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Everything posted by Audible Nectar
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Klipsch (particularly the Heritage) are absolutely a "window" to the high end. As previously discussed, they are built on sound scientific principles by a man who is a true pioneer in this business.....a GIANT, in fact - a "Mt Rushmore" of audio would have Paul's face chiseled on the rock. The people of this forum are priviledged to be let in on a secret: Used Klipsch Heritage are THE BEST speaker deal ON THE PLANET. In an era when, as Howard Beale would say, "A dollar buys a nickel's worth", a nickel buys a dollar's worth when you spend those dollars on used Heritage. And on new Heritage, those dollars still buy more than a dollar's worth, and are a slice of what real craftsmanship is. Most everything else I have seen in this business is a "workaround": make it smaller, make it look subjectively better, and throw truckloads of $$$ at it in an attempt to get back to many of the already achieved results of the PWK designs. Even Klipsch has gotten ahead of it's competition by making some of these "alternatives" - and mostly for modest cost too, so Klipsch even succeeds at beating other manufacturer's "workarounds". The only "higher end" that really appeals to me in this business are the use of higher quality drivers in similar applications. If I were independently wealthy, I would be rounding up JBL Sovereign C60 with S8R package and or Paragon, as well as investigating the best of Klipsch horn loaded approaches, such as Jubilee and/or custom rebuilds of KHorn/Belle Klipsch. LOTS of AlNiCo[H] So for your car analogy: With a Klipschorn, you have at least a Vette, and with a bit of alteration maybe even better, and that's value and justification that even Acura cannot match. And you'll have it FOR LIFE. And for a working class guy like me, it's hog heaven[8-|]
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I'm not sure whether I should feel fortunate that I just finished dinner, or whether it is unfortunate because I feel like vomiting. But I must admit - it's funny as hell. Top Notch - even by your standards[]
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I'm curious too. I have yet to make a Klipsch gathering going on 10 years here, and am keeping an eye open for announcements. I'm already starting to get summer tour rumors regarding my favorite touring bands and am hoping to fit Klipsch into the schedule.....assuming there is an Indy gathering this year.
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Which camp are you in ??? And why are you there ???
Audible Nectar replied to joessportster's topic in 2-Channel Home Audio
"I still think the best tube coming out of the Chinese factory is the Penta KT-88SC. In fact I prefer it to any other currently produced KT-88 or 6550 on earth." Agreed. Love these so much I got a stash of 30 all matched up. I like the older VA KT100 too (basically a stout KT88), but the Pentas are very good....enough so that I don't look for NOS anymore (just too cost prohibitive). -
Which camp are you in ??? And why are you there ???
Audible Nectar replied to joessportster's topic in 2-Channel Home Audio
What SET amps have you owned in the past? I haven't owned any SET amps - but I did listen to several SET setups during my "investigative" period when I began checking out tube systems. I was continually told two things during my numerous "one-on-one" meetings and discussions with various forum members: Klipsch LOVE tubes - and Klipsch like smaller wattage amplifiers that are in a "sonic sweet spot" at power levels below one watt. So naturally I made it a point to look at single ended gears (2A3 and 300B). There's a LOT to like in single ended gear, and these setups were SWEET with acoustic material and modest volume. I just could not live with the wattage limitations of a 2A3, for example....I listen to too much rock and other amplified music to be happy with a three watt system. If my primary music selections were made up of acoustic jazz, choir/vocal, or chamber music and not much else, I would probably have an SET system. I came REALLY close to going 300B....but then I ventured into the MC30 projects and left the 300B to the side in case my MC30 projects didn't pan out as planned. The Sonicap Platinum loaded MC30s (once fully broken in and tweaked) kept me from worrying about 300B - I got the sound I was looking for here and didn't push any further. That said, I would NEVER tell people that SET isn't worth investigating. I would recommend that anyone interested in Klipsch/tubes do so, if for no other reason than to try all of the valid possibilities. For some listeners with the right listening habits they can be a great choice (and if you can do two systems it's a VERY nice option). For ME, a SET system would be a "fifteen percent" solution where the other systems would get used 85% of the time. So for MY habits, not the most practical choice. If I ever get bored and just want to play around with an alternate rig, single ended would be where I would go. I find the high powered triodes particularly alluring - 300B as well as 845 or 211 would be VERY fun to play with, and I'm sure I could have fun rolling various smaller wattage outputs too. So I don't discount the potential of single ended....it's just that most solutions in this realm aren't as practical for MY use. I also am well aware that a single ended amp would be very useful in a biamp solution, but that's a deeper rabbit hole that I have elected to not persue. -
Which camp are you in ??? And why are you there ???
