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Everything posted by Curmudgeon

  1. Congrats on the LP12. I own a mid-80's model spec'd with Ittok LVII arm, Klyde cartridge, Lingo PS, Cirkus chassis placed on a Torlyte platform. I also have a VPI Aries Black Knight with VPI JMW-9 arm & Grado Reference Master cartridge placed on a Ginko Cloud platform. There's lots of wives tales floating about the LP12, some accurate but most are BS. Off the top of my head here's some points to consider: The suspension is not that hard to tune & doesn't go out of tune that often. I check mine twice a year but haven't needed to actually adjust it in about 4 years. What's very important to remember is never move the turntable unless the outer platter has been removed. When I say move I mean even minor repositioning, it only takes a second to pop the outer platter off. The springs are designed to oscillate the heavy platter/sub-chassis (it's like a pendulum tuned mass damper) but they don't like being slammed around laterally. If the outer platter is removed prior to moving/transporting a LP12 the suspension rarely gets knocked out of tune. If possible plug the Lingo into a separate A/C circuit from the rest of your system, they're known for dumping hash & noise back into the power line similar to some digital gear. Linn recommends "light & rigid" platforms as the LP12 needs to dissipate energy through it's plinth. Avoid heavy mass platforms (like granite, marble, etc.) as they will suck the life out of the sound quality. I use the Torlyte platform on a Target wall-mount shelf because my house has suspended hard wood floors & heavy footfalls will cause skipping. The Cirkus bearing/chassis is more accurate on lower bass notes & tends to delineate them well. The Nirvana chassis & earlier had a mid-bass hump with a resulting "warmer" sound but didn't dig out the lower octaves. Some have described Cirkus as more CD-like but it's kind of like how some people prefer firm "solid state" bass vs. "tubey" bass. Mine originally had the Nirvana chassis & I installed the Cirkus kit. Having heard both I considered the Cirkus an improvement. Obvious cartridge matches would be one of Linn's but there's lots of choices out there & Linn cartridges aren't exactly cheap. With a Linn cartridge you won't risk an arm/cartridge mismatch but that doesn't mean a Benz, Dynavector, Shelter etc. won't sound as good if they're correctly matched. Grado cartridges can sound good on a LP12 but some higher output models have been known to hum on inner grooves (closer to the LP12's motor). If you're thinking about a Grado pick one of the lower output models. As for MM vs. MC that's sort of personal preference & either will work just fine with the appropriate phono stage on a LP12. My only advice would be to avoid cheap MC's as many can be rather strident sounding. Overall I like both the Linn & VPI turntables but I consider the LP12 a step up from the Aries Black Knight. The turntables are currently in separate systems but at times I've had them in the same system for comparisons. I've had a few different cartridges on the VPI & while it produces powerful bass the LP12 consistently delineates bass notes better. Once you get yours set up you should notice a big jump in performance over the Axis.
  2. Thanks everyone! I'm now on the hunt for a pair of either K-55's or Atlas PD-5VH's and will sell the Eminence drivers.
  3. Good idea but the Klipschorns are not easy to access & I would rather not mess with them - they're at the "if it ain't broke don't fix it" leave it alone stage. Mainly I'm asking if my suspicion is correct because if the mid drivers aren't appropriate they need to come out and something correct go in. If Eminence specs the usable low end at 1200 hz I can't fathom why they're on K-401 horns unless someone just chucked in whatever they had laying around. I don't know enough about compression drivers or what Klipsch originally used but to me it raises a big red flag.
