Colin

Read: http://www.nhi.org/online/issues/135/reagan.html http://www.democraticunderground.com/discuss/duboard.php?az=view_all&address=389x3103173 http://www.democracynow.org/2004/6/11/reagan_and_the_homeless_epidemic_in

Small, mid engine two seater made from 1984 to 1988. the GT version had a Chevrolet 2.8 L V6 engine rated at 140 hp (104 kW) with 160 ft.lbs. of torque. Always loved this car - but too damn small for my comfort and safety. http://en.wikipedia.org/wiki/Pontiac_Fiero http://www.fierostore.com/ What was the body type? Didn't they use a new scratch resistant polymer resin mold, like the Saturns?

OK, but the answer is still the same, just probably not practical, Bob or ALK would need the SVS Ultra to fashion a new crossover that presents a 8-ohm nominal impedance to the amp, so you can use both channels, which will do what? give you some 3 dB more of output...

BC- don't think a better will make that much of a difference, if you need more punch, get a sub Jonathon Valin in The Absolute Sound (Septemebr 09) gave a rave review to the $800 Odyssey Khartago Power Amplifier comparing to much more expensive amplifiers. Willand - there is a spot on your profile page for your long equipment lists (hint, hint)

I love the delicate, music-like qualities of refurbished, vintage integrated tube amplifiers on big ole horns. I think they are an excellent value. The next best investment for amplification must be vintage solid-state receivers, like the twin-transformer Harmon Kardon 430-930 series receivers that everybody loves so much with big ole horns. These receivers cost about $700 in the seventies, worth about $2K in current dollars, but amplifiers with their sound quality cost about double that. If not HK, that think weight; buy the biggest, heaviest vintage front equipment you can for the least price and then search these forums for somebody to clean it up. Requires some work, but is usually well worth the wait and the price. Frequent poster NOSvalves refurbishes vintage tube equipment. http://forums.klipsch.com/forums/t/120721.aspx

silly me, didn't think of the answer till now, of course you can! That is what really good crossovers do! Really good ones, like ALK's top of the line models, present a almost perfectly flat impedance to the amplifier (though that might mean less current going to the woofer, I don't know) yet the flat impedance and higher impedance curve makes the speakers easier for the amp to drive... Since you alreayd have Bob's crossovers, then you are already getting a much better impedance curve, so my guess is you have another problem (not enough bass depth, boom or tightness)

I bought some GOOG at the depths of the market dive, at $300, only to see it keep going up. Sold it to day trade financial stocks. Now trading at $458. Gold? At $957 COMEX is rising its head against the $1,000 per ounce psychological barrier. If the U.S. and other economies begin to recover, money may diversify out if the USD, resuming its sinking trend and sending GLD and others through the $1K ceiling.

Director Ang Lee has had some incredible hits (Brokeback Mountain, Crouching Tiger, Hidden Dragon, The Ice Storm) and misses (Hulk). His latest is somewhere in between. The 1969 Woodstock Music & Art Fair, held at Max Yasgur's 600-acre dairy farm in Bethel, New York is widely regarded as one of the greatest and most pivotal epochs in popular music history. Lee takes the risky gamble of making a movie however, which is NOT about the music and the concerts. Instead, Taking Woodstock is inspired by the true story of Elliot Tiber and his family, who inadvertently play a pivotal role in making the famed festival into the pivotal event it was. What you get instead is an up-close and personal look at the seminal happening that changed lives, not just of popular music and culture, but of the people involved with it, especially Tibor and his family. Anchored between the Chicago riots at the Democratic convention, the assassination of Martin Luther King Jr., the disastrous Rolling Stone concert at Altamont and the assassination of Robert F. Kennedy Jr., Woodstock was the vibrant blossoming of 60’s liberalism. It marks a decade that transformed a generation of young American adults, popular music, liberal culture and politics. Unbeknownst to them, it was the beginning of the end. Taking Woodstock tells the back story of the beginnings and the end of life as Tibor and his family know it. If you are interested in some of the details of Woodstock and not the concert, you will enjoy this movie. No need to spend $10 to see it in the movie theater though, HT is enough. Other than the interesting back story to Woodstock, a few stand out in this movie: 1 – Concert producer Michael Lang is unbelievably cool. Think James Bond with an Afro. Think Jesus on a white horse surveying a muddy field after a battle. 2 – Six foot, four inch Liev Schreiber (Scream trilogy, The Manchurian Candidate, Defiance, X-Men Origins: Wolverine) as a compassionate 240 pound transvestite. 3 – Yet another incredible performance from Imelda Staunton (Harry Potter and the Order of the Phoenix, Vera Drake) as Tibor’s cankerous and greedy mother.

