feersum dreadnot

I've got your black KV-2 ready to ship, gently used and in original box- for you, special price. FIs are the 12", FIIs the 15" passive. 4 Fortes beats a full house of Bose...

as shown in sig., I went for one $1,300 sub. it fills a 14' x 15' x 8' room quite well.

Am embarking on subject quest, with intent to raise rear speakers 9-10" (to clear tweeter and mids above leather couch in middle of HT room). I happen to have leftover 3/4" interior grade plywood, and was thinking of simple, white boxes with interior bracing. (the white box approach, provided it has felt pads to protect the new hardwood floor, already has WAF upcheck). then I thought of simple white boxes with a lip across the back, to secure the speaker to (so it does get accidently shifted around). then I thought of adding weight, potentially using cinder blocks, to the interior of the box, with lots of "liquid nails" and filling the box interior completely (maybe cement?). These won't get moved, and I'd like them to be solid, non-resonant bases for the fortes. any suggestions? thanks.

fortes or forte IIs can't go wrong

had one (a '67 tiger), with a built 289. 13.1 sec 1/4 mile. lots o' fun. if I still had it, it would likely pay for a year or two of college for the kid... try a 916 if you ever come across one - 914 + ful race 911 6 cyl engine. they also made some 914-6s which are also very sporty.

Welcome Vandyman - this is the place to ask such questions, and get lots of good suggestions. I had the KV-2 between my fortes for 8 years. after reading this forum, I convinced myself to get the Academy. I found a huge difference, and recommend you start trolling e-bay and find yourself an Academy. I built a new HT room into the back of my house this summer, and convinced my wife the little KG.5 surrounds had to go. they did, and I swapped in another pair of fortes for surround duty. the whole thing sounds great, and now I only itch for more amp power. That said, at 100 WPC x 5, my room is plenty loud as is, I just somehow think it would improve with more power... bottom line - my $0.02 says go shop for used Heritage, and you'll get great sound at a lower price point than all new Reference.

I love my Fortes, and think they are among the best Klipsch for rocknroll. there is a guy selling 4 matched Fortes on e-bay right now for $1,000 - add in another Forte or an Academy, and your friend will be on the way to a nice HT...

see http://www.elsewhere.org/cgi-bin/postmodern/ Maybe it is the audiophile version of the "postmodernism generator", hooked with pure gold power cables in a round, padded room. The Circular Fruit: Subdialectic deappropriation and constructivism Martin S. F. Sargeant Department of Sociolinguistics, Cambridge University 1. Realities of economy If one examines neomaterial narrative, one is faced with a choice: either accept Marxist socialism or conclude that the State is part of the rubicon of truth, but only if the premise of subdialectic deappropriation is invalid; otherwise, we can assume that narrative is created by communication. But the main theme of the works of Smith is the role of the observer as writer. Foucault's model of neomaterial narrative states that narrativity is capable of significance, given that consciousness is distinct from narrativity. Therefore, the primary theme of Wilson's[1] essay on subdialectic deappropriation is a conceptualist totality. The subject is contextualised into a constructivism that includes culture as a reality. In a sense, the characteristic theme of the works of Smith is the bridge between class and art. 2. Predialectic theory and capitalist sublimation In the works of Smith, a predominant concept is the distinction between creation and destruction. Scuglia[2] holds that the works of Smith are empowering. It could be said that Sontag uses the term 'capitalist sublimation' to denote not dematerialism as such, but postdematerialism. If subdialectic deappropriation holds, we have to choose between capitalist sublimation and pretextual capitalist theory. Thus, Sartre promotes the use of constructivism to attack the status quo. The main theme of Hubbard's[3] model of subdialectic deappropriation is the failure of substructural society. Therefore, Bailey[4] states that we have to choose between the cultural paradigm of reality and premodernist textual theory. Marx suggests the use of constructivism to challenge sexual identity. However, if neodeconstructivist nihilism holds, we have to choose between constructivism and cultural semanticism. 3. Narratives of dialectic The primary theme of the works of Tarantino is the role of the poet as artist. The subject is interpolated into a poststructuralist paradigm of discourse that includes truth as a whole. Thus, an abundance of desituationisms concerning not, in fact, appropriation, but neoappropriation may be found. Derrida uses the term 'subdialectic deappropriation' to denote the genre, and subsequent fatal flaw, of textual sexuality. Therefore, a number of dematerialisms concerning Marxist class exist. Sartre promotes the use of capitalist sublimation to deconstruct archaic, elitist perceptions of society. It could be said that Bataille uses the term 'subdialectic deappropriation' to denote a mythopoetical paradox.

