to do with the body relaxing, but more on the very fact that there is far far less energy demand and the subsequent dirty power flowing through the grid. With less electricity use, the power is cleaner without as much grunge riding along the lines. Even RFI is reduced somewhat late at night. So there is an actual physical cause for your system to be more clean, articulate, and with a blacker background and noise floor. As for the measurement points, I think that there are definite differences that CAN be measured, it's just that we havent come up with sophisticated enough tests or the right measurements to illustrate them. This is one of the main pitfalls for relying only on measurements to validate your experiences. Sometimes the testing is just not there. That being said, I would gladly accept the challenge of some DBT guru loon and tell the difference between two sets of speaker wire. kh ps - BTW, thanks deanG for the reminder about the MIT wire and horns; I have a whole set of Transparent Cable with the Network filters that I had given up on. I might see how they respond to the Cornwalls. They were miserable with the Moondogs and ProAcs. This message has been edited by mobile homeless on 12-05-2001 at 04:46 PM

Ahhhhhhhhh..... So this is what you bought. Well, I have to say you are probably going to be very happy. Although I have not heard the CAV50 with any of the Klipsch vintage speakers, I have heard the amp in several systems and actually thought of getting it at one time. The amp is really based on the MV-55, a sweet little EL-34 amp that was just replaced with the MV-60, an amp I have not heard. I have listened to both the MV-55 and CAV50 and thought the CJ integrated really had a nice tone and was very musical. If you enjoy combo jazz and classical, as well as jazz vocals, it will serve you well. I can only imagine good things with the Klipschorn. It is also one of the few amps that looks as good as it sounds, surely better looking than the Wright Sound 3.5, if not quite the equal in sound in all ways. Make sure you ditch the ulgy cage and let the tubes and chassis be more visable. Of course, the push pull CJ CAV50 will not sound as open and unfettered as a good SET such as the Wright 3.5. One thing you can do is have this amp wired in either triode or pentode mode, just like they could do with the MV55. While you will be cutting the watts down in the 20s, wiring in triode mode would bring about a more liquid and relaxed sound and will be MORE than enough to get the volume up via your 104dB Klipschorns. Others were talking about Audio Research amps recently and I think the Conrad Johnson seem so much more musical, at least the products based on the EL-34 tube and not the 6550. In fact, there is a CJ CAV50 right now on Ebay for a very good price still...that is, before some dremel runs the bid up. Let me know how you like it. Hope you have a good source to go along with it. You still need a good SET amp to try with your Klipschorns as you wont believe it... You might never go back. kh s y s t e m Linn LP-12/Linn Basic Plus/Sumiko Blue Point Rega Planet Cary Audio SLP-70 w/Phono Modified Creek OBH-12 Passive Preamp Welborne Labs 2A3 Moondog Monoblocks DIYCable Wire - Various 1977 Klipsch Cornwall I Alternate Components: EICO HF-81 - btw, perfect Cornwall match ASUSA A-4 EL-34 UL ProAc Mini-Towers EICO HFT-90 Tube FM Tuner Sumo Aurora Tuner Nakamichi CR-7af>s> This message has been edited by mobile homeless on 12-05-2001 at 04:27 PM

Lovely. So I am now the same as ole Randy and Colin? heh.... christ. Our styles of writing are about as similar as bearded goat cheese to a cassaba melon. At this stage, I am not sure who is the melon. Calling me an "audiophile" is a bit of a minor insult however as most so-called audiophiles wouldnt know music if it visited them for wine and cheese, or even a fine ale. The average audiophile is more into the system than the music with the hobby aspect overtaking the art. Frankly, if you just buy audiodreck recordings to hear how will your system "images" than you are farther from the essence of enjoying the music than with a pair of Cerwin Vegas powered by a Circuit City 200 watt Japanamarvel. So you are the same Conductor who just asked the Wright Sound question. Hmmm.... That was quite a lively thread over in the SET Asylum. Even ole George Wright made an appearance himself, this for the very first time to make a defacto recall of some of his amps due to that picture I posted and some questions regarding hum and the PS wiring. At least he stands behind his product 100%...with a little prodding. When are you going to break down and get an amp, conductor? Have you been conducting this long with nothing much to propell your conductor's stick? What did you decide? kh