Audible Nectar replied to joessportster's topic in 2-Channel Home Audio
I am in the push-pull tube amp camp. My Peach/VRD system is a kit that I could be very happy with in most every respect....it does just about everything well - accurate, authoritative, and clear. But the tonal qualities of my MX110/MC30 kit are a different amimal from the Peach/VRD setup....as good of midrange I could ever hope for, and a "saturation"/fullness that is very special. In many respects, the MC30s are "my SET"....the mids I like yet with the testicles that SET cannot provide. SUPER for vinyl and some of those older recordings that need a little life....as well as a great system for much program material I would play on a SET amp if I had one: jazz, acoustic, instumental. Top flight caps and tubes in the builds serve to remove those last vestiges of inner haze/wooliness that push-pull might otherwise impart. Some of these teflon formulated caps are pure genius, and have taken my gears to a level I never expected. ESPECIALLY with my MC30s....the Sonicap Platinums in these amps just get out of the way, and reveal the beauty of that classic circuit. Nothing against SET for those who do like them....within their capabilities SET can be very enjoyable and worthwhile. Given the success I have had with these two setups I have no reason to go SET. For many, the journey IS the hobby. For ME, the journey is enjoyable, but the results and satisfaction of having systems I am truly happy with is what it is all about. Reaching the point where I just turn on the systems and listen - without stressing over whether those microdetails and finishing touches are right - is where I want to be. And it's pretty much where I am. Save for my Thorens TD124, I have analyzed and addressed the issues with my systems, and bask in the satisfaction of finally having the systems and sound I want. And that feels pretty good[8-|] -
I have found very good success with Cornwalls for lots of the festival bands - but for Grateful Dead in particular. The Phil/Mickey combo sound very "right" on the Cornwalls - the bass response seems very well balanced and true to thier sound....a very natural fit. Cornwalls are worth keeping for GD alone. I can't go jubs or MCMs...and for my space just complete overkill. Cornwalls and Belles are PLENTY for my spaces (and about as big as I can realistically go), but in the right room I'll bet the MCMs could do some justice to live recordings...... Both ATL Phish shows this summer were juicy!! And yes....LOTS of genres get spun into the jamband scene, which is why I have stayed so attached to it. You have rock, blues, jazz, prog, bluegrass, techno/"untz"/DJ....and all sorts of shades in between and various mixtures that almost any fetish gets "fed".
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Audible,I like the idea of including a symphony experience. Based on experiences here in MD, I suggest you might get the most out of a concert in the CSym Orch's hall (dunno the name of it) in up-close-and-personal seats just over the side of the stage. (......) As I say, I like the side terrace view and sonics, at least at Strathmore in Bethesda, MD. Larry I do take in a local symphony on occasion, as well as jazz etc....ANYTHING totally acoustic. I see it as "eating my wheaties" in a manner of speaking....just to keep a grasp on what real instruments and voice sound like. One thing I have learned from this place is to hear what real intruments sound like in various environments as a regular habit. This is key in assessing how well MY systems convey music, because I'm not simply satisfied when the live Phish sounds good - the orchestras and the jazz combos must be just as good. I must say that I never became a classical addict in any real sense. I DO appreciate it, though....I was a high school trombonist and choir member that never finished below runner up in State contest. I also took note of your forum gathering, where I recall you saw a performance of "The Planets" IIRC - a work I remember and love from hearing it years ago. Some version of "The Planets" will end up in my collection soon enough. I haven't had much luck with attaching forum happenings with my other music travels, because that seems the only way I can make forum gatherings. I was looking to "attach" something else to that symphony gathering of yours and didn't quite take the leap (I am in Illinois). I have never made a Klipsch company gathering either, because I am always seeing music in the summertime - and have yet to be able to make Indy fit into the travel schedule. I've tried and something in the summer schedule always messes up the Klipsch weekend, because I can only take so much time off. And so it was with your gatherings....sure looked interesting but just not doable at the time. But those classical threads and gatherings you posted about did stick here.......might go back and re-read some of those over the weekend... Oh, and that theater looks AWESOME.
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I'm not sure that the 645 would help you much in that situation. It IS a respectable solid state 2 channel solution - the old H/K amps are good sonic "matches" with Klipsch. But I'm not sure how you would use it in your kit. It's likely not worth hooking and unhooking the connections to flex between 2 channel and HT use. Might be a good backup as a second amp/preamp, maybe to have around if your regular unit needs service.
