triceratops

Me too.

Hey Chris and Josh, What about the University Cobreflex mid horn? It seems to me some folks on here think highly of that horn and I think it may just bolt into the space. This is the horn that is used for the University Classic speaker. I don't know what crossover frequency is used for it, but it may be discussed in one of the Classic threads. triceratops

It's too early for April Fools posts so I'll take this at face value and say that hasn't been my experience, Jon. I have a Tandberg cassette machine that I would really like to give the smash treatment to. I think it's a TC-310 or 320 or something like that (not at home right now). The cassette fouls the door and prevents the door from opening so it won't eject. It's a total mechanical joke. I've got a bunch of Nak cassette machines including a Dragon, an LX-5, and a 303 "flipper" and they've been great for me. I've also taken a liking to Nak receivers with Stasis power amps designed by Nelson Pass. As for the sentiment that Nak decks "sound like bum", I'm not sure what to say. You should know that the Nak decks used different equalization than everyone else, based on their own interpretation of industry standards. As a result, playing a tape on a Nak deck that was recorded on non-Nak is less than optimal. Good luck with your Tandberg cassette deck, and hopefully you're not using a Tandberg receiver too. Although they looked cool but were about as unreliable as B&O electronics. Best to stick with good ol' Tandberg reel to reel... triceratops

Dave, Thanks for your insight. I really think the midrange on the Altecs sounds great, even if the bass is not as strong as the Khorns. The Magnificents are owned by a friend of mine who already has Khorns and doesn't have the space for the Magnificents at home. We're working out a deal and he is helping me out by taking a few things in trade to lower my cash outlay and help me make some space to help win the approval of my remarkably tolerant wife. I'll post photos after we get it all worked out. triceratops

Thanks for all the suggestions--I will pass them on to my friend. Has anyone been successful at getting a significant discount on current Heritage that was not on the retailer's floor?

Sheltie Dave, I have been keeping a lookout for some clean Model 19s or Valencias for a while, but I recently came across some Magnificents (the WAF version of the A7) and am thinking about purchasing them. They are in good shape with all the original drivers and sound quite good, although they are about as big as a Khorn without the capability to fit neatly in a corner. I already have two pairs of Khorns (plus Belles, LaScalas, Cornwalls, Heresy's, and RF-7s) so I thought that the Magnificents would be a worthwhile addition to the collection and fun to compare with the Klipsch stuff. Do you prefer the other Altec models to the Magnificents because they sound better, are a more practical size, are more available, or some other reason? Thanks in advance for any advice! triceratops

I wasn't aware that the RIAA had anything to do with artists royalties at all. They represent music producers like record companies and labels. ASCAP and BMI are the artists rights groups who are in charge of collecting and distributing royalties. Thanks for pointing that out, Don. You're right that the RIAA does not have anything specifically to do with paying artists. They are serving the interests of the record labels and the labels have contracts with the artists and are supposed to pay royalties to the artists. The RIAA says it is there to protect the intellectual property and free speech rights of the artists, but it is only indirectly through their support of the industry. They want to sound like they are protecting the artists, but they are really protecting the interests of those that historically have cheated the artists. ASCAP and BMI is a different story, they are there to collect fees and distribute them to writers and publishers, not performers. I realize a lot of great artists write their own music, but they may or may not own the rights to what they wrote! In the old days it was common for young bands to sign away publishing rights to their songs to the label when they got a recording contract. There is a striking example of this in the movie about Tom Petty and the Heartbreakers "Running Down a Dream." I also recall some years ago when there was discussion about Michael Jackson's assets and how much money he had, and it was mentioned that he owned the publishing rights to much of the Beatles catalog--so apparently even the Fab Four didn't own the rights to what they wrote. In the past decade or so ASCAP and BMI have engaged in bullying every possible public venue like restaurants, bars, stores, etc. that play music for their employees and patrons. These organizations have worked in cooperation with cable music stations to get these venues to stop playing LPs, CDs, or tapes and sign up for a cable music service. The music service then pays a royalty to ASCAP/BMI. So now all these places that used to personally select distinctive music are forced to use corporate-produced programmed stuff. I frankly think it sucks. I should also probably add some perspective to my cranky comments on this thread. I buy lots of CDs and LPs and never download music, not even legal downloads because I like to have a physical item. Whenever possible I go to live shows and try to buy recordings directly from the artists. I love music, but don't like the record industry. triceratops

