Chief bonehead

Valerie had a son from a previous marriage, Raymond. Unfortunately he has passed away but he had two sons. Lee and Shannon are Valerie's grandsons.

Lol!! You don't need to come to arkansas to show me you are not crazy! I already know you are crazy! Deano don't let the boneheads wear you down.....

And strangely enough I hear clear transient peaks, with the detail and intimacy a large well designed horn can deliver to reveal even the most tiny irritating flaw a cap has to offer.

Deano deano. Qualify it for me. Are we talking 10% distortion, 1% distortion, .1% distortion, .01% distortion, .001% distortion?

That is so true.....or......maybe....just by luck....with the stars lining up right..... Lifting my left leg up......holding my mouth just right.....we were trying to make it better!!!! Naw! No chance.

I like the autoformer. The new designs are solid, but while the steeper slopes reduce distortion, the higher part count with the Mylar capacitors just sucks the life out of the music. There is no technical way of describing that last part -- I just find myself getting a little fidgety in the listening chair, easily distracted, and then finally just bored. That is right deano!!! Our goal is too SUCK every bit of life out of the music....

Now back to our regular programming....cd horns were very popular at the time. We were looking at some cinema opportunities. My little acoustic brother mr Kerry Geist was looking into it. We got some of the popular horns at the time. And because of the constant polar response we got similar horns. Good polars. Poor acoustic impedance. Poor freq response. So what to do. I talked to paul and he of course reminded of his design goals. And he refused to tell me what he would do. He did give me some references to read. But he told me that he would not give me too many. He wanted a different conclusion. And as such said that reading too much would cause me to come to the same conclusion they did. Then one day dr Bruce Edgar came to visit paul. Paul called me into his office and dr Edgar asked me what I was up to. I told him that I was looking as some sort of combination of equations to try to ease some of the cons of dc horns. And dr Edgar said I have an article I want you to read.......and an avalanche started.

Ok doc you are about to piss me off. In one breath you say you never met the man and then proceed to tell me that he flashed his bs button to soon. Pwk was my life and acoustic mentor. So be careful, bonehead. You are right. You don't know him. He was in his late 70's when I came to work for klipsch and he told me that he was STILL learning about horns. Of course if he heard it or if anyone heard it he would investigate. But when he flashed bs then it was bs. You are beginning to sound like some of the so called "experts" on this forum. And if paul in his late 70's was still learning where does that put you and me? As for me, an infantile novice.

Although their explanations are often quite lacking, I'm not sure we should be so dismissive of the "crazy audiophile" community. There are some very real things being pursued - it's the engineers job to sift through and identify where things can be objectively quantified, and then parse them through a system of compromises. Audiophiles aren't engineers - nor should they be. Bad explanations doesn't mean there isn't some meat to be explored. The problem is that the audiophile circles and online forums necessitate taking stances of authority on subjects...often because so many people are dismissive of what people actually hear. I guess I've come full circle on this because I'll be the first to say that fancy power cords are unnecessary, and I'll even argue the technical merits that I'm familiar with, but the fact remains that proponents for fancy power cords do in fact hear a difference - and there's really nothing to be gained by trying to convince them that they don't. The human experience is so much more than being hit with exactly identical sound waves - that's why the exact same thing can sound different. It's actually why it often sounds different. A good businessman would be honing in on that all day long... And I think that's why Paul was so successful....he operated on both sides of the coin and was really good at it. now doc...what coin are you talking about? you think paul would sell expensive power cords? or would he pull out the yellow button.....

You've said this many times, on the forum and in person. Perhaps a brief class on some of 50,000 ft views of that 20% might help to increase the class size a bit. When I go over to places like diyAudio, I see everyone doing everything imaginable, well over 90% of which is poorly thought out that is based on the 80% that everyone seems to think is important, but really isn't, and completely discounting the 20% that does matter. When I mention this on a forum, I get extremely nasty and cliquish responses instead of dialogues on why I said what I said, almost as if I was revealing unmentionable family secrets that elicits a particularly nasty or vengeful response instead of a rational one. What's become clear to me is that these people really, really don't know what is important and what isn't. Their requirements are really screwed up, they really never get it right, and they keep drifting in their audio journeys, never becoming satisfied with their purchases and projects, but nevertheless believing that the next project or purchase will give them satisfaction - without stopping to think about their firmly held beliefs about loudspeakers and audio. I liken this to not being brought up in a community or faith where you're exposed to certain truths and insights while you're still young and forming your opinions, whereby you can accept the culture and the overall message that makes the really deep insights possible and ultimately successful. It's the things that are thought to be right requirements but that aren't, that are the source of all the trouble. Perhaps small doses of classes in the form of short articles (i.e., not on the forum but on the blog pages by Klipsch employees) that can be easily accessed by those visiting the Klipsch web site can find - like your mumps video, etc. is that way to communicate. It might also help to avoid those behaving idiotically, believing that they know more than you on the subject of audio, i.e., extreme insulting behavior. I see that kind of thing a lot, everywhere. I know that I've learned a great deal from you and Paul (via you). I value that wisdom...that makes all the difference in the world. Chris i totally get your frustration Chris but i wanted to keep it on topic. and the topic that i want to address that stemmed from the other thread, people really dont know just how much paul was involved in the speaker designs after he let go of the "reins", so to speak. besides, it baffled me too when paul would talk about the 20% (i had no idea what he was talking about) and i probably assume that his 20% isnt another company design philosophy's 0%. and idiots will be idiots or in my case, boneheads. i am not saying that what you have mentioned is a bad idea. what i am saying that maybe its doable after this. and i will say...some of that i just cant talk about. ok with you?

