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Tizman

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About Tizman

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  1. Yeah sure, you’re rational. That’s what makes you comfortable suggesting forum members go elsewhere. Whatever.
  2. I thought Chris A was talking about the midrange horn’s radiating pattern coming out of it and then rolling around and off the top, and not the vibrations of the top panel. I would think that the top panel vibrations would be fairly low in level.
  3. I get it now. I didn’t know what I was looking at.
  4. How are these panels situated with respect to the speakers and your room?
  5. Thanks for all the replies and the excellent information contained within. I am getting a basement area ready for a listening room/home theatre, and will be using a DIY pair of Klipsch inspired speakers there. My La Scalas are upstairs in the family room and will remain there, unmolested. The ceiling in the new room is around 7.5’. Would a carpet and sound absorbing panels on the ceiling be the ticket if I use Klipsch Heritage style horns in my DIY speaker? Alternately, as may end up being the case, if I use CD horns instead, will these room treatments be less needed?
  6. Yes. A very good idea, and not a permanent thing either.
  7. I wouldn’t modify my La Scalas, but I will go to the effort of terminating the horns better in future DIY speaker builds that include horns. It’s a matter of many small differences adding up to larger ones. That’s why I asked about the LS II. Perhaps the termination isn’t audible. I wonder if anyone has modified their La Scalas to create a better transition, and have measurements or listening impressions to share?
  8. I just finished watching the video referenced by WMcD (thanks!), and it looks like the termination of the tweeter horn in the LS II is better than in my LS. The tweeter horn is surface mounted in the LS II. The midrange horn termination in the LSII is the same as the LS.
  9. Thanks for the replies and photos. I have been doing some reading lately about horn mouth termination and it’s impact on measured horn performance and subjective listening. I own a pair of 1976 La Scalas, and have wondered why they have a straight cutout for the midrange and tweeter horn instead of having the transition be bevelled to follow the angle of the horn’s mouth. Given the wavelengths in each case, this would seem to be a bigger issue for the tweeter horn, but is not ideal in either case. This is based upon what I have been reading online. I was wondering if the LS II corrected this. It looks like it is made in the same way as the older LS. The transition from horn mouth to the room is straight, and thereby interupts the expansion of the horn with a constriction and a small lip at a point where it would be best to have either a bevelled motorboard matching the line of the horn, or this bevel in addition to a rounded termination of some sort. They say that a little information can be a bad thing, and I am a relative newbie with respect to horn speakers, so I may be off base about this.
  10. I haven't found one....
  11. Hi All. Just wondering if anyone has a photo of the La Scala II without its speaker grill? I am curious to see how the mid-range and tweeter horns are terminated at their mouths on the LS II, and haven't been able to find a photo online. Cheers, Tiz
  12. Good idea. That way way you won’t have to hear any opinions or about any experiences other than those that are the same as yours. By the way I don’t have to prove anything to you. Whatsoever. I have my own experiences, and I choose to share them in this forum. You should join a forum for “audiophiles” that can only hear the difference between measurements. That should make for some interesting reading.
  13. The idea that wires need break in is a far cry from the idea that a component that is mechanical needs break in. A loudspeaker driver is made out of materials that move, have compliance/flex etc. These sorts of things change once used until they get to the point where change is minimal over time. Thinking otherwise is just plain dumb.
  14. In the article, Loesch refers to a paper that I looked up and read a while back that explains why a very well regulated supply is a good idea, even for a SET amp. My amp will use a (different) filament regulation circuit, one for each 300B, and one for both C3Ms, (Rod Coleman’s), so all voltages going to the circuit will be regulated. Seperate power supply chassis with an umbilical to the circuit chassis, so no AC in the circuit chassis.
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