  4. I bought a pair of La Scala splits a while back that sounded decent but kind of on the lifeless side. The crossovers were marked Type ALs and appeared to be original so I surmised that the caps were aging and decided that a set of ALKs would be a better choice than rebuilding. I picked up a pair of older style ALKs (with Hovland/Harmony/Solen caps) off the forum recently and installed them. While inside I noted that the tweeters were K77 square magnet types and the fiberglass mid horns had massive Eminence drivers. I had read that Eminence made some OEM mid drivers for Klipsch so I didn't give them much thought at the time. Per the ALK instruction sheet I started out at Al's "normal" attenuation but after a few weeks of listening to movies and music the mids seemed a bit hot so I decided to change settings. I had noted the Eminence mid drivers before but forgot to write down the model number. While I changed the ALK tap settings today I copied the model number off the paper tags and out of curiosity looked up the specs (and of course opened a can of worms). Eminence PSD2002S-16 (Link: http://www.eminence.com/pdf/PSD2002S16.pdf ) Throat Size: 1”, 25.4mm Nominal Impedance*: 16 ohms Power Rating: 80W (EIA426B Secification, 1.6kHz @ 18dB) Resonance: 550 hz Usable Frequency Range: 1.2kHz - 20kHz Recommended Crossover: 1.2kHz/18dB or 1.8kHz/12dB Sensitivity (1W @ 1m on axis horn): 105dB Magnet Weight: 34 oz Voice Coil Diameter: 2" Re: 6.1 Le: 1.6 mH The first thing that jumped out at me is the usable frequency range: a PSD2002S-16 isn't rated down to 400 hz so unless I'm missing something this doesn't appear to be a proper mid driver for La Scala's. Since these are older pro speakers with unknown history my guess is someone installed the PSD2002S-16's without giving much thought about the crossover point. I can't seem to find out the exact mid driver Klipsch specified for the pro series back then and on paper the Eminence driver just don't look right. The La Scala HF cabinet #'s are 8764119 & 8764121, the LF cabinet #'s are 8764123 & 8764131 so they should be late 1980's models. My questions are: 1) Am I right about the Eminence PSD2002S-16 driver in that it's pretty much leaving a big fat hole from 400 to 800 hz and doesn't belong in a La Scala? 2) If needed should they get replaced with K-55's or is there something more appropriate for La Scala splits? Any help y'all could offer would be greatly appreciated as I don't want to spend money unnecessarily but if I need different mid drivers I'll suck it up. ** As a side note also I have a pair of `79 Klipschorns with ALK Universals and Crites tweeters that I'm very happy with the sound of. The La Scala splits didn't seem to improve as much with the ALKs so I'm figuring the (what appears to be) mismatched mid drivers are why they still sound a bit wonky to me. Of course different room, electronics, cables, etc. makes you doubt what you're actually hearing sometimes.
  5. My transaction with canyonman was exemplary: excellent packing and shipped out very fast. Thanks!
  6. You're going to like them. I would have tried to talk my brother into getting them but he's stuck trying to get out of Mexico after the hurricane hit Cabo San Lucas where he was staying. Timing is everything. ALK's made a big improvement in my `79 Klipschorns so I figure they'll spruce up the La Scala splits. They're currently a bit "dull" sounding so either the capacitors have aged out or I just don't like the intrinsic sound of a Klipsch ALs network. My guess is that since splits were designed for Pro/PA usage the networks are more about protection from kilowatt amps (& deaf sound board techs) than refinement. I hope your brother gets out of Mexico OK, they have a big mess down there.
  7. I'll take these! PM sent. My La Scala splits need an upgrade as they still have the original ALs crossovers.
  8. Paul W. Klipsch was walking down the street one day and saw Dr. Amar Bose on the other side of the street. Paul stops, faces Amar, cups his hands around his mouth, and clearly yells, "Hello Amar!" Amar hears Paul's loud voice and stops. He immediately turns 180-degrees from Paul, puts his hands over his mouth, and mutters, "Hello Paul." Paul shrugs his shoulders and walks away.
  9. http://app.audiogon.com/listings/full-range-klipsch-klipschorn-kc-br-red-walnut-pair-corner-horns-2014-08-02-speakers-91016-monrovia-ca Heads up to any left-coasters or those within driving distance looking for Klipschorns - it appears there's a good deal to be had. The listing shows a label indicating KC-BR but this pair has Type B collars. Also, the label is stamped in red with what looks like "Salesman's Accommodation" so perhaps the collars were thrown into the original order or added later. I'm not associated with this sale, just happened to see it this morning on AG. Oops - forgot the price: $1700 "Buy It Now" or Make Offer
  10. That's not damage - that's an upgrade! After the flood water receded it left silt behind in the cabinet. Everyone knows that Louisiana silt is the best at taming unwanted resonances, much better than beach sand or shot. Bump the price to $300 and celebrate with some mudbugs!
  11. Reading this thread I discovered an interesting coincidence: N W Bradford was the tester on both my Klipschorns and Cornwalls. The KC-BR Klipschorns were inspected by David Johnson and tested by N W Bradford. The CD-BR Cornwalls were inspected by Lester Boyd and tested by N W Bradford. I bought the Klipschorns locally but obtained the Cornwalls from the original owner in the Raleigh area of NC. That Bradford guy got around!
  12. These are the Cadillac of CD covers: http://www.mofi.com/product_p/amfllc.htm The older style CD cases with the gray inserts usually don't break the tines as the gray inserts are made of a less brittle plastic. The newer CD cases with clear inserts are so brittle the tines break with a few uses or from being shipped. At least they're "real" CD cases and not the tree-hugger cardboard sleeves that scratch the disc every time it's accessed.