useful when your subs go low enough to hit the dread "brown note" ;-)

I've currently got my Academy on top of the 36" TV, which sits on top of a cabinet the height of my L&R Fortes - leaving the center several feet above the L&Rs. I've read that I should not be able to aurally differentiate the elevation shift, but I think I can - but then again, I can't tell the difference between monster cable and the doubled 12 ga I'm now using, and I've got tinnitus/high freq. issues in my right ear, so who knows? before I head off to find/build a better TV stand, that would place the Academy at the same general elevation as the Forte horns, I'd like some thoughts from the forum. the trade off would be to elevate the TV about a foot to put the Academy in the same plane as the horns, or leave it as is above the TV. thanks for the input.

2005 Subaru Legacy GT wagon. fast, fun, and a relative sleeper. decent milage, AWD, 6 airbags, all that good stuff. if $ were no object, and if I could fit (I'm 6'8"), I'd drive a Ford GT in the summer, and an Audi S8 in the winter.

I manage "Superfund" site environmental investigations and remediations - i.e., I run clean-ups of "toxic waste". Currently managing sites with contaminants such as chlorinated solvents, PCBs, and depleted uranium (actually, one site has all of those). prior to that, I was in the US Navy, and parallel parked a 65,000 ton, 900' long battleship, and place 5" 70 pound projectiles on targets < 14 miles away, 16" 1,600 pound (or 2,700 pound for the armor piercing version) projectiles on targets > 25 miles away, or cruise missles on targets up to 1,200 miles away.

teacher may know how to spell "vouch" - listen up in English class, you never know what you might learn

Sounds familier - When I was at the Naval Academy, I started with a set of Celestion Ditton 110s, an Adcom GFA-1a, GFP-1 and GFT-1 (200 w/ch amp, pre-amp and tuner, respectively). I quickly blew the Celestions - they would have been good for an adult, not a midshipman that liked to rock. Went down to the mid-store (our version of the on-base exchange), and listened to the JBL L112s and the Bose 901s. Bought the L112s, which survived until a very loud and prolonged party in 1986. Then I bought the Fortes, and they have been a constant companion since then, adding another pair and an Academy this summer. Nothing like efficient speakers to make up for limited amplification...

you need an Academy - mine seems to go perfectly with Fortes. we seem to be heading towards somewhat of cloned set ups. I just moved my stuff into a new 14' x 15' HT room. still need to pull the cable for the TV, but my wife and daughter keep coming in and see me on the couch with the remote, just enjoying the sound.

Review: Cream Live at the Royal Albert Hall 22nd May 2005 Cream live at the Royal Albert Hall, London Friday May 6th 2005 Rarely does a rock concert come with such emotional baggage. Its been 37 years since the three men before me played together in this very venue, the Royal Albert Hall on November 26th 1968. But tonight, Eric Clapton, Jack Bruce and Ginger Baker have put over three decades of hate to one side for the last of four sold-out concerts as the worlds first supergroup return to London. A generation has passed, both for band and audience fans who may have seen them first time round in the sixties are now grandparents, pension claimers and senior citizens. They have this in common with their heroes on stage. Clapton, now 60 is the only one of the three who is still as good as he was, but one notices the absence of fire that was in his belly all those years ago. Effortlessly pulling out unbelievable solo, lick, riff after another, he wowed the audience with his distinctive tone and technique. Bruce, at 62 can still sing with as much venom and power as those thirty years his junior, and his bass playing was exceptional, despite having to warm his hands after each song to prevent the onslaught of lingering arthritis. I was most impressed however by Peter Ginger Baker arguably the greatest drummer of all time. At 65, and with severe osteo-arthritis in his back, he dazzled the audience with a fine display of experimental time keeping, signature fills and a 15 minute drum solo in which he mixed a variety of rudiments, grooves and skills, striking his toms with passion and incredible precision. Never before has a band of this size made the transition from musical pioneers, the cream of their respective instrumental fields to nostalgic gatekeepers, making a final farewell to their fans in such an enormous, sudden step. Their reward of course was a standing ovation after every number; testament to a group who had a knack for writing consistently popular material, the audience knew every word, and every intricacy of guitar playing that went with it. The on-stage musicianship was a much friendlier affair than speculation suggests no drumsticks were launched at Bruces head, and they seemed genuinely happy to be side by side. At the announcement of the shows in January, Baker said, At the reunion well play music together, but we dont have to talk to each other. I havent spoken to Jack for years. Cream split up in 1968 because I couldnt stand being in his presence. But the old adversaries grinned in each others direction as they opened with Im so glad. The second number, Spoonful of loving, featured Claptons first solo of the evening and set the tone for a performance packed with greatest hits, including Stormy Monday, Sitting on top of the world, White Room, and Politician, where Bruces vocal excellency was showcased to the highest extreme. The only disappointment of the night was the rather plodded rendition of Crossroads, which lacked the electrifying drama of the original, as featured on their 1967 Wheels of Fire album. The four shows at their favourite venue sold out within minutes, and despite a face value of £125, they were advertised on the internet for as much as £2000 a go. There were younger members present in the huge audience than I a nod perhaps toward the amazing influential aspects of Cream. Inevitably, at some times, Cream did sound like a band out of their era many of their lyrics belong in the golden age of flower power, but they also proved that there is no substitute for great musicianship. At a time when tabloids, magazines and media are criticising older musicians for continuing to record and tour, Clapton and co convinced me that there is a place today for yesterdays musicians all theyre doing is encouraging and influencing tomorrows superstars. Nobody can turn back the clock, and Cream, in truth, didnt really try. It was a great thrill to see one of my favourite bands who Id convinced myself Id never see live in concert and greater still that I should be there with my father an original Cream fan, our interpretations of the show were very much the same, attestation to the fact that three men, armed only with guitar, bass, two amps and a drumkit can still break through generation barriers with dazzling music. Ive been to hundreds of gigs, but this was absolutely the best. Remarkably, the chemistry is still there, and it was a pleasure to be a part of it. Review by: Adam Lewis http://www.skiddle.com/music/articles/review_cream_live_at_the_royal_albert_hall_220505.shtml