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The venue is half the show, and I've traveled to many places to see music because of the venue. In the rock realm, I am fortunate to follow bands who make sound quality a priority. Many fans of the bands I follow see the soundman as "the sixth member" (or whatever bands plus one quantity applies), and look to play specific venues that are most appropriate for sound. Colorado's String Cheese Incident was certainly such an act, and especially prevalent by 2000; by such time the band had become successful enough to spend money on some seriously good sounding rigs and equipment. They made it a priority and it was a contributing factor in thier success. They would play acoustically perfect venues like the Auditorium Theater in Chicago, where the 17th row center offered sonics rivaled by any high quality, well set up 2 channel setting. All of the instrumentation of the band - the mandolins (acoustic and electric), fiddles, electric and acoustic guitars, the array of keyboards, and the force of the Dr Teeth style drummer were displayed with the image, clarity, layering, balance, and tonality of a live studio session. Jon-O'Leary could display a sonic palate few live rock acts could match; oft seen as a godlike figure amongst fans of the band. He was that good. I tend to want to be in some proximity to the sound mix position, if it sounds good at the mix (and a good mixer will do this) it sounds good to me generally with most bands I frequent. If the mixer is bad, odds are I won't be seeing too many future performances. The really large spaces are not the sonic experiences usually desired....especially the larger arenas and stadiums these days. The aftorementioned Boardwalk Hall in Atlantic City was a nice "in-between" for an arena setting. Given the older architecture, it was free of kuxury spaces, like skyboxes and such, and therefore held the 17K in a rather intimate space compared to many similar facilities. It seemed no larger than the old Chicago Stadium, which when compared to the United Center which replaced it could hold FOUR Chicago Stadiums in it's footprint. The UC holds 4000ish more people but takes four times the space. The UC sounds HORRIBLE in most places. Boardwalk Hall actually had a number of areas that sounded quite good for a show of that size and scope. And given the band did a three night run, the sound was as on as it could be by the start of night two. Many bands I listen to offer live releases from the soundboard of performances. This is often where the music comes directly home, the Klipsch conveying the dynamics and energy of the live performance. If it is mixed well the soundboards are very enjoyable to listen to. And in a good acoustic venue with live recording permitted, some audience recordings done with top flight microphones can convey an even better listening experience. When you start comparing multiple sources of the same show you know you're a freak. Of course I am well aware of the unamplified performances too - a symphony, jazz band, or other natural instrument or live voice. But yet as I love many (if not most that I see) live shows that happen to be amplified through PA systems, that doesn't stop me from seeking the best sonics possible. One thing I will vouch for: I won't necessarily say that the bands I like are the best bands, because this is subjective, but I will say that the bands I listen to generally have better fidelity in house sound than the average touring bands. Sonics are absolutely a driving factor in my live music choices.
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"My ultimate live music experience for me is going to be ProgPower USA which has been held in Atlanta, GA for the past 10 years. This is a 4-day festival (starting out with a very intimate "Midweek Mayham" on Wednesday night, and concluding with the final headliner of the main event Saturday night/Sunday morning). This is a much more intimite affair than even those Phish concerts, as we are talking at most, maybe 1,700 attendies. For the past two festivals and the one upcoming, I am have also now been an actual sponsor of the festival. That entails actually sponsoring one of the bands that plays there. This is an incredible experience for me, as that also means I get full VIP access to the show, not to mention getting to hang out with the bands back-stage and what not. Not only that, this festival is often the only place you actually get to see some of these bands perform live. For example, this upcoming one (ProgPower USA XII), will feature a very rare performance of Sanctuary, which is re-uniting. Not only that, but the only USA/North American appearance of Therion. The particular band that I am sponsering, Eldritch, this will be only their second tiem playing the US. Last year's band, DGM, was thier first. Another feature is that after the Friday night performances end, there is a video that is presented to announce the next year's line-up. Talk about being like a kid on Christmas morning! Needless to say, I was literally jumping in my seat when Eldritch was announced for next year's line-up at this last one, which was the band I put a sponsorship bid in for......" I've noted your interest in that genre. King Crimson's Robert Fripp stated 10ish years ago (and I'm paraphrasing here) that metal was the only truly innovative thing happening in the rock realm. Fripp was prog-metal before the term probably ever existed, and I understand why he said that. Your expliots are truly a music lab in progress. It's really good to be able to get that close to the proceedings and meet the musicians and crews. While Phish doesn't fit this level of intimacy, much of the music I see does.....many smaller shows and events where the up close and personal is probable. Most importantly, though, I like the independent scene, which affords more "up close and personal" opportunities, as well as a truly free platform of expression, where the audience determines what succeeds - and not some corporate suit. The Jamband scene is at times criticized (both externally and internally) because of the relative lack of new and original "blood" - a truly "new" sound or band that would be the next "big thing". But it still remains healthy, seemingly continuing to be pretty successful, even though the festival herd's been trimmed a bit in the last couple of years. While no one succeeded in knocking Phish off the throne, there are a host of smaller bands out there that play 1k - 5K venues regularly. The various "factions all "split off" on the smaller tours, then converge at fests large and small in summer. The newer jam acts offer a spread from bluegrass to lots of electronica, and DJ action has even begun to blend into the mix. I tend to get my progmetalish fetish fed by a jamband called Umphrey's McGee, which is what might happen if Phish and King Crimson had a baby. They get you in a groove mode, then visit stints of shifting time signatures and progressive metal that is truly fresh and creative. I find them to be the best of that "second tier" of bands still playing smallish venues.
