Audible Nectar

Yeah but if you're gonna get spendy, then you might as well drive the Heritage the way they are meant to be driven - with vacuum tubes[H] Solid State can provide respectable cost effective solutions, but when the budget allows, tubes will be recommended.

When it comes to picture performance for the $$$, nothing beats the Panasonic plasmas, especially if plasma (IOW not too much outside room lighting) is right for you. When I recently did the "two month resaerch project" to upgrade my setup to HD, I found that the Pannys were absolutely "bang for the buck" champion, especially the ST series machines. I ended up with a higher end Sony (needed the added "pop" of LED, especially in this room) but I suuuuuuure did look at the Pannys for a long time before purchasing.

I also recommend the Nak STASIS line of receivers to drive Heritage.....good solid state solution.

You don't need a degree in electrical engineering to embark on this project. The quoted $500+ on rebuild includes labor and parts, through people on forum who do these sort of restorations (such as forum member NOSValves as an example). That type of build will get those amps in full operating condition. Decware is a possibility, as are a host of vintage units suitable for rebuild (as well as some that pop up already restored in our garage sale area). Scott integrated amps are a good place to start ($600-1K area) as well - many here enjoy the vintage Scotts - as well as Fishers - very good units to drive a set of Cornwalls.

I own two fully restored pairs of MC30s. They regularly sell for over 2K in average (read somewhat oxidized) chassis condition on the 'bay and over 3K easily for clean pairs. They are high value vintage amplifiers - one of a select dozen or so vintage amps that are in that "all timer" category when rebuilt and tubed properly. That's a big deal, as rebuilds are $500-1200 depending on how detailed you want to go on parts, and tubes to make the best of them are rather expensive these days (Tele 12AX7s and the best outputs aren't cheap, although Russian winged C 6L6GCs are very serviceable). It is a bit of a project taking in a set of these vintage amplifiers, because they need to be rebuilt and tubed properly to get that storied performance. MC30s excel on the big Heritage (Cornwall/LaScala/Belle/Klipschorn)....it's all about that wonderful midrange, the tube rectifiers keep it oh so sweet, a bit of that SET character with the power of push-pull. Not a "thumping tight" bass, but a full, rounded bass that does well for most music that doesn't get too 'violent' down low (like hard rock/electronic/club type stuff). GREAT for jazz and natural instruments as well as a host of older recordings and vinyl that now have spooky real midrange life. And these vintage Mac amps really deliver with one of the matching tube preamps of the era properly restored, like C11, C20, C22, or MX110. If you are into analog, MC30s are reeeeeealy good for that. Yes, many do use them in biamp setups, allowing the mids and top of the MC30s to shine while allowing a solid state or more stout amp to run bass. This often involves electronic crossovers in front of the amplifiers, which some with advanced setups (like modified Heritage or Jubilees) might employ. MC30s are a great option here too. They aren't for everybody - especially given that they are no bargain an are of a "collectible" status, but can be a great choice depending on the application. There are a number of other vintage as well as modern setups that can also deliver great tube sound depending on what sonic and use preferences you have, but MC30s for analog use on Cornwalls has serious sonic possibilities.

This statement or "overview of opinions" is incorrect. That is a common trap the audiophile world falls into - "Klipsch are for (X Type) music". I find that nothing could be further from the truth. People who sample/try Klipsch fall into a number of "traps". They fail to understand the nature of the tools they are using - and yes, these speakers are "tools". If one does not understand how to use them, then it is very likely that the results will be less than extraoardinary. These "traps" can be things such as room, equipment used to drive them (and this is important too, as horns are "audio magnifiers" that magnify EVERYTHING, including the distortions), and quality of source materials on playback. I used to think that Klipsch were strong in the rock and roll realm, but had no idea how good they could be with all kinds of music until I heard them set up properly. Now there's no accounting for taste - yes it is reasonable and expected that many will opt for other speaker choices. But I cannot tell you the sheer volume of people who throw out the idea of Klipsch because of an ill presented demo or a preconcieved notiuon that horns have to be harsh. They don't have to be. Particularly with Heritage - Cornwall, LaScala, Belle, and Klipschorn - they are not only proper for all kinds of music, they are also nearly infinitely tweakable. A host of modifications exist - horns, crossovers, and other tweaks that address some specific issues and/or preferences. So even for the picky, picky audio freak there are a number of solutions to acheive your version of audio bliss. ANYTHING IS POSSIBLE here.

