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hsosdrummer

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  1. hsosdrummer

    WKRP's first show?

    I have the whole series on DVD. The thing that took so long was working out the rights to keep the original music, most (but not all) of which made it into the DVDs. I don't like the MeTV broadcasts of the show because instead of showing it windowboxed in the original 4:3 aspect ratio they zoom-in on it so it fills the entire 16:9 screen and it looks terrible. If you love the series like I do it's worth buying the DVDs. Amazon has the set of the complete series for around 69 bucks. I've always thought you could tell a lot about a man by their answer to the following: Bailey, or Jennifer? (Bailey all the way!) Similar issue about Gilligan's Island: Ginger, or Mary Ann? (Mary Ann, of course!)
  2. I know someone who got into playing modular synthesizers precisely because when he was 5 years old he used to play with an old telephone switchboard that was in the basement of the house he grew up in.
  3. You want knobs? I got yer knobs right here...
  4. hsosdrummer

    Klipschorn and...

    I owned Klipschorns between 1978 and 1992 and used them between 1978 and 1985. During that time I ran them from the following amps: Yamaha CA-610II integrated (A good starter amp for the first few months.) Yamaha B2 (A wonderful sounding amp on K-horns: smooth and dynamic, but a bit 2-dimensional.) Luxman MB3045 (Very liquid sounding and very dynamic, not quite as smooth as the B2 but with excellent 3-dimensional soundstaging.) Nakamichi PA-7 (Sounded meh, but I worked for Nak and it was free. Plus, I couldn't afford to keep replacing the tubes in the MB3045s. They ran through a set every 9 months or so.) Nakamichi PA-7II (Noticeably less meh sounding, but still not up to the sound of the Luxman or Yamaha.) Electron Kinetics Eagle 2a* (Absolutely combined the best qualities of the B2 and the MB3045s: Incredible dynamics, smooth yet detailed from top to bottom, pinpoint 3D soundstaging and terrific deep bass performance.) I also had the opportunity to run the K-horns on an Electron Kinetics Eagle 7a for a weekend, and it seemed to add about an octave to the speakers' response below 40Hz. No sh*t — I heard super deep bass in recordings that simply didn't have anything that low when the speakers were run by any other amp — it was downright scary. By the time I returned that amp to the dealer the following Monday (I couldn't afford to buy it so I bought the Eagle 2a as an affordable compromise) my upstairs neighbor was ready to kill me. *Although I no longer own my Klipschorns (for the past 30+ years I've lived in homes that were a terrible match for Klipschorns) I do still own the Eagle 2a. It's running my 1980s-vintage Cornwalls as studio monitors in my recording studio. And it kicks their asses.
  5. hsosdrummer

    Was Heresy the First Sealed Speaker

    When I was selling audio gear back between 1977 and 1981 the dealer I worked for carried both Klipsch and Bozak, and we had a pair of demo Bozak Concert Grands powered by a MacIntosh MC2300 amp. They did sound very, very good: Low distortion, good detail, smooth treble and good bass. Unfortunately, one day someone (not me) pushed things too far and fried several drivers in each Concert Grand demo speaker. The store eventually shipped the pair back to Bozak and never replaced them (I don't think we ever sold a pair while we had them on display.) BTW, we displayed the Klipschorns in a different room than the Bozaks (only one sound room had two 90-degree corners on the same wall) so we could never directly compare them with the Concert Grands. My own impression was that the Bozaks were somewhat smoother sounding with very solid bass, but had less life-like dynamics and just weren't as emotionally involving as the Klipschorns. I know that the soundroom walls were not constructed as solidly as those in a typical home and the corners were much further apart than they would be in a typical home, so our demo Klipschorns definitely were not performing as well as they normally would. (Even so, I still managed to sell 2 pairs of Klipschorns and 2 Klipschorn/Belle Klipsch arrays while I worked there, as well as La Scalas, Cornwalls and tons of Heresys.)
  6. hsosdrummer