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Pinging the forum member with new deluxe VRD's
Audible Nectar replied to Cornman's topic in 2-Channel Home Audio
Yes, I do......she's a keeper! She loves our systems, loves me, and there's nooooooo replacing her[8-|] She likes the VRDs too! -
A month or so ago it came to my accidental attention that I am now coming up on my 10th year of membership on the forum. I considered what I might do for my 10th year post....what I've learned, etc.....but came to the realization that a better suited post would be about my musical exploits AWAY from the forum - because in the end it is the driving force behind why I am here. So while this is a bit off topic for this forum, I wanted to post it here where those who I have conversed with primarily will see it. Thanks for your indulgence.... A concept oft discussed on this forum and a major reason we are here is to re-create the live music experience to the degree that our gears will allow. But in the end, it's only an approximation, as close to real as we may get there's no substitute for the real thing: Live performance "in the moment". My desire to bring that experience home is only rivaled by my desire to experience "the real thing" by seeing music live. An all time favorite concert experience of mine is the rock band Phish - particularly with a tradition they have built over the years around the Halloween holiday: The "Musical Costume", where the band performs another band's album in it's entirety, from start to finish. Phish is probably best described as "The World's Most Popular Bar Band". They have the ability to expand that "intimate" feel of a bar across the much larger space of an arena or festival ground in a way that keeps everyone "in on the joke", if you will. Phish, when first observed, can come off as a "WTF is going on here" kind of experience, but once you get the feel of it the music brings you to "the inside" of the joke, if you will. Because once you start paying attention, they start playing with your mind. A rock band, but in the spirit of improvisational jazz, where every version of the same song is different, and every show being a different and unique setlist. A rock and roll roller coaster, where the listener doesn't know what's next. With that backdrop, Phish cooked up an idea in 1994 to do another band's album for Halloween, in it's entirety from start to finish - dubbed "The Musical Costume". With that announcement would come the part where they start messing with your dome: What's the album gonna be???? And of course, the band is always more than happy to drop hints, both real and mostly fake, in the weeks leading up to the show. All the while having to rehearse (and they are WELL rehearsed) and keeping it a "Capitol secret" at the same time. The 1994 choice was The Beatles "White Album" - a classic album from THE quintessential rock band. The costume choices were oft chosen for thier influence on the band, and The Beatles were as influential as any and a logical "first choice". The band "sandwiched" a middle album set between two sets of Phish, a format that would carry forward through five future Halloween performances. In 1995 the band put it up to a vote - the top vote getter was "Joe's Garage" from Frank Zappa....a social freedom statement album from the late 1970's. The complexity of doing that album live (LOTS of complex overdubbing) had them doubting the viability of a live performance. So they chose the second place pick - The Who's "Quadrophenia", ideally suited to the concert site, the 20,000 seat Rosemont Horizon. The band felt it was the ideal arena rock album, for a band that was now out of clubs and theaters and playing arenas most of the time. In 1996, the choices began to get more "serious". The band seemed to go into a "professorial mode" where the choices were, in a manner of speaking, "taking the fanbase to school" - as if to say "if you don't know THIS, you SHOULD." The 1996 crowd was handed a "Phishbill" when they entered the Omni in Atlanta - a play on "Playbill" - where the album cover of Talking Heads "Remain In Light" adorned the glossy front page, with a full article explaining the choice, tracklisting, and such. It gave the audience a bit to consider the choice, particularly given that it was more obscure than the prior choices. But no less important, because by this time the Halloween choices were dovetailing with the sound of the band at the time. The musical "fingerprints" of the choice were all over subsequent performances, permeating the sound throughout the following years. It was a knockout performance - and every fan of Phish knows "Crosseyed and Painless" now :-) They took a year off from the Halloween tradition, resuming it in 1998 at Las Vegas' Thomas and Mack with Velvet Underground's "Loaded". "Sweet Jane" was well known, but the punky-funky feel of the rest of "Loaded" was a new flavor unfamiliar to most - but not for long :-) "Despite all the amputations you know you could just dance to that Rock and Roll station" (from 'Rock and Roll') became just as well known subsequently as the Phish standards were....but with an interesting footnote: "Loaded" got a marked spike in sales on the CD racks after the show, the resulting "buzz" of that performance having the fanbase - who attended and wished that they did - grabbing a copy from the