It doesn't matter what kind of music you listen to. The most serious of our enthusiasts here listen to every kind of music under the sun, and Klipsch delivers.

There's definitely a lot to be said for amp/speaker synergy. In many cases the "finish" can be different with different amp brands and types. Also, there can be synergy benefits and drawbacks with the combo of preamp and amp, too. I would consider some experimentation with other amps, if you are curious. I would stay with USED for now - you'll find a lot of good bargains and can experiment without losing much if you sell off a couple amps that aren't your cup of tea. Two channel amps - even good ones in used condition - can be found at a value. Think brands like B&K, McIntosh, Harman/Kardon....if amps are something that will make a difference to you sonically, one of these should clue you in if that's something that will matter to you sonically. You have to try and see what your ears think.

Seti - In today's American Corporate Universe, 4 years is too long of a time to look forward. It's all about the QUARTER. THREE MONTHS. Short term profit and loss, baybee....that's all that counts anymore.

Lost our minds feeding them a proper diet, too[H]

I will answer "Whatever movie or video you prefer to experience", because it will look and sound better here than in about 99% of other systems. I think what I most enjoy, though, is not the typical "most modern, highly produced" new releases. Of COURSE those will be good! It's the old titles that I can now watch in 1.78:1 that's absolutely wonderful. I found a $4 DVD copy of "The Longest Yard" (original, 2006 reissue) that when run through the Oppo looks outstanding on the big Sony. I get a bigger kick out of stuff like this, especially since there's a treasure trove of similar titles out there. Paying attention to video scaling issues does make a difference!

I must admit we are a bit "lucky" with regards to our BB calibrator. We do have a "good one" here. In fact, I would say that he is the most knowledgeable person at his job as I have ever met with that company. I'm not oft impressed with BB personnel but this was an exception. He went through that entire set with me, pointing out features to use, and ones to avoid as well (like the auto light sensor). I took the trouble to meet our BB guy before I bought the service. After about five minutes I was pretty convinced I was going to be OK. I did extensive reading on AVS from their in house calibrators to know what to look for and what results to expect. I have printouts showing all settings as well as graphs displaying results. He also ran test discs through my Oppo once done to verify those results through the player as well (to which he said the Oppo was very impressive). He proved results here, which is considerably better than some reports I have read regarding that service. The calibrators on AVS typically get about $350 to do a set, and I was prepared to have one do mine on a "travel basis" (some of them do this) if that is what it took to get results. Fortunately I didn't have to. I was one who thought calibration wasn't a big deal until I saw what properly calibrated sets look like - then I changed my tune. It is definitely worth it to find a good calibrator if you have a set of any considerable expense....wherever you can find one.

This is true, however, the positive attributes of the Klipschorn and other Heritage brethren is as close as is available to the real thing for the $$$. And once I tweaked all upstream gear - tubes-caps-room, the performance from my Heritage is the most concert like experience I have had.....well, since my last concert[H]

Agreed. Big fan of the Chorus II, as it has the open natured midrange of the Cornwall with the balance of the Forte.

JBL 300 Summit is probably the closest to the Cornwall in terms of size. The JBL dirvers are of very high quality - the LE85 mids and 077 tweeters are considerably more expensive than the Klipsch counterparts. They are quite good..... However, an L300 pair will cost more on the used market than Cornwalls, clean pairs when found go for more than 2K. You might also look into the L200, which is a two way version. I love the vintage JBL, but own Klipsch as they are soooo much better of a deal and give me the performance I want. If I had won the Mega Millions the other night I would be buying up Paragons, C50 and C60 Sovereign and Olympus cabinets and all kinds of other goodies, because that old JBL is THE STUFF. But since I have an income closer to the "American Mean", I choose Heritage Klipsch because no one got so much out of the chosen equipment as PWK - and you'll look 'til you're dead trying to beat that VALUE.

