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Audible Nectar

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Everything posted by Audible Nectar

  1. Well, I ended up purchasing two Tripp-Lite Isobar units for the comp÷digital/low draw end of things and a pair of Zero-Surge for the audio component end of my systems. These boxes are just the type of build I was looking for and appreciate, even the value-priced Tripp Lites being well worth the $$ for the build, and the Zero-Surge being lifetime-industrial grade and thus very solid pieces. It's been 15+ years since updating this sort of stuff from the old system build so I thought it good to do an overhaul, and even finding these at a value as the base Zero-Surge sale prices ended up being the totality of the bill and sent on a 10 day build to order basis. Appreciate the help, the build should resume this week....getting close now 🙂
  2. Whoever makes the effort to get these won't regret it. Oh, and as good of a rep as the VRD amp has, the pre is even better (and rare taboot). Does this have a phono stage in it, and if so Moving Mag or coil - or is it line stage only?
  3. Yeah, I guess I could do that but given the DIY I've done with this system build (right down to my own wire with terminus as well as speaker internal connections) I figured I could just buy one off the shelf. Just might end up going that route....
  4. Well, I did "both" - the Zero Surge for audio system use, and the Tripp-Lite for the computer/office end. I'm still looking for a unit like this - I want one "four way" with a heavy gauge cord. Thought finding one with just a four outlet box like this would be easy to find but I guess not. Am I just looking in the wrong place - figured this would be automatic at home improvement stored but I guess I'm wrong......
  5. Just finishing the upgrades and starting install of my Cornwall Theater, where the old school Cornwall II will stand at Center. All of these speakers have been redrivered and new crossovers built: Crites 1526 woofers. John Allen A55G midrange drivers, SMAHL lens tweeters, and MultiCap RTX goodness (in a B2 configuration) in the crossovers. They sound what I would expect a new pair of upper-four-figured speakers should sound like, which is to say that they make quite the impression, and are so much more than a "simply rebuilt pair of Cornwalls". I have this feeling like "I really outdid myself here" but there's definitely merit to reworking these.
  6. I did this to a pair of Belle Klipsch with very good results. Fixed a bit of that "lower midrange suckout" and was a nice improvement to the system without changing the essence of what that speaker is.
  7. I was simply responding to veloceste's question. nothing more or less.
  8. Yes. Tube systems take about 2 hours until they reach full operating temp ad the images present themselves as they are capable and should. I've not measured it. Is there a measurement instrument designed to assess/convey how well a speaker images??
  9. Teflon capacitors have a break-in period - a rather lengthy one too, and it's not subtle. Some of the early versions (see Cardas Golden Ratios, holy smokes) have such a lengthy time on break-in that manufacturers and sellers started burning those types in at voltage before sending them out (like V-Cap does now), because in some instances they were never run in long enough to know what they sounded like. Who the ---- is gonna run a piece of gear for over 1000 hours to finally evaluate the damned thing? I've done several gears with teflons and they are the craziest things I have ever seen in this business. I am convinced the Cardas caps "failed" in the market because nobody waited long enough to hear how good they were. This is plainly evident in reviews. Mind you I have played with a bunch of these, and when I can nod along with cap comments over and over on a review, knowing full well what the reviewer is talking about, well, let's say I've heard some caps 🙂 I just completed the setup on a NOSValves NBS preamp with a set of Cardas Golden Ratios from NOS stock - I logged 1500 hours on that preamp before they "bloomed". No ---- I had replacement caps all lined up because I gave up on them - literally thought I had something wrong with the unit potentially, and in a final power on and series of checks before I boxed the thing up - they finally bloomed, and as stated previously, it's NOT subtle. I think the teflon cap "takes the prize" when it comes to legitimate break-in characteristic. It's like a "gestation period". Nothing like those in this biz