Jump to content

Dave A

  • Posts

  • Joined

  • Last visited

  • Days Won


Posts posted by Dave A

  1. 1 minute ago, Camplo said:

    If you have used the Dats V3 you'd know that certain information is needed for it to function properly....You'd need Mmd, piston diameter, or similar. The most accurate method (added mass) cannot be done period...I'm not putting putty on my Axi diaphragm... you? DatsV3 won't tell you xmax or xlim, those are the very important to the process....I have a lot of the information filled in by now. Some came from the video on the Axi found on youtube...Some guy in the forums got ahold of the engineering info and passed the theile specs around.

    At the moment I have been relying on thd measurements and my ears, to guide me to a proper xo over point.

    OK just curious. I know you are new here but why don't you fill out your system specs under your profile?

  2. 16 minutes ago, Camplo said:

    .....I couldn't even get the full theile specs from Celestion on the Axi2050 after I bought them lol.... Over time the details have been filled in.... Manufacturers hide this type of data for a reason. Not sharing theile specs for a compression driver is just idiocracy, to me. Not sharing Thd measurements for systems is just Marketing. Takes away the ability of a customer to objectively compare systems, so that marketing can use buzz  words to push sales instead of actual measurements.

    DATS V3 and a UMike should get you the T&S if you have a sample to measure from. I have not done so yet but have the bits and pieces to do so as I have been told this works. One day I will get around to trying it all out.


      On this whole share your data stuff. I have people actually ask me to share my design and cut files for my tweeters like I would actually give them away. The answer is NO and if you really want it figure out how to do it on your dime and time. I don't blame Roy one bit for not sharing. The audio world seems to be full of people who can't figure out how to do things and then want answers handed to them by those who do figure it out.


      Sales shtick is always crap to some degree and go hear in person in someones house on their setup. I would trust dealers like Cory who don't pull fast ones and will share how they got to what you hear.

    • Thanks 1
  3. 4 minutes ago, jjptkd said:


     Problem is from what I've read the speakers are hot at and above 2khz with my 325's crossover point is 900hz? so just dropping the whole horn driver would unnecessarily and possibly detrimentally cut the mids 900-2000hz? Plus my 335's are 3-way but bi-ampable I tried reducing the HF output to better match the LF but seemed I could easily start to hear the woofer stand out almost right away with only minor adjustments. 


     I have a mini-DSP and Mic now just need to hook it all up and do some measuring with bass boost on my TG-IV running through my Carver tube amp things sound really good already so haven't felt the need or rush to change anything. 

    My experience has been that the HF will make or break your setup faster then anything else. When I was dialing in a resistor L-Pad for a two way on the HF side of things merely going an additional estimated .5 DB in attenuation took sound from really great to ho hum. It does not take much to be over or under the sweet spot. My favorite two way from Klipsch is the KPT-456. Meant for main or side fill sound and not this THX movie crap they were just musical with no harsh edges. When I got some KPT-904's with OEM crossovers they were shrill and unpleasant and only an L-Pad fixed that problem. I am sure someone with greater knowledge of crossovers could tell you what to do better then I can.


      Looking into a MINI DSP also and if my Super MWM is any indication going active will get you better results then passive though a PITA to learn and implement.

    • Like 2
  4. Many of you do not know my wife had a stroke on 5/2 this year and so lots of projects were delayed or on hold. I have a ton of wood to work with and much of it I have never cut before. Curly Ash, Curly spalted hard Maple, and some big old Walnut Live edge slabs I might just turn into tables. Really nice crotch wood in them. I have some White Oak with spalting also. And then there is some Cherry that I started on some time ago and just finished today. Kind of tells you where my mind is at with the rod stock holes all the way through to the front side because I left the wrong "Z" level in there. You cut one wrong you cut them both wrong and act like it was a plan. Anyway I thought the wood grain was interesting the closer you look and the picture does not do it justice. I have some curly Cherry I have to glue together to get pieces thick enough to make a set of these but they look like they will have real character to them.


      I enjoy working with wood as the variables are considerable. The downside is learning the idiosyncrasies of each wood type with no one here to show me how to avoid mistakes. Here is an example of what I mean. I use a 3" face mill to cut the front and back sides and on these freestanders where the width is 7" there are three left to right passes to face them off with. It kind of picks the wood out a bit and you can see where the pass edges are. It requires a fair amount of sanding to make those go away. Probably reducing the step over to maybe 40% of the cutter width will stop this and I will find out soon. I also wonder if changing the direction of cut 90 degrees would end the problem. Crossing the wood grain and not paralleling the wood grain.


    • Like 5
  5. 1 hour ago, mark1101 said:

    Yeah, sounds about the same as what happened to me.  I think you may find those woofers just can't get down there like a K22.  They might even be worth more as is for their intended application.  Fun to play with though.