Mmm, perhaps right, but I don’t entirely trust reviews that don’t give all important room dimensions, list test equipment and test the subject with other pieces of equipment and media… lesen Sie Deutsch nicht

yes, match, otherweise buy the very best and biggest speakers (like I did) that you can afford!

“a great tube amp is indistinguishable from a great SS amp as long as neither is driven hard.” This is the famous Gordon Holt argument; that good solid-state and tube amplifiers are indistinguishable when they are NOT clipping! The key however is that they do clip. The THD rating of an amplifier is at the low point of its THD curve. The amplifier is usually capable of twice that power, although at much higher levels of THD. At its maximum output, the THD of amplifiers screams skyward like a rocket taking off. With tubes as unique stores of energy, a tube amplifier puts out a lot more current than its rating implies. According to a Stereophile article, tube amplifiers may average 5 times the current of its simple RMS rating. Nonetheless, I hope I remember this right: Let’s say you have a 25-watt amplifier idling along with a typically 85dB sensitive loudspeaker. This is average sensitivity for audiophile quality loudspeakers. That means that it takes about three watts to generate a moderately loud average music volume (85dB) at the listening spot in a typical room. Every additional three dB louder requires something like a doubling of the amplifier power. To reach a 88dB peak, the amplifier needs to put out 6-watts. Now the typical CD has fast music peaks some 15-16 dB higher than the average music level. So a CD averaging 85dB in music level can have fast peaks at 100dB. To reach those fast music peaks properly, without clipping, the amplifier with this loudspeaker needs a quick 38-watt burst of energy. You may NOT hear it, but the amplifier limited to just 25-watts is actually clipping, during those micro-second passages, at about 95db, or only 10dB higher than the average music level. As the amplifier reproduces those fast musical peaks, it is putting out maximum power at very high levels of distortion. The result sounds hard, harsh or metallic or edgy, particularly with solid-state amplifiers. Yet, doubling the power of the amplifier doesn’t make an enormous difference in the volume that it can produce with 85dB loudspeakers. That only makes the sound some 10dB louder, but it does prevent clipping during fast musical passages, so the more powerful amplifier should sound better with these speakers. (This says nothing about impedance control of the woofer. More powerful amplifiers double their wattage into lower impedance loads. This means the amplifier controls the woofer excursion, not the woofer controls the amplifier. More powerful amplifiers often sound better, not simply because they have more headroom, but because they often have better sounding bass.) The type of distortion makes a very big difference. In a tube amplifier, some say the type of distortion resembles natural orders of musical instruments, so the heavy distortion when the amplifier is clipping during musical peaks is said to be good. Plus, the weaker horsepower of the tube amplifier rolls off quickly during those peaks, this is called soft clipping. The heavy distortion of a SOLID-STATE amplifier when it is clipping does NOT roll-off gently, this is called harsh. When your ears are ringing because the music is so loud, it is NOT merely the volume that is making the cochlea cilia of your inner ear vibrate in pain, it is also the tremendous amount of distortion as the amplifier clips continuously. 90 dB/w/m With super-sensitive 90dB loudspeakers, a 25-watt amplifier clips fast musical peaks at 25-watts, near the musical peak, about 100dB. At the average 85dB playing level, this amplifier and loudspeaker combination should NOT obviously sound like it is clipping fast musical passages. With an ultra-sensitive 95dB loudspeaker, the little 25-watt amplifier has plenty of power to reproduce the 100dB musical peaks with room to spare. Call this headroom. Big Ole Horns With fantastically sensitive big ole horns, at 100dB/w/m or more, things begin to get a little ridiculous compared to the typical solid-state receiver and cone loudspeaker set-up. For one thing, the loudspeaker needs only a hundredth of a watt to reproduce a steady tone at conversation levels of 75dB, as measured two (2) meters away. Peaks on CDs are actually only about 12-15 dB above normal levels, requiring only a third of a watt. Therefore, a flea-powered 3-watt tube amplifier will reproduce the musical highs at 90dB with about a third of a watt, while the 25-watt amplifier could produce an ear-splitting 110dB before clipping! That is why big ole horns, especially in the hyper-critical mid and high range, need quality watts, not lots of them. If it wasn’t for the low impedances of the woofers, a good quality (meaning low THD) low-powered solid-state or tube amplifier is all the power anyone needs with fantastically sensitive big ole horns.

por que?