This is great news. Most of the corporations in the record industry have engaged in criminal behavior for years. They have stiffed artists for royalties as a matter of course, and only artists with the resources have resorted to lawsuits to eventually get paid by the industry. The RIAA suing file sharers was almost laughable in that they claimed they were protecting the artists royalties (yeah, the same ones they weren't paying). But the RIAA was starting to get some serious legal challenges to their lawsuit strategy and they were probably going to have to start paying for defendants' legal expenses in some cases where they were challenged. The whole premise of the lawsuits was based on people rolling over and giving up a couple of grand to stop the threats. A lot is changing. More and more artists are producing their own music and distributing it too. The pay-what-you-want Radiohead download was a great concept and turned out to be a lucrative deal for the band. A couple decades ago, the record industry forced digital technology down everyone's throat because it was cheaper to make (less shipping costs, less plastic costs, less storage costs and cheaper to produce) yet they charged more for it. A lot more. Ironically, the digital revolution is what did them in because the technology changed the patterns of production and distribution. Wouldn't it be nice if there was a countersuit against the RIAA for all the money they extorted from people in the downloading lawsuits, and all the legal expenses they forced on the defendants? Where did the money go? Did they give it to the artists? Yeah right--they don't even pay them for the sales of their records!

Still hoping for some input on this topic...anyone?

A longtime friend of mine has been listening to Klipsch stuff at my house (specifically RF-7s, Khorns, La Scalas, and Cornwalls) for a few months and has decided he would like to buy a new pair of La Scala II's in cherry finish. Unfortunately, full MSRP is more than he can swing. I recall that when Dean bought his new Khorns way back when, he got them for about $2K less than retail. Does anyone have any ideas how my friend could get La Scala II's for a similarly significant discount? Please don't post prices or dealer's names on this thread, as that would surely cause some ill will. If you have any ideas about what would be a realistic street price or if you have a lead on a good deal on some LS II's, please send me an email or PM. If you have suggestions for general strategies for finding a pair, I'd love to hear it. I went on the Klipsch website and found there are no Heritage dealers in my area. Perhaps my friend could go to a Reference dealer (there are a few nearby), offer to pay in advance, and take delivery of the speakers in boxes at the retailer's store. The sale would require no discussion, no demo, no testing, no delivery, and no set-up. It would be a low-stress transaction for the dealer, and hopefully still profitable even at a reduced price. Any other thoughts? I hope that this question is not in poor form and doesn't violate Forum policy. Amy, please let me know if I should modify or delete this question--just trying to help a buddy get the speakers of his dreams! triceratops

Nice score, Pete! Fini also helped advise (and inspire) me on the TD 124 I purchased from a local seller earlier this year. I am feeling guilty that I haven't posted a photo essay--but I haven't had a chance to start the rebuild process yet, and there are a number of projects still ahead of the turntable. Mine needs some work to straighten out the speed, but it looks pretty clean. Like Fini's, mine came with the same plinth pictured.