    All these older speakers are fun to play with but not many stick around long. I have a set of KP-301's right now I keep debating selling or keeping but most just move on. I just sold a set of K-22's and wont try finding more. If the KP-480 works well with them good and if not as you say they make good monitors.

  6. 10 hours ago, mark1101 said:



    I wound up with a pair of those virtually identical inside.  Mine are clear lacquer and per "The Historian" were from 1979 and an employee gift apparently given to employees as some sort of bonus or reward for something special.  They look really nice still.


    The reason for my post was because they are stage monitors and not "heresys" per se.  They only play down to about 90 Hz.  After I recapped mine, they sounded like $hit and were pretty much useless when I compared them to other Heresy 1s that I own.  They had no bass and could not really be used as a full range speaker.


    So...........I replaced the woofers with K22s and recapped them again...........but this time as E networks..........and created a pair of Heresy 1s very simply.  Now they are at least listenable as a full range speaker.  I use them outdoors on my patio with an old HH Scott LK-72.


    Just wondering how yours sound to you as they are now.  How do you use them?

    I bought these to fix up and sell and do not intend to keep them. Now as they were stock they were mid range only and lows and highs cut off. The recapping did not hurt the sound but also did not make a real improvement. Adding an SMAHL helped the HF side of things. I figured these would go to a band somewhere just like the one I bought these from and to be used as monitors. The bass is cut off like you say. I have a set of Type E crossovers coming in and I might just stick those in and see how they do. I also wondered about the Super Heresy port idea and need to get with Claude and see what he thinks. I have a single KP-480 I am thinking of using with this set to see how that does. The slants are musical withing their limited range now but just no bass slam to speak of.

  7. Tried a new wood the other day and thought the result was interesting enough to post on. The chunk of Ebony came covered in wax so it was hard to really see what the wood looked like. Anyway here it is with a rubdown of Watco Rejuvenating oil on it. I am kind of leaning towards using wipe on Polyurethane from now on because it brings the beauty of wood out more without making it as dark as the Watco oil seems to.


    • Like 3
  8. 1 hour ago, Edgar said:


    Absolutely! For my last crossover I measured dozens of capacitors, inductors, and resistors. (At one point I even contemplated winding my own inductors, but it turned out that I had appropriate values on-hand.) I fine-tuned with SPICE simulation. My results agreed with yours.


    If you really want to put the final touch on your results, implement Zobel networks, too.

    OK would those go in after the L-Pad?

  9. I have been working on a passive crossover for a two way for some time now and the major problem was the mismatch of driver efficiencies. Along the way I was using the common crossover calculators online and I got to thinking about how the OEM crossovers are often rounded off to even numbers both in capacitance and resistance. The calculators would give a number like say 4.56 UF or 5.17ohm and I thought "OK why not try to do just this and not round things off". So I built the 2nd order Linkwitz–Riley and an L-Pad doing just this and the results were really good. It took up to three capacitors to drill in as close as I could to calculated values as nothing out there was dead on like I wanted. With the resistors it was different and I found some really close without having to add some together.


      The end result is that the precise calculated values gave a much better sound then rounding off to the nearest whole number value. Not an expert by any means but I know what my ears tell me and has anyone else tried this?

  10. 9 minutes ago, 001 said:

    again, just hoping to learn a little on this issue to help with future decisions, maybe i will jump on the polyester bandwagon?   

    I have to admit to being interested in this idea too or at least enough to try them once and see.

    • Like 1
  11. 5 minutes ago, Khornukopia said:

    He and I bought K-402 horns with K1133 drivers at about the same time in 2019.

    That's what is cool about Claude's comments and threads. He has actually owned most of what he talks about so has actual experience to speak from. He also documents things and has actual pictures which are always of interest.

    • Like 1
  12. 10 hours ago, KT88 said:


    Randy, I think your questions are very good and very valid. I remember Roy addressing the issue months ago. And there were some very good posts by Captainbeefheart on the subject of capacitors. BTW I hope CBH is well, he has not been in touch since May and he is a valuable contributor to this forum from my point of view.
    I am just an interested layman. To put it less technically. It's about a particular component being available in different materials. There are two ways of looking at it. One is to think that the best is the best. What are the criteria for being the best? They are criteria that consider only the component itself...and an ideal place of use where all other components are also "the best". As long as you choose components that fit with other components, e.g. because they all come from the same time, then it can work. The easiest way is if all components are from the present time.
    But now comes the clever part. You always have to understand circuits in the context of their time. The components of the 1950s were different from those of the 1970s and those of the 1990s were different again. It's even a little cultural history. Not only the components are different. The music is also different, the taste in sound is different - we are different. That is known as development.