Doubt is all Dialogue, Acting and Weather There is no doubt. Nominated for Best Performance by an Actor in a Supporting Role, Best Performance by an Actress in a Leading Role, Best Performance by an Actress in a Supporting Role, Best Performance by an Actress in a Supporting Role and for Best Writing, Doubt is an acting tour de force. Remember that name. John Patrick Shanley. He is the writer of only a dozen movies, but a few of them are quite good. He wrote Alive with Ethan Hawke, Joe Versus the Volcano with Tom Hanks and Meg Ryan and the sweetheart maker, Moonstruck with Nicholas Cage and Cher (Oscar for screenwriting). The 2005 Pulitzer Prize for Drama, this Broadway play is all dialogue, acting, and weather. Cold weather. Cold northeastern winter weather. The kind that blows across your path, knocks down limbs in your way, obscures your vision and maybe makes you see things that aren’t there. The kind of hard wind that blows away the fine line dividing right and righteous, wrong and wronged. The kind of cold Meryl Streep exposes as Viola Davies offers up her son to the bare bones of stark truths. “Doubt,” Hoffman’s character says, “can be a bond as powerful and sustaining as certainty.” Just as Shanley did with the play, none of the other actors know if Father Flynn is guilty. Yet, the Spartan dialogue gives these accomplished angels their wings. Doubt floats with the power of their performances. Nary is a word wasted. Neither a look nor a glance spent unwisely. With performances like Julia & Julie, Meryl Streep will soon be sweeping aside all other acting award records. Those who love her need look no further than Doubt for proof of her incredible talents. Philip Seymour Hoffman, Amy Adams, Viola Davis and John Patrick Shanley follow in her footsteps. They track her out of the warmth of what you think you know is right and good and into a shivering Bronx, dusted with unfeeling snow. Love these lines! Father Flynn (Phillip Seymour Hoffman)in Doubt: Well,I’m not going to let her keep thisparish in the dark ages! And I’mnot going to let her destroy myspirit of compassion! That I canlook at your face and know yourphilosophy. It’s kindness. There are people who go after yourhumanity, Sister, that tell you thelight in your heart is a weakness.Don’t believe it. It’s an oldtactic of cruel people to killkindness in the name of virtue. There’s nothing wrong with love. http://www.miramaxawards.com/uploads/Doubt_Script%5B1%5D.pdf

Welcome to the wonderful world of big ole horns. Please post your system information in your profile so the thoughtful and considerate posters here can give you relevant and valuable answers. Are you going for the intimate, natural 3D studio sound or more of the rock concert/movie theater experience? Budget? Room size? Room shape? Corners available? Primary music or movies? What percent music or movies? Prefer extra bass punch or flat accuracy? Multi or dual channel? What kind of music? How loud? Other planned additions or upgrades? Own or rent (can you install in walls)? Tweaking audiophile – handy, willing to DIY? Prefer new or used? And some personal background: How long you have been a Klipsch fan? How did you find out about Klipsch? What else have you tried? With my big ole horns, I dial my subs up to the point where I just barely hear them when I am standing next to them, this seems to work best to add the strength I like to the deepest bass, but it varies from listening to music or movies (I like a lot more depth and volume for action movies) 10 by 18 is small and narrow, probably get some serious bass sucking modes, you might be better off with some heavy duty RealTrap acoustic panels instead; they will even out the bass sucking modes, the mid-range and the treble