local store. The tradition went away in the years following - the band having "broke up" for periods in the 2000's (less a year+ stint in '03/04). I had all but written off any future Phish performances - but they reformed in '09, a much more mature band, but never forgetting who they were. In a spirit of "giving the people what they want", Phish announced a Halloween show for October '09, but with a twist: A map, encouraging us to "Save The Date - Oct 30, 31st, and Nov 1". A state or three would be removed until only one remained - the show site and official announcement for the Empire Polo Grounds in Indio, Ca. - and another "twist": A three day festival, with a wall of 100 albums, which would be slayed one at a time until only one remained. They got it down to 8 (and by coincidence or not, it was Phish's eighth festival), so it was dubbed "Festival 8". On arrival to Festival 8, you were greeted and assigned parking/camping in one of eight theme camps - each one dedicated to one of eight album finalists. Jimi Hendrix: "Electric Ladyland", Prince: "Purple Rain", Radiohead: "Kid A", MGMT: "Oracular Spectacular", Genesis: "The Lamb Lies Down On Broadway", David Bowie: "Hunky Dory", King Crimson: "Larks' Toungues In Aspic", and Rolling Stones: "Exile On Main St". The "streets" were labeled with street signs named in relation to the camp - for example "Talking Drum Ave" was our address in the "Larks Toungues In Aspic" camp - that very sign a few feet from me now in my living room. The winning album was the Rolling Stones "Exile", with Sharon Jones and the Dap Kings backing Phish during the middle set performance. This all in a custom made wonderland where requests and suggestions were taken from fans online, including setting up a 50 foot big screen in a party zone, broadcasting World Series, NFL, and Halloween favorite films, and at least 50 different beers (including a special Sierra Nevada pilsner brew made especially for that weekend). Plus free coffee and "8" shaped donuts prior to the acoustic set at noon on Sunday. Some surmised afterwords that we should have known it was "Exile" all along, since the album finishes with "Soul Survivor" and the last album remaining was the "Sole Survivor "- That was hard to top, but they did a very good job trying this year: A three night run of shows in Atlantic City, NJ, October 29, 30, and 31 - and NO other statements other than how to get tickets. In contrast to the '09 weekend, nothing else need be said, as tickets for the 17K seat hall sold out in five minutes for the whole weekend, where the "promotional buildup" wasn't necessary as in '09 (50K tix to sell). And it was the total lack of information that served as the "joke" this time. No acknowledgement of the album (even though they did one), and no word that they really had reserved the venue until 2:15AM on Monday to accomodate the shenanigans to be contained therein. About two weeks out the drummer (Jon Fishman) was dropping a few hints, mentioning that "It wasn't Led Zeppelin, it was a double album", and the bassist Mike Gordon stating it was "a dance album". After being picked up by my now Klipsch addicted and VRD owning friend from Mass. (thanks Alan!!) at PHL, we arrived in Atlantic City the night before the run, getting settled in at the Tropicana ahead of the rush - and allowing more time to find great edibles like cheesesteaks at White House Subs :-) The AC arena staff and hotels/restaurants were very welcoming, even playing Phish music on the Boardwalk and offering a number of "specials". So while AC is a bit of a "poor mans Vegas", we felt like kings, taking over the boardwalk and environs in a sea of celebration and music. Adding to the mix was the relative intimacy of Boardwalk Hall, the 13,800 seat arena which could hold another few thou on the floor - so about 17K or so. It's an old building from the 1920's, I believe, which was artfully refurbished about 8 years ago, and restoration still is ongoing. It houses one of the world's largest pipe organs, being restored currently. A bit longer than might be expected, and more narrow - so if you had side lower bowl seats abot 2/5 of the way back and 5ish rows up sonics were VERY nice, because it was drew level with the soundboard. To curb the issue for those in the back, a set of delay towers were installed, which gave those in the upper back good sound, too - as well as the open area behind the upper bowl. It's just kinda open back there, so getting a beer before setbreak rush is easy and the music in the hall is still rockin' :-) Friday was a bit of a "get loose" kind of night, featuring more short/"sing-song" selections in the first set - straightforward and rockin!!! Set II was similar, save for two selections (Sand at 12 minutes and Fluffhead to finish Set II at 17). It was apparent they were building this up for more later in the weekend. Saturday was the setup for Sunday, and the album of course, which had them playing the crowd mid-set I with a Led Zeppelin/Whole Lotta Love tease in the middle of "Chalkdust Torture", then into "Ha Ha Ha", an old Phish standard of laughing in song, as if to say "It ain't Zep, suckas!!" Then about 10 minutes into a raging set II, a 30 minute Tweezer/Led Zep sprinked jamfest, as if to slay the popular Led Zeppelin rumor execution style. Then back to Phish, with a 30 minute funfest with "Halley's