Fini- Thanks for the Eddy Current Brake reference--it looks pretty straightforward. I'll have to dig out my old feeler gauges! Any idea how much adjustment is in the fine tuner in the center of the speed knob? Does it turn in a limited range (e.g. one rotation)? Dave- Yes I will try the AT cartridge first. My experience with AT is limited to their inexpensive cartridges decades ago. I can swap out the headshell with my other SME arm which has an ancient B&O SP-12. I bought a Denon DL-103 from the German guy on Ebay a couple years ago and it is still in the box. I bought that cartridge before I learned that it is not a good match for the improved arm, so I never unwrapped or installed it. I may try to sell that as well as some of my other turntables to help subsidize this purchase. In regards to the speed problem, both 33 and 45 rpm are affected. I haven't tried 78 yet. I'll probably wait until the weekend to mess with it. Best in horns, triceratops

Yes, as Fini said, I pulled the trigger! Thanks to Gary, Kudret, Dave, and Fini for their timely advice on this turntable. Also a special thanks to Fini for the detailed inspection advice and the on-site consultation by phone! There is one problem with this piece--it does not run at the correct speed according to the strobe. The speed adjuster works but won't bring it into range. Fini noted that there is an internal speed adjustment, so I'm hoping that does the trick. Other than that glitch the turntable looks and plays great, and is very quiet! Coast-down time is about 40 seconds and the outer platter is straight and true. I didn't have the guts to pull out the inner platter, but I looked underneath and everything looked clean and tidy. The table was serviced by a local tech in 2006 for a seized motor and idler wheel (it had been sitting for a while). He got them unstuck, cleaned, and lubed and advised regular usage. I will start another thread and put up photos in the next few days. Again, thanks to everybody. I would not have even been aware of the Thorens TD-124 if I hadn't read about it on this Forum. Best in horns, triceratops

Hi Folks, I have the opportunity to buy a Thorens TD-124 locally. It looks to be in nice shape cosmetically--the factory plinth has a few nicks and scratches but the enamel finish on the table itself is very clean. The tonearm is an SME 3009 Type II Improved and the cartridge is an Audio Technica AT14SA. It does not have a dust cover and doesn't appear to have ever had one mounted. The price is $750. Is this a good or great deal, or about the average price these days? On the plus side, it is local--so no shipping and I can check it out before buying. On the minus side, the SME 3009 Type II improved is the same arm I already own on my TD-125 Mark II. I realize that the "improved" arm is less desirable and has nylon bearings, so it is not as sturdy as the non-improved version. Any advice would be appreciated as soon as possible--I will hopefully see the turntable Tuesday morning (8/12/2008).

Excellent score, Josh! I have a pair of mismatched Vert Cornwalls of about the same vintage. It could be a long shot, but we may be able to swap some parts back and forth and each wind up with a matched pair. Your one woofer is a Jensen and I also have one of those in my mismatched pair. I'm in Oregon. Triceratops

I seem to remember by that time Becker and Fagen were doing a lot of their recording in a home studio with an Otari 8-track. You can pick those up pretty cheap these days! But I guess you've got to have some serious mojo to make it sound like Steely Dan.

I guess I'm wondering about the 55M's combined with A's or AA's. Michael says AL-3 is preferred. Does anyone else use AA's with the 55M's and if yes what is your experience? Also is there any issue with using 77M's with A's or AA's? Best in horns, Triceratops

Shawn, I was not familiar with The Onion, and when I read this I laughed until I almost passed out. When I regained my senses I read it aloud to my wife to provide the proper emphasis for all the expletives. Thanks for posting this link. I can't believe Gillette had the sense of absurdity to actually make a five blade razor after this was published. Truly amazing! Triceratops

Like many topics, I agree with Michael on this. I got a 5-blade razor free in the mail from Gilette and tried it. It seems too dang big for my face--like trying to park a bulldozer in a narrow parking space. But when I went to the store to buy blades for my two-blade razor a couple months back, there were none available. I had a handle that fit the two-blade units that flex in the middle and the manufacturers seem to have abandoned this format to concentrate on the bigger more expensive razors with 4 or 5 blades. The store still had blades for the second-generation Sensor (the one with two blades that pivots), but no handles and I didn't have a handle to fit those. After looking for a while I finally found a Sensor handle for sale and now I'm back to two blades again--just a different format. I don't like the disposables because of all the waste, and also because they are so lightweight I don't have as much control and more easily cut myself. Here's my audio equipment parallel: when CD's first came out I ignored them and continued to buy LP records. I imagine a lot of people did the same thing and after a few years the record industry stopped releasing new stuff on vinyl--to force the holdouts to buy CD's. I suspect the razor industry will do the same thing and get rid of all the replacement blades that aren't 4 or 5 blades. Maybe I'll start working now on my straight razor technique!