Ole Randy... Randy has always been a bit sour after having to send that ole Zen back! And if he couldnt wring some serious sound from that little amp with his 104dB Klipschorns, then you must give pause. I hadnt heard too many quality complaints but the ones Randy mentions are a bit troubling. As for Colin's SET list, that is definitely a great start with most of the heavy hitters included. I have to say the Wright Sound WPA3.5 Mono is a great little amp and can be found for around $1000 used if you keep your eye out on AudiogoN. I have compared these amps with my Moondogs and while they dont have the low end slam and articulation in the bass, they do have a very magical midrange. Ulitmately, I preferred my Moondogs for their better extension, parts, and blacker background... But I would not be weeping if made to take the Wright 3.5. It is WELL worth the price used and an easy upgrade candidate as well. It is an extremely musical amp and makes a great match with the Cornwall. Here are two EXTREMELY clear and detailed shots of the Wright Sound WPA3.5 I took last weekend - they are 1000 pixel shots with excellent resolution: Wright Sound WPA3.5 Exterior: http://www.progressive-engineering.com/i-vol/images/wright1_full_1000.jpg Wright Sound WPA3.5 Interior Wiring http://www.progressive-engineering.com/i-vol/images/wright_interior_1200.jpg Colin, I have to really disagree here concerning the need for a subwoofer, especially with an amp of the Moondog's stature. With the Cornwalls in the corners of my room, I am getting bass in the mid 30hz range with amazing articulation and clarity, with all the slam you would want. I have heard NO subwoofer that can keep up properly with the speed of a good speaker, especially something like a Cornwall. He might need one with his La Scalas but with the Cornwalls and a SET with top notch output transformers, the bass can be intense. See comments above from the Bryston 4B-ST owner (who also happens to own the Wrights pictured). The Bottlehead Paramours are great deals for the money... but their MagneQuest transformers and PS parts do not bring about the low end impact of their bigger brothers (either the parafeed MQ or the Air-Gapped MQ DS-025). The Wright's actually use the MQ TFA-204 transformer which is a nice piece but does not quite have the low end extension of the bigger DS-025. kh

Just saw your reply that was produced while I was writing mine. Want to hear a GREAT tube amp that is CHEAP as hell? I have had my fair share of tube amps come and go, but I STILL believe that my trusty EICO HF-81 amp is perhaps one of the all-time best amps I have ever owned, this from a vintage piece made around 1960! It drop kicked the Jolida 302B and ASUSA A-4, two very respectable EL-34 amps nearing the $1000 range. In fact, I have not heard an amp under $1000 better the little 14wpc, EL-84 EICO HF-81. It simply had THAT much magic. These amps come up on eBay frequently and while it is hard to get the bargains of old, they are still dirt cheap. You routinely see them hoving around the $175 area give or take depending on condition. And this little integrated amp is a match made in HEAVEN with Klipsch, at least with my 77 Cornwall I. This partnership has a soul and substance that I find completely addictive. And this amp can ROCK when it wants to...I had a friend visit after a cross country drive in search of rare and hard to find vinyl... He walked in with his 250 albums and we had a drunken field day with the Linn - EICO - Cornwall combo! Yes, they are old pieces and sometimes need some cap replacement. But this is pretty easy... and you can find GREAT ones around. I know one thing...I will NEVER get rid of my original EICO HF-81; indeed, I now actually have two! The output transformers and circuit on these beasts are top notch. kh This message has been edited by mobile homeless on 12-06-2001 at 09:59 AM