whatsoever. They're almost maddening, but worth the wait 🙂 Everything else in the realm of electronics had much more subtle aspects to this. In areas where I have done this repeatedly (see the wholesale replacement of the drivers on all of my Heritage to MAHL/A55G/Eminence MFG equivalents as an example). I got the opportunity to really "play" with this aspect of new drivers, as with each pair reconstructed I was able to evaluate those speakers over a 30-50 hour period - over and over again, though each of the four builds. On each, it was clearly identifiable how the imaging would "lock in" over that first 20ish hours or so. Not too much "change" in as much the perceptible frequency response, but the image would start to really show up about 20ish hours in, when we discover what a difference those tweeters really make. The speakers got "taller". To a lesser degree I do see this in newly built components, like power amplifiers, where I don't really judge the amp until it starts to show more of that "flow" that the break-in imparts. It's very subtle and I've yet to meet an amp (absent teflon, of course) that "changed the game" from that process. There is a change over a couple hundred hours though..... Being one who DOES respect the break-in process, I can pretty much say in most instances that you're not likely to see huge changes that warrant a return of new gear vs. not. Like a new mattress I would always have the client fidget with the system for 30 days, so we can find out as much as we can about how well (or not) things are working. Most who do this haven't had the repeated over and overs with similar gears like I have (I've broken in THREE VRD sets from new, four Heritage speaker rebuilds just recently with same parts over and over) as well as MC30's rebuilt over and over and over, so I've got lots of practice and repeated looks at this. It IS a real thing but in all but the case of teflon, and maybe those Duelands and similar "esoteric" it's not likely to be enough of a game changer to go "hey, that break in made these a keeper". The only component I can definitively say that applied was with the teflon capacitors in audio path/coupling positions, with that exception the concept is really pretty much over estimated in it's importance. I would tell anyone with new gears to use/keep/run it for a while and see what you can learn, even if initial impressions aren't great. You're likely to get better benefit on a set of new Cornwalls by trying a few varying positions along the walls, or angles, etc that the break in will ever be, especially once you pass 20+ hours or so.
  10. I have always been told to plug amplifiers into the wall directly, whereas the other, lower current draw and digital-gear would do well on one of these type of units. I have a Panamax I use for that sort of gear on the HT but was asking in this case about "hard strips only" without anything else because it was my understanding that for amplifiers that's the best approach.. That said I'm all ears for the other options including protection but was told not to do this for power amps. I'll listen/read more opinions here....
  11. Where's a good place to look/source some rock solid power strips? Let's say a six-ish strip or block that's solid, no "circuit breaker/conditioner", in other words the kind that you would hook up an amplifier to (where you want nothing limiting the current pull from the receptacle). Looking to "multiply"/extend a couple of outlets that would make my two audio installs go easier. All I see in most places are cheap plastic stuff or "surge protectors" mounted into super cheap hardware, looking for "outlet strip" that will serve rock solid electrical purposes with no bells/whistles or "snake oil". Ideas??
  12. I guess that means I probably shouldn't post about how it took two years getting those coupling caps right in my NBS. I literally spent 1500 hours getting the current teflon formulations to open up so I could hear what they really sound like.....almost gave up on the damn things.......now I know why V-Cap runs juice on those before sending them out..... And that's no BS.
  13. There are a number of Klipsch forum members who can attest to the lengths I will go through to avoid stuff like this. College Station TX was a helluvalong way from here, LOL.
  14. I was wondering if my Quentin Tarantino foot joke triggered something in someone.
  15. Agree with this. I double-dynamatted my new Cornwall midrange horn rebuilds and am rather surprised at the results. I did the same to my new stamped metal woofers to even more good results.
