DizRotus

I once succumbed to temporary testosterone poisoning and bought 12 gauge clear jacketed Monster Cable. Its now been replaced with 14 gauge copper black jacketed Carol low voltage outdoor lighting cable from HD at less than $0.14/ft.<?xml:namespace prefix = o ns = "urn:schemas-microsoft-com:office:office" /> I could perceive no sonic difference between the two. The biggest difference is manageability. The 12 gauge is just too large. Connectors are not made to accommodate wire that size. Unless youre talking about runs greater than a few hundred feet, anything larger than 14 Gauge (and probably 16 gauge) is overkill, IMO. The clear jacketed cable had all turned green from oxidation, but, again, I could perceive no degradation in sound from that change alone. Cutting into the cable revealed bright shiny strands of copper, more than enough to allow the electrons to freely pass. Sure the electrons are upset that their path is not paved with gold or silver, but imagine their disappointment when they get to the networks and are expected to travel through steel, aluminum, lead and/or tin before they start their return journey to the amp, only to be greeted by more steel, aluminum, lead and/or tin. Why spoil the electrons with, silver or gold between the amp and the speakers when theyll be expected to pass through more plebian materials elsewhere in the circuit path? Expensive cable is a relatively inexpensive luxury. Your friends can see it lying on the floor. If you feel that it improves your system in any way, then you should indulge. Its your money and they're your ears . . . and eyes.

First Octave is in a suburb of London, Ontario, Canada. I too have exchanged emails with the builder. He invited me to see and hear his handiwork. It's about a three hour drive from here. I'm tempted to jump in the MX5 to guarantee that I couldn't be tempted to bring one home.

The fact that there is a lip on the top of the opening necessitated the inversion of the networks. If the networks were left in the original location, one port tube would interfere with the network. The lip prevented raising the tube to clear the network. Inverting the network behind the lip left enough space in the opening for the two 4" x 7" port tubes to straddle the K55.<?xml:namespace prefix = o ns = "urn:schemas-microsoft-com:office:office" /> Try it . . . youll like it.

Bruce, <?xml:namespace prefix = o ns = "urn:schemas-microsoft-com:office:office" /> I agree with you about the undesirability of making them taller. But, even a single rough box for underneath would let you determine if you like the modification before doing any surgery on your La Scala cabinets. A test box could be made in such a way that it could be disassembled and you could then incorporate the ported side into the final modification. If you like the change, then go at the cabinets to seal the tops and port out the back of the tops. What you describe could be done, but it would be much more difficult than attaching a ported panel to the back of the top. I had the luxury of modifying La Scalas that had been ridden hard and put away wet and that are not seen from the backs. The simplest way to have the ports clear the K55 and the network was to mount the network upside down to the underside of the top. Then the ports were located so as to pass next to the K55 and beneath the inverted network. So far the band director is thrilled with the modified La Scalas. Some of the perceived improvement to the bass is probably attributable to the newly added braces to the bass bins. Nonetheless, he likes how they sound and so do I. Id do it to any La Scalas that I owned.

Silversport, I use Carol 14 gauge low voltage purchased from Home Depot for approximately $0.14/foot. I've never felt the need for anything fancier or more expensive. Nevertheless, I respect the right of others to spend whatever they want for whatever they want if they perceive it to be worthwhile. EDIT: 07/30 @ 1:02 EDT I bought a 500' roll to get it for less than $0.14/foot.

Bruce,<?xml:namespace prefix = o ns = "urn:schemas-microsoft-com:office:office" /> I look forward to hearing your impressions of the La Scala bass reflex mod. As you may know, it was my original plan to make boxes for under the La Scalas to provide the additional volume and to locate the ports. I planned to make them rough out of MDF just to see if I liked the results. After realizing that elevating the schools La Scalas another 10" from their already high perches atop the instrument lockers was unacceptable, I decided to seal the tops, open the bass bins at the tops and port out the backs of the tops. If I were doing it for home use, Id do the boxes underneath. Its much more easily reversible. Feel free to contact me for info and/or encouragement. The mods to the balancing networks seemed perfect. I can help you avoid re-inventing the wheel.

Thanks, I've seen the move many times and recall many lines, but I don't recall that one. To whom or what was it directed?

What movie? Speaking of movies, rent the DVD World's Fastest Indian with Anthony Hopkins. Even my wife enjoyed it after being convinced that it wasn't just about a motorcycle.

Bruce,<?xml:namespace prefix = o ns = "urn:schemas-microsoft-com:office:office" /> Everyone did not settle on misspelling the plural of Heresyperhaps many or mostbut not everyone. If the spelling of an unorthodox religious belief were "Heresey," then the plural would be Hereseys." Since it is spelled "Heresy" (whether the theological or wooden variety), the proper spelling of the plural is "Heresies. Dont misunderstand me; creative misspelling and customized grammar and syntax are something that must be tolerated while using any internet forum. But, Chris' comment related to the correct spelling of the plural of Heresy, he did not ask for the most popular misspelling. The forum shouldn't stop with spelling, let's come to an agreement that the laws of physics don't apply to Heresies, so that we can listen to full throttle 32hz pipe organ music with SET amps :-).

According to The American Heritage Dictionary, and every other dictionary with which I'm familiar, the plural of heresy is heresies. The speaker name is the same as the unorthodox belief, PWK's sense of humor at work.

Yes. They look like rosewood to me.