    Was Heresy the First Sealed Speaker

    Bozak speakers were of infinite baffle design, which completely prevents the woofer's rear wave from cancelling its front wave. (Enclosing the cabinet provides the same acoustic effect as mounting the woofer on a flat baffle of infinite width and height.) Although this does prevent destructive interference, it wastes half of the energy produced by the woofer. Achieving good efficiency and low bass response in an infinite baffle requires a very large enclosure with several woofer drivers. The Bozak Concert Grand speakers in the picture are close to 5 feet high, 3 feet wide and 2 feet deep. Its woofers were similar to Heresy woofers in that they used relatively light cones with an accordion suspension that combined with the sealed cabinet to limit cone movement and reduce distortion (see below). Bozak woofers differed from Klipsch woofers primarily in their cone material: Klipsch woofers used paper/pulp cones while Bozak woofers used a cone made from a blend of paper/pulp and wool fibers. Acoustic suspension speakers like AR and Advent work completely differently. They use a woofer with a heavier cone and a very loose suspension, which lowers its resonant frequency and allows it longer excursion. The enclosure is relatively small and tightly sealed, allowing the air trapped inside to act as a spring on the cone, helping to control its movement. When all these factors are properly balanced the speaker can produce bass as low as 30Hz. However, all of this tomfoolery severely reduces the speaker's conversion efficiency. requiring 10 to 100 times the amplifier power as more highly-efficient designs such as used by Klipsch. This makes it impossible for acoustic suspension speakers to play at life-like volumes without being damaged. The other price paid by acoustic suspension speakers is a big increase in modulation distortion, which is directly proportional to cone movement (more movement = more modulation distortion). Look up the old Klipsch brochure titled "Yawns or goose-bumps?" for a great illustration of the limitations of acoustic suspension speakers.
  7. hsosdrummer

    New to Klipsch

    Just as an FYI about room size, I am currently using a pair of 30+ year old Cornwall IIs as studio monitors in my home studio control room, which is exactly 8 feet by 8 feet with an 8-foot high ceiling. As long as I listen at sane volume levels (under around 95dB peaks) I have never felt that they were too much speaker for such a small room. Even though they're on stands that put them around 16" off the floor they have good bass performance, although my next step will be to remove the stands and put the speakers on the floor on their factory risers. Without a subwoofer, Heresys of any vintage are likely to have somewhat inadequate bass performance for house and hip-hop, but for the other music genres you list a simple twist of your preamp's Bass control (maybe +4dB or so of boost) should make everything sound great without a sub. However, if you can at all afford a pair of Cornwalls, they should work fantastically well in your situation, and would not require a subwoofer no matter what type of music you feed them. They would be the closest you can get to the overall performance of the Klipschorns that so impressed you. (Although I have not personally heard them, I've read nothing but glowingly positive reviews of the new Forte III.) And here's just a small bit of advice from an old fart who's been playing this audio game for going on 50 years: No one has ever regretted spending more to get what they really want in the first place. Regrets result from making compromises. Have fun!
  8. hsosdrummer

    March For Our Lives

    4,000 people marched along the community bike path here in Burbank, CA on Saturday morning. The children are marching because they've been the targets. When you're the target it doesn't much matter who the shooter is. [In before the lock]
  9. hsosdrummer

    Sir Ringo

    If you look anything like the man featured in your avatar I would advise that your appearance provides you with no basis upon which to cast aspersions on the appearance of others.
  10. Diffusers placed in the sidewall 1st-reflection locations will usually produce better-sounding results than absorbers will. However, if the room is fairly reflective, absorbers will likely improve things over doing nothing at all.
  11. hsosdrummer

    Anti- Intellectualism

    Simple: The ones who make the most sense. It is the person receiving the information who bestows equality or inequality on the information they receive, not the people transmitting it. If a receiver of information cannot tell the difference between an opinion or thought that is based on a knowledge of the facts and an understanding of history versus one that is based on fear, hysteria and an ignorance of history (willful or not), the problem lies with the person receiving the information, not with those transmitting it. Just because there are twenty voices loudly shouting doesn't mean that all (or any) of them deserve our attention. It is up to each of us to exercise critical thinking when deciding what information to consume.
  12. hsosdrummer

    The Latest in High End Audio

    Around 1982 when Dave Wilson first premiered the Wilson WAMM (Series 2) speakers at CES I managed to secure a seat (right in the sweet spot) at one of their invitation-only demos (limited to around a dozen people at a time). After a lengthy spiel about the speakers, Dave played one of their Wilson Audiophile recordings through the system. As the rest of the audience reacted to the sound by seeming to acknowledge the coming of the Audio Messiah, all I could think to myself was "What the f**k have these people been smoking?" To put it plainly, the speakers sounded like huge... (wait for it)... speakers. At no time did they produce an illusion that real human beings were playing and singing (the recording featured Dave's wife on vocals) in the room with us. It was simply a giant stereo system. My most charitable explanation for what I experienced was that Dave Wilson and the rest of those attendees were seeking (and satisfied by) a very different audio illusion than I am. I have no doubt that I would be similarly underwhelmed by the current incarnation of the WAMM. (The cost of which has evolved to be equivalent to the current value of my home.) Just ridiculous. If you have to spend nearly three-quarters of a million dollars to find a satisfying audio illusion you really need to re-evaluate your life's priorities.
  13. hsosdrummer

    Legends You Have Seen Live?