  16. I sense a strident tone here. My comments aren't about disparaging or even insinuating that your rec isn't good. The point I like to make with these older gears is there are a BUNCH of "ways" to look at having a unit like this serviced, and "which angles" are available to the owner are more numerous than most realize (which is why people come here to ask questions). It's not meant to be an "gotta be this or that", but a springboard from which the owner can ask questions about the overall approaches of the techs they are considering to do the work. It's much like a discussion around a classic automobile. There's a number of variables, right down to the upholstery. As one who has "walked the walk" like this with a myriad of vintage gears, asking questions gets you answers, and if you're considering shipping your prize across the country or region to have that unit serviced you will want to do the best possible to "shoot straight and true" with the first choice. I know what it is to "choose poorly" for the job and have to pay to do it again, too, although I'm not sensing that's so much an issue here. Interesting thing was the "poorly chosen tech" in my case was one of the most renowned people around that gear, but it was the wrong approach for what I was really needing to have done. That guy doesn't do "rebuilds" and that's what my gear needed. Some of us have had "year-long-sagas" right here on this forum with these sort of projects. It's how I learned who and what to ask. And in many cases, the "one not chosen" still can be a really good option for a lot of work - many of us here have built a good network of service people just through interacting in places like these. I would say that whoever ends up candidates that the OP should talk with ALL of them and find out what they have to say. The techs are usually more than willing to serve up opinions on this stuff, and as one who was in the market for this type of work am all ears and want to hear all of the opinion and thoughts I can get out of them. I will always suggest that people seeking these services do the same. I will say that on a 20 year old amp I want to talk to the "experience in the room" to ascertain if parts not yet failed in that unit are "due" that have not yet failed. If so, that's more of a "rebuild" situation where parts that have a habit of failing/wearing/drifting out of spec are replaced while the other fix it surgery is done. It' doesn't have to be "one good the other bad", in fact I've had to choose between some pretty good people in this biz and felt bad I couldn't choose both. That happens too, but it's all in service of finding the the RIGHT solution. I know the internet tends to imply the opposite, which is why I make a point of responding here.
  17. If I'm a lifer "Cinema Grand" guy I consider taking it to the specialist who has the most experience and can get the most out of the piece. In five years when you are still listening to that amp (people who own them seem to really like them), you won't think much that it took six months instead of three or four to get that done. I looked into buying a Cinema Grand amp for my home theater (ultimately went with McIntosh) but had I bought the Cinema Grand it was probably going to Flannery's for the fullest updates that guy had available. For an amp like that, I go to 'The Go-To". Especially if you like it and want to keep it another 20 years. What's another few months?? Not to mention that five channel HT amps are a dime a dozen out there and a "spare" can usually be found such that you use it, get your Sunfire back then sell it, or just keep it as a "just in case", especially if you bought it just to be a backup and got a good price on it, etc. People seem to talk about these as one of those amps that's a "cut above" and deserving of the total service/rebuild/etc to keep the operational for another couple decades. If this is you and your "angle" you might think further about who you want to do this for the "long haul". That's the sort of scenario where I ask the repairer/restorer for not just a "fix" but a total inspection/internal parts restoration to make that piece the best it can be, or at least discuss that concept, rather than just "fixing stuff as it fails" which can end up a repetitive process repeating visits to the tech. This is how I approach a lot of vintage gear - I don't just want it "fixed" for what's failing I want it ELECTRICALLY RESTORED and that's an angle worth pursuing for the "lifer" owner who really likes the piece. But that said, inquire of any tech about these issues/approaches and learn what your on-hand options really are. Every tech has "their way" of doing this and those points can be of consequence where a 20+ year old amp or other electronics may be concerned.
  18. I agree with the point on female vocals. Women have done more to influence my gear, cap, and tube choices/rolls than they will ever know. If the equipment fails this test there's gonna be other problems too. "Rumors" in in my "30 stack" - the stack of discs I use to make basic assessments as to what is happening in my systems, especially the 2 channel.
  19. How about waiting to announce the fact that the Jubes would be there until the Thursday before the show? If you want to drum up interest/buzz on an upcoming product it seems a bit of a "miss" to wait until the Thursday ahead of the show to announce that fact. Maybe there would have been more buzz if people were given some time/announce to make sure they could be there....and that begins HERE. You can do the "announce show tomorrow" thing if you're Metallica playing the Double Door but when marketing a 35K pair of speakers a bit more lead time would have been better......even if it IS Klipsch.