Gilbert- Are you referring to Del Shannon's Runaway? It's a great song, but like all of his lyrics it has a dark side. Del was a seriously depressed individual who finally commited suicide. He tried to warn us with his music, but all we heard was the beat and that organ riff.

Don't forget. The vault is available to safely ship these Cornwalls. See Cornwall Vault and Wanted empty BEATER enclosures.

I have two 430s and have owned a 730 and 930. Playing Heresies, Cornwalls, La Scalas and single driver rear horns, I am unable to detect any difference between the 430s and the 730 (which is now in service powering La Scalas I refurbished for the high school band room). I'm not saying there are no differences, just that any subtle differences might have been lost on these old ears. I cannot comment regarding the performance of the 930, as it was an eBay loser. It came with only one jumper between the pre-amp and amp sections. Even after moving the jumper to the other channel, it played poorly from a only a single channel. I did like the binding post speaker terminals on the 930, as opposed to the cheap push connectors on the 430 and 730. Fortunately, I was able to get a refund from the eBay seller, i.e., I was out only $35 to ship it back.

Michael,<?xml:namespace prefix = o ns = "urn:schemas-microsoft-com:office:office" /> You're probably right. I'm sure PWK would have said, " . . not a dime's worth of difference." Nevertheless, since Erland is starting with a blank sheet of paper, he[1] might as well experiment with the positions of the tweeters and squawkers to decide for himself whether it does make a discernible difference. [1] In the unlikely event that Erland is a woman, I apologize for presuming a certain level of testosterone.

Yes it makes sense. The attached photo of a La Scala with an inverted top section was posted in the following: <?xml:namespace prefix = o ns = "urn:schemas-microsoft-com:office:office" /> Bass Reflex Mod For La Scala? http://forums.klipsch.com/forums/644842/ShowPost.aspx On the other hand, putting the tweeter to the side or orienting the tweeter horn vertically, rather than horizontally, might work. The Crites tweeter uses the same horn configuration as the EV T-35, which has good dispersion in either orientation. I would suggest getting the system operational prior to permanently locating the horns on the baffle boards. Dr. Edgar (the designer of the horn from which the Trachorn was copied) would advise aligning the voice coil of the tweeter with the voice coil of the squawker. Since you are only constrained by the laws of physics (same in <?xml:namespace prefix = st1 ns = "urn:schemas-microsoft-com:office:smarttags" />Norway as in USA :-) I suggest experimenting with various locations prior making your final decision.

I agree with the wait and see sentiments expressed above, before parting out your La Scalas. Not to hi-jack your thread, but I am looking for beater empty La Scala, Cornwall or Klipschorn (bass bins), and I mean beater. The rougher the better.

Erland, Good luck with your project. Please keep us informed regarding your progress and results. Pictures are always welcomed.

I met him and heard him use the exact phrase more than once, under similar circumstances. <?xml:namespace prefix = o ns = "urn:schemas-microsoft-com:office:office" /> When I specifically asked him why the tweeter and midrange horns were mounted to the backs of the baffle boards rather than flush mounted to the fronts, he said, Not a dimes worth of difference. The precise craftsman in him would have done the aesthetically more pleasing and technically desirable flush mounting, but the practical businessman determined that listeners could not perceive any difference and the production costs would have been much greater, i.e., the often repeated phrase, . . . not a dimes worth of difference.

PWK probably would have said, "It doesn't make a dime's worth of difference." You would never identify any audible differences.

Here are the direct links to the sites referred to above.<?xml:namespace prefix = o ns = "urn:schemas-microsoft-com:office:office" /> http://www.tnt-audio.com/accessories/zero_autoformer_e.html http://www.responseaudio.com/zeros_white_paper.htm http://www.edcorusa.com/transformers/em/em_auto.htm

On another note, any empty La Scala, Cornwall and/or Klipschorn enclosures (no drivers, mid-horns, etc.), in ANY condition, would be of interest to me. I'll store them in our warehouse next to the vault.

And now for a peek inside.

Don't forget that the vault is available to forum members to safely ship pristine Cornwalls. If interested, contact me by PM or email for the details. Then I'll direct you to Gilbert who will fill in the details (if he's not watching an F1 parade . . . I mean race). <?XML:NAMESPACE PREFIX = O />

This is a very interesting and educational thread. Especially to someone who is contemplating a DIY OTL to drive DIY Khorn derivatives with DIY versions of ALK Universals. The nominal impedance of Khorn or La Scala might present a problem to an OTL.<?xml:namespace prefix = o ns = "urn:schemas-microsoft-com:office:office" /> The measured impedance on the La Scalas I just worked on was 3.7 Ohm. My sons Heresies show 7.6 ohm. Are those impedances correct? As I recall, my old Speakerlab Skhorns were the optional 8 ohm versions (standard was 4 ohm) but I ran two pair in parallel to produce a 4 ohm load. I never actually measured the impedance. While I had the DMM out, I measured the impedance of my Radio Shack 40-1197 single drivers in Fostex FE-103 designed rear horn enclosures. They measure 7.6 ohm without the notch filter (10 ohm resistor in parallel with 2.2 uF) and 17.6 ohm with the notch filter. The filter, obviously, lowers the efficiency, but tightens the bass and smoothes the midrange. Its slightly OT, but Id welcome a tutorial on why notch filters, including the famous, or infamous P-Trap) work.