Comet/Also Sprach Zarathustra/David Bowie", then finishing the set with "Good Times Bad Times" to finish the Zep rumor off for good. Sunday was a more planned and ritualized affair, akin to Super Bowl Sunday, with "pre-game dinner" scheduled at four at the local Irish Pub, meet at Boardwalk at 6, in the show by 7. We got to the Boardwalk later than 6, which is a good thing, because we couldn't handle waiting long to enter for the revealing of the album choice. By the time I reached the gate, my heart was fluttering akin to a kid getting out of bed on Christmas morning. Once inside, we were handed one helluva gift. As was custom, a Phishbill was handed to the 17k fans in attendance, adorned with the cover art from Little Feat's "Waiting For Columbus", the sixth induction into this little "Hall Of Fame" they have going here. I held back tears for a good ten minutes, as the impact of this work is indelible here. "Waiting For Columbus" is a CD that I have "worn out" over the years. Sooo many times I will play this when I'm just not sure what to play. It ALWAYS works. It has been a staple in system sound testing too....it's one of a mix of discs I run through when I want to make sure I'm getting the sound I'm looking for. It's a bit of a "desert island" selection for me. So naturally I was thrilled with the choice - not just because I was going to hear it, but also because of what Phish thought of the work by choosing it. I carry the opinion that they are "six for six" on album choices (the ultimate six-pack, if you will), and have such confidence that I will appreciate the choice, whatever they choose. Phish is in my head, it seems ;-)..... One of the things that makes me think Phish Halloween is one of the best things ever invented is the homage to the history of rock and roll. In this respect it's apparent that Phish really "gets it", and how the Halloween performances leave a permanent "footprint" on what comes next for the band. It does interest me also that this was the first "live" album choice. Actually, this album is a collection from six or seven shows and presented as a live show. Part of the Phishbill instructed that when the MC says "Gimme an F" we say "P-H", "Gimme an E", we say "I", "Gimme an A", we say "S", "Gimme a T", we say "H" :-) That way, it sounds on the recordings as it does on the album....hehehehehe :-) And another well presented album, too....very quickly forgetting the fact we were watching a live show of a live show, and just getting caught up in it all. It's nice to know it front to back....made it all the more enjoyable. And those that didn't know it learned something more about the history of rock and roll, and I expect to hear a lot more Little Feat in various portable sound setups on various music tours..... As we left the hall, phans were seen high fiving the ushers/security/police in an all smiles from all sides scene that said it all about how we felt about the weekend. A celebration of music and life, and a reaffirmation of a Frank Zappa theme "Music really IS the best!" We had no idea until we checked the time that it was 2:10AM on Monday morning when we stepped outside the hall.....we didn't get to bed til 5:30 :-) This is the driving force behind my presence here, now going on my 10th year. All the fiddling, tube rolling, builds yadda yadda yadda is a secondary to what I really exist to do - see the music I like in the best settings possible - that interest feeding the desire to have the best music at home. In that regard the Klipsch forum has been instrmental in achieving that goal. It seemed more appropriate to share a bit of what music means to me and how that works out in my real life, rather than a "what I've learned blah blah blah" post as a "ten year". I do of course want to thank those here, and the people at Klipsch, for providing an avenue for building my musical bliss at home, and hope that those that I shared with as a result got as much out of it as I did and still do. Thanks for reading, and your indulgence, and here's to a happy year 10 - and beyond :-)
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Pinging the forum member with new deluxe VRD's
Audible Nectar replied to Cornman's topic in 2-Channel Home Audio
Assuming insurance, I would leave the VRDs and grab the Mac vintage gear and the MC30s in particular (oh - and the TUBES). Why? Because I could more easily have Craig build me another set of VRDs. That said, I agree with all the accolades the VRDs get - absolutely my "reference" amplifiers in every sense. But when it comes to what I pull out of the house in that situation, I would grab what is hardest to replace first (wife>MC30s>tubes) and let insurance take care of the rest of what is replaceable. -
Turntables. When Does Aesthetic Overcome Performance
Audible Nectar replied to thebes's topic in 2-Channel Home Audio
I got mine for slightly less (about 2.2K complete with most accessories) and find it to be one helluvan instrument. And it's not fully "tweaked out" yet. As soon as I get past Phish Halloween weekend (for which preparation has taken entirely too much of my time) I plan to dive whole hog on Saturdays making that sound the best it can be. I'm going to order a record cleaning kit and get to work. But even set up "in the neighborhood" it's apparent that I have found "The Table". -
affordable 2-channel...where'd it go?