I used to be very interested in the Decware Zen amps and have been familiar with them from the SE-84A version till the now more current, SE-84C. In stereo Zens, Steve Deckert now has the Select version which has a better rectifier tube, a few better parts inlcuding coupling caps and binding posts, additional inputs that do away with the hookup wire, and the most noticable difference (sight wise), the powder black chassis. Let me make this point clear; I have never actually heard the Zen amps in any of the configurations, but have followed them and talked to others that have had Zens who also have heard other SETS. First of all, the little Zen does not actually use a true Directly Heated Triode (DHT) tube. It is a regular pentode EL-84 derivative from Svetlana called the SV83 that is just wired in triode. One good thing is the tube is very inexpensive. You can also use the EL-84 as well. But it is NOT a true triode tube. You ought to know that Steve Deckert is VERY good at marketing, and I dont always believe all his claims online. There is literally NO WAY the Zen amp is anywhere NEAR 5 watts! Most people actually estimate the Zens to put out under 2 watts. When dealing with low powered SETs, every little watt matters and when you get below the 3 watt range, you are really limiting yourself to proper dynamics with anything but extremely efficient speakers such as the Klipschorn. The bass on the little Zens will not be pluming the depths anytime soon and moving past small scale music will be a bit tough in medium to large listening rooms. IT is my personal opinion that a good 2A3 or 300B amp would be a far better sonic picture then ye olde Zen. The main Zen advantage will be the price, and in that way, the little Zen does indeed win out. Although if you have any soldering skills, the Bottlehead 2A3 Paramours would probably offer better sound along with some labor. You can find these used, however. People that I know that have compared excellent 2A3 amps to the Zen say that although the Zen is a neat little beast, it does not hold up with the DHT designs that employ better parts, a TRUE directly heated triode tube, and output transformers with better performance. One Zen owner supposedly sold his Wright Sound WPA3.5 Monoblocks in favor of a Zen but almost every other owner I have talked to that has heard something of the Wright 3.5 nature has preferred it to the Zen. In power alone, the simple 2A3 amp with come in around 3-3.5 watts, and with good transformers, get to 20hz on the low end vs around 25-30hz for the Zen. I will tell you that my Welborne Labs 2A3 Moondogs were auditioned last weekend by a current owner of a Bryston 4B-ST, a solid state 250wpc brute that has amazing low end. I have always felt this was one of the better solid state amp deals. After listening to a few tracks from Mogwai, Boards of Canada, and ISAN via my Cornwall 1 with Alnico, he turned to me and exclaimed, "I can't believe it..but those 2A3 Moondogs have more slam and impact than my Bryston 4B-ST...at least with the Cornwalls!" It was true, the bass was actually more tuneful and tonally accurate, while at the same time, delivering amazing slam and percusive detail. This with the Sovtek 2A3 tube which can be found for only $45 or so a pair (of course, I will admit that even though the Sovtek 2A3 is an amazing bargain and excellent performer, it does not have the musicality and subtle detail with black background of the NOS RCA JAN CRC VT95 Black Plate). So I would think some serious thoughts about your speaker choice and music selection. Most of the glowing reviews on the Decware site are from people with little to no previous tube amp exposure and almost ZERO other SET exposure. Steve does offer a full 30 day money back clause which is a great thing for finding out if you DO have the right system and tastes for the little Zen. It does have a lot of admirers but I see many upgrading to bigger and better things not too far down the line. As for reliability, the Zen is not very complex and I have not heard bad things about their reliability. Regardless, Steve Deckert seems to be a very honest man in this way and I would imagine if you have problems, they would be corrected. So be sure to take a look around at other offerings and opinions in and around the SET camp. kh ------------------ s y s t e m Linn LP-12/Linn Basic Plus/Sumiko Blue Point Rega Planet Cary Audio SLP-70 w/Phono Modified Creek OBH-12 Passive Preamp Welborne Labs 2A3 Moondog Monoblocks DIYCable Wire - Various 1977 Klipsch Cornwall I Alternate Components: EICO HF-81 - btw, perfect Cornwall match ASUSA A-4 EL-34 UL ProAc Mini-Towers EICO HFT-90 Tube FM Tuner Sumo Aurora Tuner Nakamichi CR-7af>s>

Personally, I have never thought the Audio Research gear that musical as far as tube amps go. The tend to side much more on the clinical side of reproduction and sound more SS to me. Their sound, on the whole, leans more toward the whiter, bleached out, side of the sonic spectrum. Many of their amps rely on the 6550 tube which is a rather coarse and grainy tube with a midrange that lacks a lot of soul. Their preamps have always struck me as too bright...almost without fail. As I said elsewhere, I thought the SP-8 preamp was not that bad...still, I find Audio Research the least musical tube amps made, especially given the price. kh ------------------ s y s t e m Linn LP-12/Linn Basic Plus/Sumiko Blue Point Rega Planet Cary Audio SLP-70 w/Phono Modified Creek OBH-12 Passive Preamp Welborne Labs 2A3 Moondog Monoblocks DIYCable Wire - Various 1977 Klipsch Cornwall I Alternate Components: EICO HF-81 - btw, perfect Cornwall match ASUSA A-4 EL-34 UL ProAc Mini-Towers EICO HFT-90 Tube FM Tuner Sumo Aurora Tuner Nakamichi CR-7af>s>