  20. If Mark Deneen took on Randism my name is Tom Brady. That's "Naseum" 🙂 I liked the guy and didn't have any issue with him. Like his Peach preamp too. He also had a habit of getting under the skin of the right people, and had a moral center very few I ever knew had. One of my favorite people here, despite the "exit strategy", proof that "breaking up really is hard to do".
  21. I spent two years trying to figure out if I should, and how I should brace my three Cornwall pairs ('68, '74, '76). The '68 and '74s are super solid cabs in the original state, and I arrived at the conclusion that it was better just left alone as opposed to getting it wrong and just moving the "sonic anomaly" somewhere else on the spectrum. The 76 decorator cabs make the best case for bracing, but as they are surround speakers, and boast some of the most beautiful woodgrain faces you'll ever see on a speaker, I decided to leave those alone as well. I got tons of sonic mileage double dynamatting the horns and woofer baskets, actually did A/B tests here and it's pretty clear. I could do these by way of taking my time to get that right. In the case of bracing I didn't trust my ability to get them in there properly, such that I didn't damage the cabs or fail to lock the braces in solid enough to end up "Pillsbury doughboying" the the situation by just moving the problem somewhere else, and risk cosmetic or worse damage to the 50+ year old cabs. I spent just over 2K per Cornwall pair in network and total parts replacement and the results don't have me regretting the "non brace" one bit. We had our own little "Axpona" over here and blew a few minds this weekend. Soiled underwear are back in fashion again. The only braces we needed were the ones protecting the listeners' jaw from hitting the floor. And these are people who own Heritage speakers, and know them pretty well. So - If you don't feel comfortable modding those braces in - that's OK. And if you can't afford the extra 4K for Cornwall IV (bracing problem solved) it's not the HUGE deal people want to tell you it is, especially in '75 and prior Cornwall cabs. It IS an improvement in that specific area if done right (that's a big if). I notice this on Belle Klipsch and OG LaScala more than I do the Corns, but in the end I decided it was not worth the expense to attempt to solve that vs other improvements I could do on my own or in the case of networks just hire it done. Later cabs might differ but those "sweet spot" late 60's/early 70s cabs are pretty solid, especially the Cornwalls. I expect that if I did this with some of the 80's versions I might get differing results too.
  22. This stuff happens. Had a u-terminal come disconnected from the speaker wire one time and learned a bit about the idea of "tension over time". A simple bump or just the fact that one day the tension on a wire was the proverbial "last straw" the problem surfaces and is corrected by a cursory inspection of the equipment.
  23. Ahhhhh, everything old is new again. To the tune of Star Wars Theme..... "Spec wars, let's have more spec wars, nothing but spec wars, dah dah ta da......" As I used to hear said in audio rooms across the landscape while sales guys and audiophiles alike would shake the manual and say "CAN YOU HEAR THEM SPECS?????" Not to mention that as illustrated above the KIND of distortion and where it rests along the chain is a HUGE deal. I've got tube amps run a half a percent THD in a lot of instances but the listener would never know it, especially when fed by teflon capped upstream signal that is supremely high bandwidth, ever exacting in its details and delicacy, yet a little THD in the final output stage vs a competitor amp with "better specs" isn't the point or necessarily indicative of a better result. Stuff like TIM and other problems are a much larger issue but oft get overlooked as does the topic of "tonality" which is really hard to measure, at least to the extent that we haven't come up with one yet, akin to "degrees Kelvin" that we use for lighting. My head imagines a similar infinite palette of choices/degrees if we had such a system/"spec" to measure that. I'll recall our dearly departed brother Dave Mallette who stated "If it sounds good, it IS good!" and while the stuff beneath the hood and attention to detail does matter it's not always in the way that you think.
  24. Good. Then I don't have to hit myself in the head with a frying pan for missing the memo. OTOH we might have made special arrangements knowing. That all said, is there any applicable scheduling aside from the show schedule itself (for those of us who would have to drive three hours then back then still work a shift at said job)?
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