I love my Khorns, your room is not too big, in fact it is just right, the Khorn bass is not lean, but it is accurate, just go listen to a string bass and hear for yourself, that said I do like more bass push for movies and sonic impact and added a ACI Titan deep bass sub since you already have RF-7s, I would seriously consider modifying their crossovers, RF07s with Bob Crites or DeanGs crossovers are just as good as Khorns and much easier to place and move I gave my neighbor my card, but she still called the police (several times) and they tell me my music is not too loud (but they don’t know the deep bass shakes the walls) Find out when they are not home and crank the music then Be careful, ear damage is actually pretty easy to accomplish when you are young but only shows up when you are old Still consider a tube amplifier to drive your ultra-sensitive horns

as much as I wnat a tubed universal player (Blu-ray too!) for music, movies and better yet music movies, I think my next source may be a used laptop with a good DAC the Benchmark DAC has USB inputs (from your PC) and RCA outputs to your pre-amp or amp

I don't know enough to know if you can recover frtom a HD with a read error...

As a mature look at the game, the personalities and the big business of professional football in the U.S., Al Pacino, Jamie Foxx and Camren Diaz must rank at the top in Any Given Sunday. Yet the next one that comes to mind is the cheesy, romantic comedy with Kneau Reeves and the always-good Gene Hackman, The Replacements: “Pain heals. Chicks dig scars. Glory... lasts forever.”

Hope you enjoy these stories: http://www2.tbo.com/content/2009/aug/04/remembering-julia/ and this review: http://tboextra.com/content/2009/aug/04/movie-review/tboextra-dining/ One last thing must be mentioned. There are not one, not two, not three, not four, but dozens, yes dozens, of instances where the square black chunk of the boom mike can be seen floating down into scene! It seems to happen most often in mid range one-one dialogue scenes, such when Tucci and Streep are conversing on a couch. It is simply amazing that such glaring faux pas could make it out of the can into public view. I really hope the “preview” version I saw two weeks before the opening is corrected before its mass distribution.

the other problem is where is the msuic clipping and why the woofers require an enormous amount of energy to make fast, high and deep bass waves, clipping in this region doesn't sound harsh, just merely anemic

oh, no! say it ain't so, please post them all!

Welcome to the wonderful world of big ole horns. Please post your system information in your profile so the thoughtful and considerate posters here can give you relevant and valuable answers. Are you going for the intimate, natural 3D studio sound or more of the rock concert/movie theater experience? Budget? Room size? Room shape? Corners available? Primary music or movies? What percent music or movies? Prefer extra bass punch or flat accuracy? Multi or dual channel? What kind of music? How loud? Other planned additions or upgrades? Own or rent (can you install in walls)? Tweaking audiophile – handy, willing to DIY? Prefer new or used? And some personal background: How long you have been a Klipsch fan? How you got introduced to Klipsch? What else have you tried? I recently interviewed Mark Casavant, Vice-president of Klipsch product development and Kerry Geist, one of their head engineers about their new flagship, the Palladium P-39F, for EnjoyTheMusic.com. I asked them what was the softest point in their product line, where do you get the highest sonic quality for the least price? They said the RF-82 was their “wheelhouse.” It is the point at which their best value revolves. In fact, at 33Hz-23kHz +/-3dB and sensitivity of 98dB, the RF-82 specs look very similar to the twenty times more expensive P-39F!

what are the tubes? need pictures contact NOSvalues here or at his Web site: http://www.nosvalves.com/

Lots of issues here. The FTC might have a rule, but actual performances vary surprisingly widely. Tube watts are not SS watts. The old saying was that tubes watts are twice as powerful as SS watts. Now it turns out that “Tubes Do Something Special” (Peter van Willenswaard, Stereophile, September 2000, http://www.stereophile.com/showarchives.cgi?357). They put out a lot more voltage than we knew. Willensward measured recorded music on a 9- watt amplifier with 300B tubes. He found tubes were more than 5 times more powerful than suspected! “You'd need a 50W transistor amp to realize the same peaks my 9W 300B launched without wincing at my speakers.” I’ve heard RF-8s with DeanG’s crossovers in the same room as unmodified Khorns. They can sound more similar than different. Tube amplifiers don’t need to be expensive. ASL and Cayins are quite reasonable. Outlaw does seem to be more popular here than Rotel. It could be your room. Try the Paradigms in the same room. Bi-amping with tubes and solid-state is a great solution.

http://www.spike.com/blog/top-10-football/73015?page=2&numPerPage=1 Not sure I can agree with this list, how about you? What about "We are Marshall?" The Longest Yard?