Colin - I find your post very amusing especially given all the talk about measurements via your many tube amp arguments. Re-read some of the points you made and apply them to this discussion. I think you will find many ideas can be cross referenced. See Nelson Pass' comments about subjective evaluations etc. There ARE measurements that do fortell how certain wire might sound in a given situation. Once again, for those that cannot and have not heard much difference, may I suggest that. A. Acquire a system that allows you to HEAR said differences. B. Become better at discerning subtle differences Take a look at these pages: http://www.geocities.com/jonrisch/c3.htm http://www.audioasylum.com/audio/tweaks/messages/1582.html http://www.geocities.com/jonrisch/s1.htm http://www.geocities.com/jonrisch/i1.htm kh ps-Want to get rid of a good portion of your harshness and hardness with your beloved Cornwalls? Take a look at your Monster Cable. I dont know which you use, but I have not found their products in the cable area very beguiling in the last 15 years. pps-Good answer, Keith. This message has been edited by mobile homeless on 12-03-2001 at 09:07 AM

Good 6SN7s can make a HUGE differnce to me. Most people get so focused on the output tubes but the driver and input tubes can really change the character and performance of the amp as well. Remember, you can also use 5692 in place of the 6SN7. If you have a camera, take some picks and I'll help identify the tubes if I can. kh

Howard Ferstler.... Some very dynamic conclusions, Howie. Now we have finally jumped back 20 years to the lovely days of Stereo Review where clowns like Julian Hirsch would state that all amps and CD players sounded alike, with only speakers having any difference. Indeed, ole Howard sounds like a reviewer after the Klipsch owners heart! It's 99% the speaker anyway, right? kh

Lovely. Thanks for printing Howard's thoughts. It's all we need. The only thing I dislike worse than all the dancing smiley faces and cartoon characters within the confines of Klipschdom is the incessant discussion on the "wire is wire" front. Now that I have reached "Crazy Poster" status (how can we turn this off?), I have come to realize I am crazy for continuing this wire debate. I now consider myself formally retired from ever defending the fact that there are audible differences with cable. Perhaps you can just remember me with a toast of fine ale when you see ye olde Gil trumping the measurement card and stating that lamp cord is lamp cord. It must be very blissful knowing you dont have to worry about such matters until someone can show some measurements that validate experience. Selah. kh ------------------ s y s t e m Linn LP-12/Linn Basic Plus/Sumiko Blue Point Rega Planet Cary Audio SLP-70 w/Phono Modified Creek OBH-12 Passive Preamp Welborne Labs 2A3 Moondog Monoblocks DIYCable Wire - Various 1977 Klipsch Cornwall I Alternate Components: EICO HF-81 - btw, perfect Cornwall match ASUSA A-4 EL-34 UL ProAc Mini-Towers EICO HFT-90 Tube FM Tuner Sumo Aurora Tuner Nakamichi CR-7af>s>

dubai2000, Indeed...that is one of the main points is it not? The answer is "of course." DId you have to ask? kh ps- How's the integrated doing?

Randy, I've been meaning to write you back but have been embroiled in a first time home purchase which has turned into a horrifying multiple bidder quagmire. It wouldnt be quite so troubling if we werent currently RENTING the place and attempting to keep the owner from selling it our from under us... Selah. I agree with you and Wes about the info being a tenuous hold at best with the many users putting together the sporadic details. Count myself as one of them as I have been trying to piece this whole mess together as well. I have a rough idea but the exact dates and details appear to be up for debate. I am wondering if anyone currently at Klipsch would have all this information as well seeing as how the site doesnt even seem to be correct. Wes, I would love a scan or whatever of your manual. I actually have a original heavy paper brochure from the mid 70s. It is 11 pages and covers all the models including Klipschorn, Belle Klipsch, Cornwall, Heresy, and La Scala. It also goes into the Klipsch philosophy as well as the theory of horns and corner loading, and the optimum positions for the various speakers. I plan on scanning that as well. Any and all info appreciated....especially if it is right! Kelly

That will teach me to not read the second line in the address! heh.... lordy. Here's to some EDITING of that post; there went my humourous lines! I have read some of Pauls musings and dont always agree with him, although he designed some very compelling speakers. As for the wire comments, I stand on this by years of experience. kh This message has been edited by mobile homeless on 12-01-2001 at 09:50 AM

