tubenube

In my quest to find an affordable phono cable to use with a tonearm upgrade I ran across 'Aural Thrills', a company that makes various audio interconnects. They sell them on eBay as well from their website: http://www.auralthrillsaudio.com/ I need a (rather hard to find) phono cable with straight DIN connector so I contacted them and they offered me a straight DIN -> RCA phono cable for $100. Sounded good so I ordered one. First of all what I received was constructed well enough but looked more like a DIY project than a cable from a 'company'. More importantly, while I'm sure the parts/materials are of good quality it is pretty stiff for a phono cable and would thus intefere with the suspension of my (Oracle) TT. What I need is something like this (but with a straight DIN): http://cgi.ebay.com/ws/eBayISAPI.dll?ViewItem&item=3040273501&category=3283 Because of this I asked to return it for the reasons above and (after being told "I feel like you have wasted my time") was told to send it back and I would receive a refund. Later that day I also received an email that my desire for a flexible cable was based on a 'false assumption' and that "Assuption is made of two things, *** and uption." Further I was informed "As for flexibility, I am very aware of the design goals of a tonearm cable. I have made literally hundreds of these and you are the first that does not think it is flexible." as well as "As Chet says, I don't think that you get it. Buy one that looks good because that seems to be what you need. Best of luck." (I have no idea who 'Chet' is... Even later that same day I received another email from them saying (and I quote) "Do you know the meaning of Audiophile? Are you that stupid? Do you make your audio decisions on what you have read over what you have heard? You are a looser. Don't bother me with you infantile ideas again." I replied telling them I didn't appreciate being insulted and would be returning the cable Monday. This morning this was in my mailbox: "You are an IDIOT. HOOK IT UP AND LISTEN!!! I have a Van den HUl Colibri Cartridge, Graham tone arm, fully suspended VPI TNT Turntable. This equipment is easily ten times better than the crap you are using and guess what? I use the exact cable that I sent you. You are stuck on an assumption and will not give it up. Have you ever taken any logic classes? When you start with a false assumption everything after that is true. It is a false assuption that my cable is too stiff. I will repeat that I have sold HUNDREDS of this style and everyone loves them. I have never had one returned. I am sorry to say that this was a special order cable and will not be returnable under my return policies. Aural Thrills Catalog Your package will not be accepted with out an RA number. Best of luck. " And with that they have blocked my email address. This has GOT to be the most unprofessional company (?) I have ever dealt with, period.. So fair warning to anyone thinking of purchasing anything from Aural Thrills.

Not sure about the Bottleheads but I have a pair of Heresys being driven by a Decware SE84C-S (Zen Select) and it's a sound to die for. www.decware.com I have no affiliation with Decware other than being a VERY satisfied customer.

If you want to 'soften the harshness' of CD's check out the Njoe Tjoeb CDP from upscaleaudio. It's a modified Marantz CDP with tubed output for $700. http://www.upscaleaudio.com/ahcd.htm I have the previous Ah Tjoeb '99 model and it gives my Oracle TT a run for its money.

Since no one has mentioned how Heresy's might work I thought I'd chime in. Sounds like we listen to the same type of music. I do have a Decware SE84C-S (Zen Select) driving my 80 vintage Heresys and they sound just fine. They are a tad weak on the low, low bass (under 50-60 hz) but make up for it in spades elsewhere. Don't get me wrong, a doghouse bass sounds mighty fine on the Heresy but I'm thinking a sub might be a nice addition to fill in the 'longwave' gap (down to 10-20 hz). Make no mistake, Vocals, Jazz and acoustics sound *incredible* on the Heresy. And they rock when you want em to as well. As far as the sensitivity is concerned, no problem. Even 2 watts (@ 8 ohms) gives me more volume available than my condo neighbors would probably like me to have If you can't afford the bigger horns or are are cramped for space like I am then I'm sure the Heresys would be a great choice. 2 channel analog system: Oracle Alexandria, Prelude arm, Denon 103 Cart Audio Solutions MX-10 MC pre-preamp Conrad Johnson PV-4 preamp Ah Tjoeb '99 CDP Decware SE84C-S Select Klipsch Heresy HT system Harmon Kardon AVR500 RCA ultimateTV Sony DVP-S3000 Sony 37" Trinitron JBL L-100 Mains JBL TLX Center 2 JBL 3 way in-wall rears Dahlquist PDQ1200 Subwoofer