  13. I use Synkron to keep my music (and other) files synced between external drives and computers. I'm paranoid about having multiple music file/library backups due to the amount of time I've spent ripping, fixing tags. embedding artwork, etc. You can choose as few or as many folders as you want so it will only sync what you set up. It's a free program and there are versions for both Windows and Mac OSX. I've been using it for about 3 years with no issues. http://synkron.sourceforge.net/
  14. That rug really tied the room together. GLWS
  15. Is that like reading or observing an ongoing discussion without participating in it?
  16. Update: still looking for a RB-5 grille. FedEx settled with the seller and he has reimbursed me for the broken grilles. If someone trips over one (or 2) let me know. I found some black 6-32 machine screws with small round heads, tapped the post holes, installed the screws and this appears to be a good permanent repair for one grille. I did Super Glue the frame on the other grille together (about 15 broken pieces!) and repaired it so the grille looks OK from the outside. It has just enough strength to stay on the speaker and not come apart but the first time someone bumps it I expect that one or more of the numerous glue joints will fail. It's at best a temporary repair (AKA time bomb). I called Klipsch again and found out that they do still have some SB-3 grilles available. This is a viable option as cheric verified that they fit RB-5's but the logos and appearance are different so it requires buying a pair. I'll keep the want ad up for a while as I prefer to obtain a correct RB-5 grille (if possible) but may have to punt to SB-3 grilles if nothing comes up. Repair Hint: to protect the grille fabric from glue I used Reynolds Non-Stick foil. It's easy to cut into shape, thin enough to shove between the fabric and frame but glue doesn't stick to it. I didn't want to open the can of worms in re-doing the grille fabric so I gave this stuff a try and it works. The wife keeps it around as it's good for making nachos so melted cheese doesn't weld itself to the pan.
  17. I plan on drilling into the posts and using either steel roll pins or shanked machine screws (with the heads cut off) as pegs. I'm surprised Klipsch used hollow pegs as they're rather flimsy and easily broken. Crazy glue should be fine for repairing breaks/cracks in the frame itself but I think the only way to permanently fix broken pegs is a more mechanical approach. I've got a drill press so I stand a chance at getting the holes drilled straight and if needed I can tap threads into the plastic posts. I'm stuck waiting for a FedEx rep to come inspect the damage so I can't attempt a repair yet.
  18. Thanks for the info. The more options the better!
  19. Looking for an original series RB-5 grille in good condition. I'm open to getting one with broken pegs as long as the posts, frame and cloth are in good condition. If I need to buy a pair I'm OK with that, too. I recently bought a pair of RB-5's and despite the seller double-boxing them the grilles were damaged in shipping. One grille just has a couple of broken pegs that I can repair but the other grille got crushed at the bottom breaking off the posts and breaking the frame in several places. I called Klipsch - there's no replacements available and they don't have anything that can be modded to fit. This may be a long shot but perhaps a forum member has one or knows who does. I couldn't find a part # or any identifiers on them but the image below shows what they look like. Thanks!