Well, I got a great jump out of the gate with that review, but stalled a bit. I have a ton of text with great graphics and a nice layout but need to edit the beast in a serious way before putting it up. Actually, I should have never mentioned it before getting it done. On the other hand, I hope to have the below info in there eventually, and would love some assistance from someone that actually KNOWS FOR SURE since I have read conflicting comments for so long now. - What were the exact years in the Cornwall production that the drivers changed and what were the specific changes? I want to make a chart with the times they changed between version I and II, the vert horns, the Alnico drivers, and the variuos incarnations of other drivers/woofers. I think this needs to be put down somewhere... I will give credit where credit is due here. I am wondering if anyone has DEFINITE answers here.... because there are sure many out there! I expect to get this page up within the next few weeks if lucky. kh

Well, Kent ole lad, may I suggest that you actually DO some real listening to music and not to some Klipsch engineer, who probably doesnt know ye olde arse from the perfunctory hole in the ground (although, if it was PWK, I would at least be more polite about it..heh). After having run an all analog high fidelity recording studio from my home in the 80s as well as being an engineer in a radio station for eight years, I can safely say that many engineers have some of the worst ears in all of audio, not to mention a horrifying understanding of music in general (Again, if you had this discussion with the esteemed PWK, I would have nodded my head some more and paid for the second round). For those on here that have never heard the differences between wire, perhaps you should: A. Acquire a system that allows you to HEAR said differences. B. Become better at discerning subtle differences C. Buy some Home Depot 12 gauge multistrand copper wire Throw in your garden variety interconnects. Listen to said system at length. D. Go to http://www.diycable.com/products.htm Order pre-built or kit versions of their Speaker Wire and Interconnects (I prefer the Superlative but The Fat Ones are OK) E. Make cables/burn in cables/install cables F. Once cables have been burned in, do matched volume comparisons between your Home Depot 12 gauge wire with garden variety interconnects and the DIYCable wire. G. If you dont hear any difference then you have not succeeded at "A" or "B" above. The difference in this setup and my previous Transparent Audio wire via my 2A3 Moondogs and Cornall I with Alnico horn drivers was SO GREAT, that it actually sounded like I had upgraded a major component! And this is not the only example of this; I have been through this many times in the last 25 years. As said before, sometimes the differences are slight to none, sometimes they are large, and MANY times, price is NO INDICATION as I have had inexpensive wire trounce expensive wire at times. But to say that wire is wire and the differences are just Audiofools musings is off the mark and missing the boat. It is also passing up a great opportunity to get better sound, sometimes for very little expenditure. And another thing, if you cant hear these types of differences, than I would not worry about spending the extra ducats for an Audio Research amp. First of all, they are not especially musical sounding tube amps, and you can do far better with some cheaper gear. I find their products on the whole to be more antiseptic sounding with no much midrange bloom. While clean, most of their products appear too "bright" in tone to me. Their preamps are especially troublesome with the SP-8 being about the last one I could even live with. Good luck on your quest if you chose to undertake it. If you get prebuilt versions of DIYCable wire, you have a 30 day moneyback guarantee on the cable. Return and chortle at the added education at low cost. kh This message has been edited by mobile homeless on 12-01-2001 at 09:55 AM

Both of those amps are good. I happen to be a B&K fan and think their older gear was some of the best deals around, easily outperforming ADCOM and the other midfi Japanese offerings. A great compromise would be to keep the B&K and get a good tube preamp...or at least a decent one. I would opt for a 6SN7 based preamp personally. The B&K amps go very well with tube preamps. IF you really want a velvet and life-like midrange, go for a good tube amp and keep the B&K around to compare. kh ------------------ s y s t e m Linn LP-12/Linn Basic Plus/Sumiko Blue Point Rega Planet Cary Audio SLP-70 w/Phono Modified Creek OBH-12 Passive Preamp Welborne Labs 2A3 Moondog Monoblocks DIYCable Wire - Various 1977 Klipsch Cornwall I Alternate Components: EICO HF-81 - btw, perfect Cornwall match ASUSA A-4 EL-34 UL ProAc Mini-Towers EICO HFT-90 Tube FM Tuner Sumo Aurora Tuner Nakamichi CR-7af>s>