    Rock Musicians: The Who (1967, 1969, 1970, 1982) The Animals (1967, same personnel that played at Monterey) The Everly Brothers (1967) The Association (1967) Cream (2X in 1968) James Cotton Blues Band (1968) Jimi Hendrix (1968, 2X in 1969) Led Zeppelin (1969, 1970, 1971) Deep Purple (1968, 1969, 1970, 1973) Jeff Beck (1968, 1971, 1980, 1999) Ten Years After (1968, 1969) Moody Blues (1968) Jethro Tull (1968) Savoy Brown (1968, 1969) Procol Harum (1969, w/Robin Trower on guitar) Richie Havens (1969) Lee Michaels (2X in 1969) Vanilla Fudge (1968, 2X in 1969) Soft Machine (1968) John Mayall (1969, w/Mick Taylor on guitar) Ike & Tina Turner Review (1969) Canned Heat (1969) Paul Butterfield (1969, w/Elvin Bishop on guitar) Chicago (1969 — as CTA, 1970) Joe Cocker (1969, before he played at Woodstock) Spirit (1969) Emerson, Lake & Palmer (1971, 1972, 1977) Humble Pie (1971, w/Peter Frampton on guitar) Edgar Winter's White Trash (1971) Mahavishnu Orchestra (2X in 1972) Yes (1971, 1972, 1999) King Crimson (1971, the "Islands" tour) Fairport Convention (1971) Argent (1972, my band opened for them) REO Speedwagon (1973, my band opened for them) The Grassroots (1974, my band opened for them) Sugarloaf (1977, my band opened for them) Boston (1976, free tickets) Starcastle (1976, free tickets) UK (1978, original personnel w/Bill Bruford) Bruford (1978) Monty Python Live at the Hollywood Bowl (1980) Jack Bruce and Friends (1980) Gentle Giant (1980, their last ever live performance) Devo (1982) Rush (1986) Frank Zappa (1986) Jack Bruce & Ginger Baker (1990 & 1991) Masters of Reality (1992, w/Ginger Baker on drums) Doobie Brothers (1996, private concert) Alan Parsons Project (1999) Robin Trower Band (2000) Steve Vai (2000) Crosby, Stills, Nash & Young (2000) Edgar Winter Group (1999, private concert) Styx (2000, private concert) Return to Forever (2012) Zappa Plays Zappa (2012) plus lots of opening acts that have faded into oblivion (like Mint Tattoo, The Collectors, etc.) Jazz Musicians: Buddy Rich (over two dozen times between 1967 and 1980) Louie Bellson (over two dozen times between 1967 and 2000) Count Basie (1967, 1970) Duke Ellington (1970) Don Ellis Orchestra (over a dozen times in 1970; I was also a member of one of his 'training' bands in 1970) Shelley Manne (1971) The Great Jazz Trio (1978 — Hank Jones, Ron Carter, Tony Williams) Ella Fitzgerald (1970, 1980) Joe Pass (1980) Bill Bruford's Earthworks (1987, 1999) Elvin Jones Jazz Machine (1991) Simon Phillips Quintet (1998) and many more that I can't remember.
  14. hsosdrummer

    JBL is on the Vintage wagon now?

    Don't blame the hardware for operator errors. Those large JBL Vertec arrays are a 4-way quad-amped system that requires specific Crown amplification that is running specific iterations of DSP programming, and the whole thing needs to be properly tuned for the venue. When powered and run with the specified amps and DSP, arrayed properly and properly tuned for the venue (JBL provides multi-day training sessions for all of this) Vertec systems can sound stunningly real, and can provide that sense of reality for thousands of listeners. When the speakers are improperly set up and being run by non-specified amplification and DSP it's anybody's guess as to whether or not the results will be good, but it they aren't it's certainly not JBL's fault. If you went to someone's house to hear their Jubilees and found them running inadequate amplification with an incorrectly set up electronic crossover and incorrectly deployed DSP, you would rightly blame the owner for the speakers' lousy performance, and not the speakers.
  15. hsosdrummer

    JBL is on the Vintage wagon now?

    Gary: Since the 604E had a separate network it would have been a simple matter to experiment with the relative polarity of the horn and woofer and then run the speaker however it sounded best to the individual. I never had a chance to hear the 604E at all, only the 604-8G in the Stonehenge III home speaker. I also heard whatever version of the 604 was used in the Mastering Labs "Super Red" speaker, the one with the additional 15" woofer. THOSE sounded huge and were impressive. But they had a crossover built by Mastering Labs and so weren't representative of how any stock 604 model would sound. The 4310/L100 stories above came to me from archives that I read and conversations with engineers that I had while I worked at Harman between 2009 and 2013.
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