Thanks for all the tips. The lesson here is always try the simplest solution to a problem first. It wasn't an 'asymetrical polarity' of the speaker wires or my ears (although that had entered into my mind before I switched inputs). And god forbid it to be a bad driver in one of my 'new' Heresy's The easiest thing to try was to get my Caig DeOxit and ProGold out and treat all my connects. That did the trick. I feel somewhat embarrassed I didn't think of that but the gold on gold contacts and big ol screw down RCA's on the 'big buck' interconnects lulled me into a sense of (false) security. The REAL nice thing is cleaning up the interconnect contacts makes the system sound even better than before! A 'titch' more definition and bottom end is the reward for my effort. Again, thanks for the help & advice!

I just obtained a pair of Heresy's and I am really hearing my system for the first time (I had fairly inefficent speakers before). It has lead to an interesting problem I thought the experts here could help with. I need to preface the 'problem' with a brief description of my system: An Oracle Alexandria turntable (Adcom cart) and an Ah Tjoeb! CD player 'feeding' a Conrad Johnson PV4 preamp. That in turn, drives a Decware SET SE84C-S (Zen Select) which powers the Heresy's via CAT5 speaker wires. All other interconnects are from MAD audio. I REALLY sounds good (very clean & 'precise') but here's the problem: While toying with speaker placement I noticed what I felt to be a slight 'balance' problem. Listening to either the CD or turntable the left channel seemed a little 'stonger' than the right (or the right a little weaker). Anything dead in the center channel (female singer, etc) would appear just to left of center. Vinyl imbalance was slightly more pronounced (to the left). I could easily compensate using the preamps balance control (or even lean to the right a bit) but I felt something was 'wrong' and decided to isolate the problem. If any component is 'suspect' it would be the Conrad Johnson since it's getting somewhat 'long in the tooth' and a tube (or two) might need replacing. So the first thing I did was simply reverse the inputs into the Decware amp thinking if the 'problem' reversed itself it would be in the chain prior to the amp. Thing is, once I reversed the inputs the balance is *perfect*. The same CD/LP that 'leaned to the left' before is now dead center. Of course I could just leave it as is but subconsciously I'd be bothered a) I'm listening to things 'backwards' because I have a problem I haven't resolved. This just doesn't make sense. Anyone got any ideas?

I think I have to disagree that the 'virtual' soundstage is a myth. Years ago I stumbled into a high end audio store in Atlanta. After chatting with the owners for a bit I was invited to their listening room. I sat in a (I presume a precisely positioned) listening chair facing two every tall "$50,000/pair" electrostatic speakers fed with cables I thought had to be 3" thick. This was my first exposure to such speakers and was duly impressed with just their sheer physical presence. Anyway, they put on a 3 piece jazz trio (sax, bass & drums) and I'm here to tell you it sounded so *live* the soundstage was almost frightening real. (Eyes closed) I could literally hear the sax player swaying with the music and the difference in height of the high hat and snare/bass drum. The bass & drums were clearly behind the sax and the whole trio was slightly 'above' me as if I were in a small jazz club sitting at the front table with a stage slightly higher than the floor. In retrospect I have to say that experience *ruined* me. Unfortunately I was so stunned I never asked whether the source was CD or LP or what the recording was. I still kick myself in the a$$ for not knowing this critical piece of info. I'm sure my memory has exaggerated the experience but to this day I continue to compare systems to that experience and attempt to match it (within my own financial limitations of course). I'm still trying to obtain some '3 dimensionality' to my soundstage. I can clearly place individual instruments left/right but not up/down or front/back. Front/back just sounds louder/softer (and not necessarily 'ahead' or 'behind'). I'm sure up & down is a function of the actual height of the whole speaker array and/or the x-overs involved. Nor have I been able to achieve a sounstage that is apparently wider than my speaker placement. While I have heard it once/twice (close my eyes, point to an instrument I hear, open them and find I'm pointing to the left/right of the actual speaker) I feel certain that is the result of the acoustical properties of the room my system is in. I have to agree that modern recording/engineering mostly misses the mark when trying to recreate a 'live' experience, even of most live recordings (to save my own sanity? . If I could just find an LP/CD that was (as you say) recorded with two mics only it might make a difference helping me tune my system better. If anyone has any advice/tips as to how to achieve better soundstaging (short of buying $50,000 speakers I'm all ears.