Audible Nectar replied to jdm56's topic in General Klipsch Info
My top "2 channel value picks": Scott 299 integrated amp (tube) Nakamichi TA series of SS receivers Vintage Luxman solid state is very good, too. In new gear, nothing comes close for the price. -
What to use to clean the chassis of a McIntosh MX 110?
Audible Nectar replied to tidmack's topic in 2-Channel Home Audio
To do it right, you will need patience and time....LOTS of time. Worth it, though. My annual cleaning session of the MX110 is akin to a surgical procedure. I bring the unit to my kitchen table, where I have lamp hanging overhead. The preamp is placed on a thick towel, with cord folded and rubberbanded. Now I can rotate the preamp 360 degrees with ease and reach every crevice. I then remove all of the glass tubes from the deck, and place each tube on another table, on a piece of paper with all the valve positions labeled. You want every tube to go back exactly where it came from. I have been known to leave in the 6D10 (it's a bit more cumbersome to remove and reinstall) and of course I leave the square "tubes" along the side edge. Then, I get the old Electrolux canister vac with two tools: a crevice tool, and a round brush made of horsehair. The horsehair brush itself will not scratch any surface, although the dirt could if you put downward pressure with it on the surface (a no-no). The brush is very soft. An Electrolux can vac is worth the $$ just for the horsehair attachment alone, and justifies finding an old 'Lux used on the 'bay or somewhere. Electroluxes are also EASY to adjust for suction....to get just the right amount for tricky and delicate jobs like this one. I use the round horsehair attachment to get the easy surfaces: top of the tranny, top front edge, and so forth. Now the hard part....those narrow channels and corners. I have a trick I do with an angled crevice tool: Cut a strip of chamois about 6-8 inches long and about 3 inches wide, and wrap the angled tip of the crevice tool with it, leaving about 3/4 to an inch of the chamois hanging over the edge of the tool tip. Turn the vacuum on, which will then suck in the edge of the chamois "INSIDE" the tool, giving a now chamoi-ed cushioned tip to your edge crevice tool. It can take several tries to get it set up right, but once I get the chamois edge sucked inside the tool tip (a nice, "inner wrapping"), I tape the outer edge to the tip, and now have a neat tool I can use to vac those super tough-to-clean channels and corners on the deck. Then I set to work on the vacuuming. The now chamois tipped crevice tool is used to suck out the dust from all those tight channels and spaces. VERY IMPORTANT: DO NOT drag any brush/cloth in any firm fashion across the chrome surface!!!!! The trick is to be able to hold the brush or tool JUST ABOVE the dusty surface and have the suction pick the dirt up off the chassis.THIS TAKES PRACTICE, but once you get the hang of it it becomes apparent what the technique and goal is. Once the majority of the dust is removed, you can drop the tip into corners (again, do not DRAG) and remove dust from those hard to reach corners, because that chamois tip will be gentle to the chassis if you touch it. In fact, once most dust is removed you can deliberately touch the tip to the surface to get those tough corners. You'll be working those corners one to two inches at a time (tip length of the crevice tool), but it does work. You will find that you will work this "90 degrees at a time." Vacuum what you can of the chassis surface, then rotate the preamp 90 degrees on the tabletop, then vac some more. Try NOT to vacuum over the tube sockets. Vac up to the edge of them, to the edge of the metal hole, but not over the sockets themselves. Once the preamp is "vacuumed" (and it will take some hours to do), then you can finish the cleaning with "stage two"....but ONLY when all the dust is removed. I then take a few small cut chamois squares and a small bottle of distilled water and finish the cleaning. I work a few square inches at a time, lightly rubbing the surface with a mildly wet chamois, then dry with a 100% clean chamois. I treat this with the same attitude and care of fine jewelry. WAX: Once the chassis is 100% clean, then I wax it. Again, I use a small batch of small chamois squares, and work the chassis two-three square inches at a time. I use Turtle premium liquid wax, it's easier to work with than paste, it goes right where I want it and is easily buffed out. I like two coats....it gets to a real deep, liquid shine! ON THE LETTERING: You CAN rub over the lettering (typically) if you use chamois AND you do it SOFTLY. When doing the water cleaning, I just place the cloth on the letter areas (just to "wet") and remove the chamois, then place a clean dry chamois square on the mildly wet surface to dry it off. The letters are delicate, but you CAN clean them if you are gentle. When I do this, it's an "all day sucker", just like a Slo-Poke. I will work on it for 30-60 minutes at a time, then take a break, then return to the job. But once done with that deep, liquid, chrome shine, you'll know why you took the trouble. And the better news is that once you do this the first time, subsequent annual cleanings/waxings are easier. This does take practice, and I recommend working with an area on the back of the pre to get the idea of this. I actually have an old MC30 chassis that I experimented with just to see what I could and could not get away with, and I found I can do more than I thought I could. I use this method with all my vintage Mac. Sorry I can't post pics. I'm a bit lazy about updating my computer gear (I would have less aggravation buying matched quads of vintage power tubes than buying a comp, and both are very aggravating), but when I do (hopefully winter) I can update this post with a few shots. It's a primitive, cobbled together solution, but it does work.....with patience and time. -
Sounds like a winner, Josh. I enjoyed "Smile" immensely, and bet this is worthwhile as well. If it's "weird", and I assume in a bit of a psychedelic way, I'm all good for a sample[8-|]
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H O C K E Y S E A S O N ! ! ! WOO-HOO!