  20. Hmmmm, La Scala's near me. Very interested. PM sent.
  21. Been a while since I've posted here but I've owned Cornwalls since the 80's and Klipschorns for about 12 years. I listen to anything from metal and progressive rock to classical and traditional jazz, soundtracks, etc. so when music is supposed to be loud that's how I want to hear it. In my opinion each individual piece of music has its own proper volume level that it should be listened to at ... listen to classical too low and you miss a lot. Listen to metal too low and you're missing the point completely. Listen to something like Mazzy Star at high volumes and it gets ridiculous. Along with each piece of music needing its own level you also have to realize that the room you have your speakers in has a maximum level and that no matter how good your gear/speakers are if you exceed this level sound quality will suffer dramatically. If you like higher volume levels and you're looking to tame harshness I would go with DeanG's suggestion and start with the ALK Universals. I would not recommend stuffing crap into the mouth of the horn as that strikes me as bringing a sandwich to a banquet. My Klipschorns are 1979 models that came with AA crossovers, K77 Alnico tweeters, K55/K400 squawkers with push-terminals and whatever woofers Klipsch stuffed in the doghouses at the time. I ended up with a SET tube integrated amp for lower listening levels and a tube preamp/SS amp combo for higher levels but even with good gear and "warm" sounding cables at louder levels the mids/treble would still knock the wax out of your ears. After some research the first modification I tried was the P-trap (since my push-terminal K55's were known to have a rise at 9-10k) to see if I could hear a difference. I had already rebuilt the AA crossovers with decent oil capacitors some time back and with the new P-traps in the circuit I was able to tell that the harshness came down some and there was a bit less smearing. Not a huge difference but it was enough to clue me in that the first order AA networks were allowing too much mixing of the squawkers and tweeters so it was essentially a filter issue. Having read about the ALK Universals some years back I decided I would finally give them a try. After installing the ALK's my Klipschorns became more "refined" (for lack of a better word) and much easier to listen to when indulging in stuff like Primus or Megadeth. Imaging and clarity improved while harshness at louder volumes decreased dramatically. I have several power amps that get rotated in and out of play and the speakers became far less "picky" of amp selection and also cable selection. Prior to the ALK's any cable with silver content was a no-go but after installing ALK's I can now utilize some of them. The only downside to the ALK's I've noticed is a slight loss of clarity/efficiency at very low listening levels but I rarely play anything that soft. There's absolutely nothing wrong with using solid state amps on Klipschorns. First off Klipschorns are very revealing of your electronics and sensitive to distortion in the first few watts. Interestingly enough while they're very efficient and don't require high wattage amps to play loud they do respond well to higher current solid state amps if the amps are of good quality, especially if they run in pure Class A or are high-biased producing a few watts in Class A and transitioning into AB. Even with the Klipschorn's high efficiency the extra power preserves dynamics (headroom) and higher current amps tend to maintain better control of the woofer at louder levels. When choosing amplfication to go with horn speakers the following comes into play: Noise floor (hiss) - whether vacuum tube or SS any amp (or preamp) with a high noise floor is intolerable on horn speakers. Distortion curve - many SS amps have a U-shaped distortion curve: high distortion is present in the first few watts then drops low until it starts hitting its output limit. This is OK coupled to inefficient speakers because they suck enough power that you're not using them in the lower range where the amp distorts. However, on 104 db efficiency Klipschorns the first few watts are critical so a SS amp needs to be designed for very clean low-watt output. Attenuation - if your preamp and/or amp has a lot of gain the volume is hard to control at lower levels and it accentuates the noise floor. Running RCA or XLR in-line attenuators can help tremendously when using higher gain electronics with high efficiency speakers. My C-J Premier 14 preamp has a stepped resistor ladder volume control and has a fair amount of gain so I run high-quality attenuators to get much finer control of volume between steps. Whatever you do, keep at it and don't write them off. Klipschorns are well worth the effort it takes to get them dialed in because once you do they will accentuate your appreciation of music. I was exposed to Klipsch as a teenager, a local stereo dealer had a killer demo room with Klipschorns running off of McIntosh vacuum tube electronics. We used to wait for the showroom to clear out and the salesman would fire up the system and throw on stuff like the 1812 Overture cannon shots to demonstrate how realistically dynamic the Klipschorns were. That stereo store closed in the early 90's but oddly enough when I found my Klipschorns I bought them from their original owner who had purchased them from that same store in 1979. I also keep a reference system consisting of Revel Salons, Mark Levinson electronics, Linn LP12 turntable, etc. but it sorts out as the Revel rig is the "accurate" system while the Klipschorn setup is the "fun" system. I thoroughly enjoy both but I won't give up my Klipschorns. Ever. When they stick me in an old folks home the room had better damn well have good corners! Good luck with your endeavor!
  22. CT125's received! Tweeters were packed very well, shipped out quickly and communication was excellent. Thanks frt8dog! :emotion-22:
  23. Payment completed via PayPal. It will be interesting to see how these sound compared to the stock K-77's in my 1979 Klipschorns. :emotion-29: Thanks!
  24. I'll take them if you accept PayPal. PM sent.
  25. The Jolida CD player is a great unit, especially for the price. Its a very natural sounding player, maybe not the last word in detail but it still creates a nice deep soundstage. You can also alter its sound characteristics a bit by swapping the 12AX7 tubes to dial it in to your system. I also like that reads discs quickly, unlike some of the DVD-ROM based players that take 20 seconds to read the TOC. I put some dampening material inside the case to kill vibration and upgraded the tubes, it works very well for me. The Rega Apollo is also a good CD player, I have one in the Linn system in my office. Its also extremely good considering the price and has a great top end. The Rega's have a unique disc reading engine that "initializes" and sets error correction to the disc every time you put a CD in. The Saturn would be nice to have, a little pricey but it sounds fantastic.
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