Interesting you bring up the TJ Globe Meshplates... I just had an extensive audition of the TJ300B at the 2A3 operating point via my 2A3 Welborne Labs Moondogs and my friend's Wright Sound WLA 3.5 Monoblocks (see picture above of his amp with a TJ300b/2.5v Meshplate). All this was done via my Linn LP-12/Rega Planet/Cary SLP-70 Modified tube preamp, amps above, DIYCable.com wire, and 1977 Cornwall I with Alnico mid/tweeter. Remember, this is actually the TJ300B Meshplate at the 2.5v operating point which makes it a direct drop-in replacement for the 2A3, so the tube is not exactly the 300B. I found the TJ Meshplates to have a very rich midrange with a slightly more detailed and forward character. In some ways, compared to the Sovtek 2A3, it appeared slightly more "thick" sounding yet also had more detail. In the tube comparison (Sovtek, TJ300b/2.5v, RCA JAN CRC 2A3 VT95 Black Plates), the clear winner was the NOS RCA JAN CRC 2A3 VT95 Black Plates from 1944. These NOS bi-plates were so much more subtle and detailed, with a magical quality that was almost captivating, that it was almost as if one's body just melted as soon as they were inserted into the Wrights. The owner of the Wrights, who had previously fallen in love with his TJ Meshplates, first words were, "Well, I see what my next purchase will be...as in MONDAY!" In other words, the difference was NOT subtle. I personally found the TJ tubes to sound a bit more diffuse through the Moondogs or the Wrights. They were musical and the top end had a light shinning down on it... but their forward nature was not as pleasing to my ears. Of course, your opinions may vary. kh ------------------ s y s t e m Linn LP-12/Linn Basic Plus/Sumiko Blue Point Rega Planet Cary Audio SLP-70 w/Phono Modified Creek OBH-12 Passive Preamp Welborne Labs 2A3 Moondog Monoblocks DIYCable Wire - Various 1977 Klipsch Cornwall I Alternate Components: EICO HF-81 - btw, perfect Cornwall match ASUSA A-4 EL-34 UL ProAc Mini-Towers EICO HFT-90 Tube FM Tuner Sumo Aurora Tuner Nakamichi CR-7af>s>

dubai2000 - Glad to see you are experimenting in the tube domain. I think the vintage Klipsch speakers are really almost MADE for tubes; I have heard no more perfect partnership to be honest. Those that have not properly set up a tube and vintage Klipsch system really dont know what they are missing. A few thoughts about your current questions. As for the channel switch, this, unfortunately, can be quite common in high end gear. Sometimes you will find the polarity switched or the channels. In this case, the simplest way to rectify the problem is to just switch your left and right channel inputs at the CD player if that is your main source. You could opt to switch the speaker cables but I would imagine it is in your inputs. Your tube choice for the input tubes is VERY important and the advice you were given is correct; input tubes can dramatically affect the sound for the better. One quick bit of advice, I would steer away from the JAN Philips 6922 or 6DJ8. I have found these tubes to be rather harsh and not very musical although this also depends on what year. There are certainly other options here that are better. If you are interested, I can look around for you. As for the 5Z3 rectifier, you can get some 5Z3G for anywhere from $4.50 to $15 or so for NOS. Check http://www.tubeworld.com/ . The 6SN7 is a very important tube as well and good NOS can be had for big improvement. You can also sub the 5692 here for a more lush sound. Great 6SN7 tubes can be found at tubeworld.com as well. I happen to like the Sylvania 6SN7WGT "Yellow Lettering" from the 60s. This is a very open, neutral, clean 6SN7. There are other options here as well so drop me a mail if interested. The Cetron 300B is an OK tube and should be fine for now. I have heard these tubes sound VERY good in Cary gear. Others dont like them as much but they should suit you fine while in operation. I am almost positive you will find it VERY hard to return to your Mcintosh amps as they will surely miss the delicacy and life of your 300B triodes. I dont know much about the transformers on those Cayin amps (the output transformer is really the heart of a tube amp and dictates the quality of the sound). Even so, you will surely enjoy this path, especially considering your speakers. I hope you have a fine preamp and good cable as this will also add or detract from the sound (despite what others on here will lead you to believe). Hope you get closer to the music on this journey... kh

Lord, BigBusa... I never thought it possible, but you just made me MISS the Albany weather! What next? kh