I'm sure the trailer will be fine. You DO want to take the khorns apart to move them, even if you put them back together again inside the trailer. Here are a few of reasons: 1. They will weigh less and will be easier to manage and less likely to get biffed (although they will still be plenty big and awkward). 2. Each top and side grill are each held on by two wing nuts a piece. That's it. They're made to come apart quickly and easily for moving. 3. You will need to unscrew the two spade lugs at the woofer door terminal and put roll the woofer wire up in the tophat before you take the tophat off. 4. The tophat removal may not be essential, but you really want to remove the side grills. They can get stressed and possibly broken if you don't. Here are some additional notes on packing materials: 1. I would not put anything too squishy under the speakers. Just use a layer or two of corrugated cardboard. The reason is you want the speakers to be as stable as possible, not bouncing or tipping on the floor. 2. However you layer the padding on the sides of the trailer, make sure there is something soft against the finish and there is corrugated cardboard under any ropes or straps to spread out the stresses. Safe travels!

Add my compliments to all the others--beautiful job, Catbo!

As always, Michael knows his stuff. The nice thing about having the speakers in the van is you can keep an eye on things and be aware if anything shifts. You can't see what's happening in a trailer, so it could require a lot more stopping and checking and could be a bit nerve-wracking. If you get a decent-sized van next week and remove the seats you should be able to lay the khorns on the floor face down (or tipped on one back surface) with the tophats and side grilles removed. You would then have to fit the tops in wherever in makes sense. In addition to blankets I use dense foam pads (like an exercise mat only denser) and lots of cardboard. I put foam down on the floor, then cover it with cardboard, then blankets--so there is nothing abrasive against the finished wood. You want to make sure that everything is filled in so it can't shift or slide. The problem with going a short distance is you've got to pack it just like you're going across country. You can't have too much packing material. Go very slowly on packing and you'll do great. We'll be looking forward to the continuing saga...

John, The University driver you mention was used over many years, but it could support the idea of these Klipschorns being pre-1960 or older. The cabinets look like they have been nicely decorated with veneer and trim, which is not a bad thing--they probably started life as plain, unfinished fir plywood, without grills or framework. Regardless of when they were made, the fact that they match is great--and puzzling. One of the struggles in dealing with very old K-horns is to come up with a matched pair, because they were sold as singles and there were so many cosmetic variations. At some point someone obviously did all the hard work and matched these up. If they sound as good as they look and the price is right, you may want to go for it. triceratops

Klipsch was always very mindful of owners wanting to personalize their equipment. This is evidenced by the designer and unfinished forms of the Klipsch Heritage speakers that were available. And in the days of the pie-slice logo (Pre-1977) even the fully finished speakers came with the badges stapled to the back of the cabinet in a plastic envelope. So you could decide if you wanted badges or not--and where to place them! Later when the straight Klipsch logo with the block lettering was created, the speakers came with badges attached. But a lot of the badges got knocked off when they were moved. So there are plenty of scenarios that could explain the lack of badges. Good luck--hope they're Cornies! triceratops

For those intending to go to the 2008 VSAC, here's a heads up: 1. The registration fee increases after March 15th from $135 to $165: http://www.vsac2008.com/index.html 2. An article on VSAC in issue 14 of Tone Audio, pages 39-42 http://www.tonepublications.com/TA-mag.htm I'm planning on going but haven't forked over the cash yet. Anybody else register yet? If you didn't want to go to the seminars, a pass to the sound rooms is much cheaper. triceratops