    As far as the components are concerned, perhaps this comparison will help: What is the best engine oil? Many people would say maybe a 0W30 full synthetic oil or for sporty driving maybe a 5W40 full synthetic oil. It has the best running characteristics, the best heat resistance, the lowest friction values, the longest service life and much more. Let's assume that this 0W30 oil is a polypropylene cap with the lowest possible ESR, the greatest clarity etc. It is certainly a good choice for e.g. a very modern conventional loudspeaker. Ok, let's pour the best engine oil into the engine of our beloved 1975 Porsche 911. It will be fine...no it won't. It will attack all the old sealing materials and the engine will need a lot of oil very quickly. In addition, the oil is much too thin and it can lead to piston seizure. Ok, what is the best oil for our 1975 911? It is the oil that was available at that time. That's what it was built for and that's what the oil was developed for. As with the speakers, it's just that there was what there was. There was no need for any shrill intellectual fine-tuning. It was an unconscious agreement. So the best oil for the 911 is a 20W50 mineral oil.


    The same applies to a 1975 Lascala...there was only what was available, to put it somewhat simplistically. But the fantastic thing is that all the parts work very well together and it forms an organic whole. I bet they didn't think so much about ESR, for example, back then. They did their calculations and tried parts on that basis and they saw when it had a super sound result. Then they did some fine tuning and that was it.
    The problem we are discussing simply has to do with the fact that time has not stood still. So today we have to understand why the best polypropylene cap doesn't sound good in my 1977 LaScala and why synthetic oil harms the old Porsche. 

    Captainbeefheart has pointed out a behaviour of the polyester cap (the appropriate one for old Klipsch Heritage speakers) that has nothing to do with the frequency range where we need it. It is about a high ESR at e.g. 200 Hz with a cap that we need at a crossover frequency of e.g. 6000 Hz. The modern polypropylene type would also be "good" at 200 Hz (low ESR). This would be wrong because the total impedance of the whole crossover network would get out of joint. Randy, this is a result of CBHs measurements and therefore partly a reply to your question regarding some exploration re this topic.


    This is just my amateurish attempt to explain why new components are not always better. Their "Q" would be wrong in the result for what the K401, for example, needs.
    The consecutive question is why e.g. Jem as a support dealer. Quite simply because all interested customers with vintage Klipsch gear will receive components that have been tested….for a reasonable price…especially when I read that some people bjy 400USD caps but each to his own.  Firstly, it was an investment by Klipsch to test all possible cap types...to find one type behaving like the original old caps. Secondly, Jem offers values that the Klipsch crossovers need but are not commercially available.  Roy pointed out that it is important to take the right values into account because the caps are put in series after another e.g. in the AA type network, so a wrong value can multiply wrong effects. Personally, because of the cost of customs, shipping and import tax to Germany, I bought polyester caps off the shelf...not the exact values but within the 10% tolerance at 2.2uF. At 13uF the compromise was unfortunately bigger because I connected two 6.8uF in parallel...so the ESR is unfortunately "too good (low)" again. If I were in the USA, I would definitely buy Jem caps or maybe I would (like in Germany) play around a bit with old paper in oil caps (which behave similar like polyester types following CBHs measurements) as long as this PIO caps are still working..But TBH since one year I live in piece with the polyester caps.


    Why do I write so much and steal time from readers (who do)? Because I want to make my contribution so that we here in the forum live in peace with each other. Caps are important and a few thoughts on them might be helpful...Furthermore, I would like to reiterate that I believe that basically every Klipsch lover should be free to do what they want...be it that they are happy with their choice of components, be it because they have had the great experience of their personal journey...please, I don't want to convert anyone.

    This 001 is not Randy.

  13. 1 hour ago, 001 said:

    if klipsch can use   10x 4$  tweeters in Discos with the MCM 1900  then @noviygera  can SAVE A LOT OF MONEY 

    You do realize those MCM-1900 piezo tweeter sets were from the 80's and were most definitely not the chinese "Speaker Piezoelectric Tweeter Loudspeaker 150W Ceramic Buzzer TrR5" right? So how do these sound since you reference them as I assume you would not reference something you have not heard.

    • Haha 1
  14. MCM 1900's for me too. Jubes La Scalas Belles K-horns are all anemic sounding compared to those 1900's. You can get deeper bass with other Klipsch but none as profoundly moving as those MWM bins. The 1900's have presence you quite simply can't believe until you hear them and then you can never unhear them. You have been warned.


      If space and WAF was the key factor Chorus I's for me.

    • Thanks 1
  15. 44 minutes ago, michaelwjones said:

    In the "your results may vary" department, I did not like my Bel Canto through two different sets of LaScala IIs (or several other speakers). I thought it was too cold and analytical and that was after feeding it a signal from a Lampizator DAC.


    It was dead silent and while being left on full time, produced little or no heat. For me, it also produce little or no emotion. I use tubes and find the right pre-amp/amp combination can have silence & "inky blackness" between notes (thanks HP!).


    The best option is to find what you are looking at in someone else's system and listen to it. Your ears are personal.

    So when are you going to bring those tube amps down for audition?

  • Create New...