small bite. from the beginning product by product. as i have told some close friends of mine, i had never heard of klipsch much less heard from klipsch. i just a fresh engineer guy out of college, called by klipsch to interview. i got to spend about 45 minutes with paul and in those 45 minutes, i came out of his office thoroughly convinced that the only way to design speakers was to use horns. one of the first projects i worked with paul on was the midbass horn and woofer horn of the kp-600. i know that some people ***** about the way i answer a question with a question (deano?) but that is how paul taught me. it was quite cool and frustrating working with him. but i am sure glad he pushed. paul fingerprints are all over the 600. the network that crosses over from the mids to highs was basically pauls idea. at the time i came to work for klipsch, paul was constantly playing with networks. he was really intrigued by steep slope networks. m derived. the manifold to put two 2" diap drivers together was totally designed by him. i asked him if he would design and of course, he was holding class and i never realized it. that manifold worked perfectly and provided addition up to the freq i asked. it was in these details....this projects within projects......macro details today..........and nuances tomorrow....these nuances that paul would later remind ,me that i just needed, to concentrate on the 20%......

my apologies to the owner of this thread. i think i should take this to a new thread. sorry.

small bite. from the beginning product by product. as i have told some close friends of mine, i had never heard of klipsch much less heard from klipsch. i just a fresh engineer guy out of college, called by klipsch to interview. i got to spend about 45 minutes with paul and in those 45 minutes, i came out of his office thoroughly convinced that the only way to design speakers was to use horns. one of the first projects i worked with paul on was the midbass horn and woofer horn of the kp-600. i know that some people ***** about the way i answer a question with a question (deano?) but that is how paul taught me. it was quite cool and frustrating working with him. but i am sure glad he pushed. paul fingerprints are all over the 600. the network that crosses over from the mids to highs was basically pauls idea. at the time i came to work for klipsch, paul was constantly playing with networks. he was really intrigued by steep slope networks. m derived. the manifold to put two 2" diap drivers together was totally designed by him. i asked him if he would design and of course, he was holding class and i never realized it. that manifold worked perfectly and provided addition up to the freq i asked. it was in these details....this projects within projects......macro details today..........and nuances tomorrow....these nuances that paul would later remind ,me that i just needed, to concentrate on the 20%......

at your service. you want to know what is "heritage"? Any and all stories and related history that you would be willing to share would be of enormous interest. I would buy the book should you ever decide to write one. Why not start today with what you are working on and go backwards and show us how the parts all fit together? Thank you. Best regards Moray James. that is a big elephant to eat!! you know how long i have been with klipsch? i will try small bites at a time and as i said some things i cant discuss...i will post some stuff tomorrow.

at your service. you want to know what is "heritage"? Lay down the Law my friend! Lay out the FACTS for all of us not lucky enough to have been there or have been lucky enough to know Paul on such a personal level Rog i have no law to lay down... specifically you want to know what i consider "heritage"? to me, it means that it is heritage if was paul involved at any level......concept, design, mentor, audition and then continuing what he "blessed". you guys might be surprised at the direction paul was encouraging to "follow that direction senor". i am sure that everyone on here knows that i was lucky to have worked with paul and because of that had insight on what he considered to be the "next steps". some stuff i just can't say but there are some that you can probably guess by looking at the product my group is developing.

at your service. you want to know what is "heritage"?

Paul respected the hartsfield design. He talked fondly about it. I get sick of THOSE who don't respect Paul. If you don't respect Paul then I have no use for you.

Oh my gosh! Maron would scold me and reprimand me....I wish he was here to do it again. Rest in God's peace.

What a bonehead... Klipsch can't win with you. And who should Voight have referenced.....for your info paul was very interested in the work paul voight did. When we started to do tractrix, paul and hunter hunted for horns voight did and we have several voight horns in the klipsch museum. You obviously don't know paul or Paul's klipsch AT ALL.

the jub is not patented....you forgot that one tiny fact.

And it's consequences......

The majority of his patents are based around the jubilee.....hmmmm

And this is why I respect Mr Bob.......

Unfortunately, we now have only one side of that argument. Terms like "absurdly loud" and "big" are not scientific, and have no engineering meaning.No one here now can refute the claim? Sent from my SM-T330NU using Tapatalk and whose fault is that?

or how about this,,,,,,,buy klipsch crossovers!!!! yea! if you all just knew where pauls head was at about networks when he passed......i would have to make room for him in the coral......