Whew! In case anyone missed it the Blue Note version final bid was $182.49. I guess the good news is apparently some still have a good paying job

Roblikestubes: I've often considered building a 2nd Zen. Then I think 'well if I want two Zen monoblocks I might as well do it right and get the signature SV83M Monoblocks'. Then I remember I can't afford them Besides, I really enjoyed building my SE84C Select. Probably not truly necessary but I think if I wanted the two (bridged) mono selects I'd want to build them simultaneously/concurrently in order to ensure all construction was totally 'matched'. Even though I'm sure I've not optimized the 'perfect' placement of the Heresy's yet (So far I've basically hooked them up about 1.5' out from the wall, 6' apart and 6' away and just can't quit just listening) I can already tell it will ultimately be as you say: "When it is right. It is SO right." There's already been a couple tracks that have given me goosebumps Since it doesn't seem to be (pardon the pun)... heresy... to put them on taller stands I'll experiment with that as well.

Interesting. Obviously one could do whatever they want but I was under the impression Heresys were intended to be on the floor, slightly tilted (hence the riser bases). And I also thought I'd read (here?) some measurements Klipsch recommended as far as distance from speaker to rear wall, etc. Not so?

I finally picked up a pair of '80 vintage Heresy's for my 2 ch system. I've been fiddling with placement and while they sound great now, I'm wondering if I could make them sound even better if I knew what they 'like'.. My room is 12X20 (8' ceiling). One end is dedicated to digital 5.1 home 'couch potato' theater. Turn around and the other end is dedicated to 2 channel (analog) audio (Wingback chair listening position). Notwithstanding the tweeking needed due to room acoustic variables, where would be a good 'standard' starting point for Heresy speaker placement? e.g. X feet apart, Y feet from rear wall, Z feet from room corners, N feet from listening position, so many degrees toe in, etc. System: Oracle Alexandria Turntable Ah Tjoeb CD Conrad Johnson PV4 preamp Decware SE84C-S SET amp (w/ appropriate interconnects)

Thanks for the quick response. It seems to me Klipsch heritage owners are particularily 'proud' of their early (70s') vintage speakers. Notwithstanding the Heresy II's, is there anything different (good/'bad') with 1980 vintage Heresys versus earlier/later years? e.g. difference in x-overs, drivers etc. that make particular vintages more/less desirable and thus preferable? Outside the fact I know I (finally) have decent speakers for my SET amp, I'm just trying to better know/understand the details of what I just added to my 2 channel system. The only 'mod' I plan is to add spikes to the stock risers. Any comments from anyone that has spiked their Heresy's? System: Oracle Alexandria Turntable Ah Tjoeb 99 CD player Conrad Johnson PV-4 Preamp Decware SE84-CS (w/ appropriate quality interconnects)

Can anyone suggest a source of cones/spikes that don't require a screwed in stud/inset? I'd hate to drill into my Heresys. Surely there are some cones available that just 'slide' under the speakers. And is brass considered the best material?

I (finally) obtained some minty Heresys. One time I remember seeing how to determine the year Klipsch's were built based on the SN#. Te SN#'s of my new Heresys are 103U087 & 103U088 Can someone tell me what year they were built? Thanks

Good to hear Sprocket. Unfortunately I have no plans to part with my lil Zen Select (I'll just keep looking for the right speaker for it Anyway, If I need party level volume I'll just crank up my JBL/Carver HT system. While I'm not satisfied with a 'girl with acoustic guitar' levels, I'm not looking for major SPL for my 2 chan system anyway (just pure fidelity at 'normal' listening).