why not move them upstairs for your little girl, and dump those cheap-o KG .5s she has to "suffer" with? ;-)

Nice install. I take it the XT doesn't have the same integrated head unit as my Legacy GT, which seems to defy aftermarket options? 5MT or 5EAT transmission? I got the 5MT with STI shifter - great fun in the twisties. you may need to put some dampner in the doors to quell the rattles...

I'd think you'd be more in the AWD mode up their. I think I can take that Vette in a straight line or twisties - provided there is 3" of snow or more... ; - ) (I've got a 2005 Subaru Legacy GT wagon - only 0-60 in 5.3 sec, but great in all weather)

I put a 30' RCA cable through the walls in my new media room - no issue. I like the idea of the PVC conduit, but too late for me, as the room is now done. good luck

yee haw, got tickets to the Cream show coming up at Madison Square Garden. can't wait to see clapton, baker and bruce together again. anyone else going?

I've been running Fortes with a 200 wpc Adcom GFA-1A since '86, and pretty much play all rock (now that I'm older, there is some classical and jazz, too.) But flashing the occasional light on the adcom playing Led Zep "The Ocean" remains a nirvana option. I vote for Fortes, and a healthy amp.

the only one that jumps to mind quickly is Eddie Jobson, who played with Roxy Music in the early '70s. Wikipedia says Eddie "is a British keyboardist noted for his use of synthesizers. He has been a member of several progressive rock bands, including Curved Air, Roxy Music, U.K., and Jethro Tull. He was also part of Frank Zappa's band for the Zappa in New York recording. Eddie also gained notoriety for being an outstanding violinist as well." he played a lucite electic violin in concert - search for Roxy Music albums from 1970-1973.

I've had an Academy send up from MD to CT via UPS, and a pair of Fortes sent from WA to CT, all three speakers by UPS. the fortes were ~$45 each for x-country shipping. one was in the original box, the other had some creative packaging, as the box was missing. both came through just fine. proper packing and insurance to cover them, just in case.

$3.29/gal for 91 octane here in NW CT. and I use what the owner's manual suggests for my 2005 Subaru Legacy GT - cause more octane = more boost from the turbo. but now that gas is getting crazy, I'm driving like a granny to keep highway milage >27 mpg, so octane is getting irrelevant. no boost = no ping. back in 1986, I briefly owned a Shelby GT-500 with a 428CJ - besides only getting 13 mpg on highway, and ~8 around town, it wanted 101 octane, which was unavailable, except at the airport. So I'd put in a $8 can of octane booster in every tank. crazy. too bad I sold it to put a downpayment on my first house. in today's market, I could just about buy a whole house for what it would be worth.