Audible Nectar replied to picky's topic in General Klipsch Info
I am 100% happy that the Hawks won ONE. I NEVER thought I would see that in my lifetime. I can die now..... As long as Scotty Bowman is around, it's all good, because he was my Stanley Cup season MVP. Dude is Hockey's version of King Midas. -
Let's see.....music alters mood, causes changes in personality....many recant experiences under it's influence akin to religious experiences, and it's VERY habit forming. Sounds like many drugs I've heard about[H]
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Solo or twin subs that is the ???
Audible Nectar replied to joessportster's topic in 2-Channel Home Audio
I did "twins" in my HT installation....two JBL 4638 low frequency reinforcement cabinets (two 15" woofers each cab). I did it for no other reason than the fact I got these very cheap.....under $450 for both cabs from the JBL "tent sale" (listed for $1200 each). But I figured that placing each cab in the corners behind the two mains would give a more effortless presentation (by spreading the sound over two cabs vs. one - less cone motion) plus if there were any hints or smidge of midrange that bled into the woofers it would keep me from sonically "localizing" or noticing where those artifacts were coming from. I did use EQ to tame thier (and the room's) excesses, but once tweaked became a wonderful, high performance solution for my HT.....truly one of the best deals and choices I could have made for my HT. -
I too changed my avatar after a number of years of good service[8-|] It was an overdue change to something more reflective of current times and my opinion of same. I don't worry much about modding speakers anymore....I prefer to spend more time modding minds[]
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Agreed. This violates every canon of respectable audio reproduction. A 50 cent Hanna Montana sticker from Taco Bell will improve the sound of a commercial audio amplifier. You just have to "believe". Fair enough. Might I suggest trying Marilyn Monroe on original 1950's photo paper?
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My opinion on this hasn't changed in years. If you are a musician (also known as an artist), and you are proud of your art, the last thing you would want to do is prostitute your work of art to a corporation. NOTHING ruins the good memory of a great piece of music than having it be associated with a corporate entity whose product has little to do with the product itself. INSTEAD, the tail begins to "wag the dog", where hearing the music causes one to recall the product it was selling rather than the good of the music itself. Most of the classic rock bands have succumbed to the lure of huge sums of cash in exchange for allowing the corporation to prostitute the music. I can understand this to a degree....if it's a "one hit wonder" kind of band who was unwittingly screwed out of thier rightful "cut" when the music made it big....I get it. But if you're The Rolling Stones, Led Zeppelin, or The Who - you don't NEED that. How much money is enough? How much cash must you make in order to comfort you from the caricature your band has now become? Pete Townsend was asked about this a few years ago (following the barrage of drug and car ads he sold out to). "They're my songs, I'll do what the #^@& I want to with them.". Fair enough....but it won't change the impression I have of what you have done to your own art. It's almost beyond hilarity to see Pete sell out to Big Pharma....this being the same band who did a rock opera based on a guy who took a handful of leapers and lost his mind on the 5:15 train.... OTOH, Neil Young is an artist who "gets it". I recall vividly the debacle he got into with MTV over his song "This Note's For You". It was a slam against musicians who sell out to corporations as well as commercialism itself. "Ain't singin' for Pepsi.....ain't singin' for Coke.....makes me look like a joke! THIS NOTE'S FOR YOU!" That video was pulled from MTV, because it was obviously biting the hand that feeds MTV. On that tour, his shirts proudly stated "SPONSORED BY NOBODY." Neil has always maintained the integrity of his product and controls how it is presented. A man with INTEGRITY, and an artist in the true sense of the word. If you want to make money on advertising, be an ad man. If you want to be a musician, be a musician. Hell, if you want to be a street hooker, be a street hooker. At least nobody has any illusions as to what you're about and what you do - "full honest disclosure" and all that. But don't be an artist with a good "stand alone product" and sell it to a corporation who will caricature your art into something that makes it look like a joke. Knowing how real artists think, they want to maintain the integrity of the product they create. As soon as they lose that desire to maintain that integrity, they lose credibility, too.
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Agreed. This violates every canon of respectable audio reproduction.