WHOA. Anything with that type of density gets a double-look. Are you sure that thing didn't come by way of the Pentagon?

If your Best Buy has a calibrator that is sharp at his craft it is very well worth it for calibration. That procedure brought visually noticeable results here. Many sets have internal adjustments only accessible by authorized service personnel and those adjustments can make a difference between good and "right on the money". Fleshtones just aren't proper without this..... Another point is that if you bought extended warranty on the TV at BB, that together with calibration service allows for RECALIBRATION if your set ever needs service that would require that procedure to be done again.

I would run all Heritage for the system, whether 2 or 5 channel use. I run five Cornwalls in my 5.1 HT. I have the rears on short coffee tables and crossfiring which places the rear sound field at an ideal level. The center one is on it's side, which serves as TV stand for the 55" panel. I also have a two twin 15" JBL bass reinforcement cabs I'll just say it. It is AWESOME. Before completing the setup I had an Academy center with Chorus as rears, and it was quite good - but since the speakers are slightly different in build the timbre matching wasn't exact - but it was close. If I had to use that speaker set it still would be a really good system. Once I installed all identical Cornwalls, though, the audio became so perfectly seamless as to drop the jaw.....TOTALLY "locked in". Best scenario: All Cornwalls Next Best: Three Cornwalls across front with Forte rears Third: Two Corns mains, Heresy center (and I would go with the III version if the Corns are IIIs) and Forte rears. All can be very good systems. Look here: http://community.klipsch.com/forums/p/154457/1656247.aspx#1656247

Wow.....I might actually be able to make it this year. Consider yourselves warned......[H]

You're OK in any case. I responded in the other thread for ya....

Craig's approach isn't so much about obtaining the "most expensive boutique caps"- although he can get them if you want them - he's more about getting the right cap for the job at reasonable prices. Craig not only does thorough work, but he is a LaScala owner as well - which means that his rebuilds always sound great on revealing horn systems. His speaker systems are as demanding as yours, which requires GOOD builds that are distortion free. It's not that Craig gets caps "made to spec" - any competent technician can order caps with the right electrical properties. It's about getting the right caps for SONICS, which Craig has become very good at over the years. If I am doing a toe to toe rebuild on a piece of tube gear, Craig gets it. I could certainly see having a local tech address an issue or two for convenience. Depending on the "depth of rebuild" your tuner requires may depend on which way you go here. If it needs a thorough rebuild, for example a unit that was recently acquired that you plan to keep for the long haul, I have Craig do a complete inspection and rebuild as completely as necessary for long term use. Craig is pretty open and honest about what these units need - he is very much "the anti-snake-oil" approach - no nonsense, will sell you what you need without "padding" unnecessary expenses or add ons. If it is typical for the vintage tuner in question to need only a part or two with alignment, you might do it locally - but if that tuner typically needs a fuller "re-work" - like most unserviced vintage amps do - then send it to Craig. You can ask Craig about this and trust what he tells you. Yes, he wants business but doesn't BS people to get it.

: reads thread - drops donut in coffee : Count me in as one who didn't know. I haven't seen Dean in a number of years, but I do "see" a bit of him every day - standing behind that beeeeuuuutiful pair of walnut Cornwalls, which have permanent residence as the two main channels of my HT. I NEVER forget how I got here/where I come from, and Dean will forever have my gratitude for what he has done for us here. I do know this: Dean has the "upper hand" here because he is of strong will. If anyone can beat this - he can. And know this, Dean - that our prayers, love and support are with you and your family.

I agree with this. If it isn't truly live, don't call it "live".

Kubrick was painstakingly obsessed with getting the shots just exactly perfect. He would shoot a supposedly simple character entrance to a room dozens of times, looking for "the one" that would look exactly as he wanted it. I read someplace that Eyes Wide Shut took 400 days to shoot. Not to make - but the actual shooting of the film. Dude was obsessed. I wish more directors were similarly obsessed.

Fat Freddy was quite a character. If one were to assume he was into vacuum tubes (he wasn't, but let's assume) then you can figure out this classic quote: "(Tubes) will get you through times of no money better than money will get you through times of no (tubes)." [H]