NOTE: I had to revise this post as I mistakenly assumed this online letter and article below was in the latest Stereophile (Sadly enough, I have a copy here but had not opened it yet). Instead, it was an archive article from 1985! Still, I find it amusing and even MORE pertinent in 2001. Amusingly enough, we now have the added knowledge that ole J Gordon Holt NEVER did follow up on his K-Horn promise... Ye olde Stereophile. Well, it surely is not as good as it once was in my opinion. It has been sold several times in the last decade and many of the better writers have come and gone. The esoteric feel of the 70s has been replaced by a strong sense of commercialism in the 90s and beyond. They have gone more mainstream in a decidedly aggressive manner. I will say that horns have been creeping in over the last few years finally. Although there have been reviews and comments on the Avantgardes, Lamhorns, Beauhorns, Lowthers, Oris, etc, there have been very little official press on Klipsch. Perhaps this is for good reason as the Klipsch name did sort of take a dive via their mass market sales drive. Lately, however, we have seen Klipsch creep into the Letters sections. A few issues back, the Klipschorn was called forth. While searching the Stereophile archives, I found an interesting article on speaker design way back in 1985... and someone followed up with a letter lauding the now legendary Klipsch Cornwall. I decided to reproduce the letter below; see ole JGH's response, which is amusing in and of itself, though his conclusion is a bit disquieting for Khorn fans... Indeed. Overlooked Accuracy Editor: I agree completely that the issue of tonal accuracy has been overlooked by many speaker manufacturers. If tonal accuracy is not the basis of design in an audiophile loudspeaker, then what is? I have come to the conclusion, as have others, that most of the so-called high-end speaker manufacturers build and sell systems that deliver more spectacular Hi-Fi, rather than music. They put imaging, depth, width of soundstage, etc., ahead of all other considerations, and have trained their retailers to push these qualities on the consumer. The consumer buys the equipment, but soon tires of it because the Hi-Fi is spectacular, the music not. KEF loudspeakers are perfect examples of this. They do all of those other things very nicely, but cannot deliver music that is tonally correct to any degree. That is why it took me more than a year of searching to find a speaker with a reasonable degree of tonal accuracy the Klipsch Cornwall! Paul Klipsch has always considered midrange accuracy to be of paramount importance in the design of his loudspeakers, and, although they're not perfect, they come as close as I have heard to the real thing: music. I would like to suggest to Mr. Holt that he obtain a new pair of these "old squawkers" and hook them up to a first-class front end (I have Linn/Naim). He will find the "awfully strident and dirty high end" all but gone, and in its place a sound that will please his ears as much as it has pleased mine. John Kimes, Kernersville, NC All but gone"? Just how much "all but"? Okay we'll see what we can do about borrowing a pair of K-Horns for review; the requests have come from too many quarters. Don't be disappointed if they don't turn out to be our favorite speakers. J. Gordon Holt f>s> This message has been edited by mobile homeless on 11-26-2001 at 08:13 AM

Well, I have said this before in here, but I will say it again. As for amps and speakers, there is almost no reason to buy NEW. The has NEVER been a time more beneficial than now for the buyer or the seller. With great options like AudiogoN, the quality of used gear at great prices is really amazing. You can get top level gear that would have been far from your reach at prices that are reasonable. I have not had a single bad deal via AudiogoN; indeed, I now have my current amp, speakers, and passive preamp all from AudiogoN or eBay. See my highly touted Welborne Labs 2A3 Moondogs above. These amps have received rave reviews and have been compared to "World Class" in amplification. The parts quality is just top notch. If you knew how much I got these for, you would sag! I did a lot of research and ended up winning these in an AudiogoN auction... and for less than I would have paid for the average new ADCOM! You just have to be creative. Most of the gear you see somewhere like AudiogoN is treated with top care from other audioloons that are bitten by the upgrade bug. Before purchase, you do need to feel the owner out and assess his level of knowledge and attention to detail. That being said, these amps will smoke most commercial gear in the $5000-6500 range. Keep your eye out. Do some research. If you want some advice as to what to look for, drop me a mail. All this is NOT out of your reach! kh This message has been edited by mobile homeless on 11-22-2001 at 08:29 AM

Well, you have come to the great reckoning... You have HEARD the magic of triodes! While the EL-84 tube is a great tube, and surely one of my favorites, it is not a true triode tube like the 300B or the 2A3. The 300B will be more resolving and also have a sense of ease and midrange purity that the EL-84 just wont match. That amazing sense of space and air around the instruments is also a hallmark. And frankly, you wont get this same sound from your Mcintosh gear either... That comment you mention about the harshness plagues almost ALL solid state gear to a certain extent, although some do it FAR better than others. Some can even come quite close. But as of this day, no matter WHAT expense, I have not heard a solid state amp that can reproduce the purity and stunning tone achieved with a true triode. The midrange is just not on the same par. kh