Panelhead

Never heard of this. Sounds too inexpensive.

Do not know your phono stage. Do know Denmon DL-103r. Setup is critical. Like the 103r at; Loading at 100 - 200 ohms. VTF around 2.3 Gr. VTA set where cartridge has slight “tail dragger” stance. That is the rear slightly lower than the front. If still bright it points to the phono stage.

Those are nice. Some ideas. Place the Harbeth in another room for now. Put the coffe table in there with them. Recapping the crossovers is a start. From there you can get a lot of places. I am busy, but am installing a pair of MAHL and CT-120 in my La Scala before Thanksgiving. They sound awesome now. Hope they are over the top afterwards.

Are are offset to the right and lower. But not 1978 model.

For the cost of shipping try a 30’ hunk of the Canare S11. Maybe it will run 40 dollars from Have Inc. plus your connectors of choice. Do not know if it offers electron tunneling though. If used as a 2 wire cable it does resist RFI. You could use the S6 with Jubes. 30’ of that is 10.00.

Used to use solid core speaker cables also. Even with high efficiency speakers I never tried anything smaller than 18 ga. Meniscus used to sell a blue and white solid core twisted pair they said came from Straightwire. Was around 80 cents a foot. Claimed it was 16 ga. Looked smaller. Might have the thin polyethylene insulation. Ran out many years ago. Wish I still had a spool, good stuff. Solid core is perfect for bare wire connections too. I tin stranded wire lightly to allow feeding through the small hole in 5 way binding posts. At least repeated connections. Used spade lugs, bananas, and Speakon. Like Speakon even better than bare wire and 5 ways. Rate bananas the least. Many love them, tried to like them. Standard, locking bananas, and even the Eichmann. The most expensive were the least reliable from my use. Was using a Croft OTL that only had banana jacks because Glenn Croft only likes bananas. At least locking banana plugs did not fall out.

I am always looking to justify my purchases. Been using Canare quad speaker cable for a while. Read somewhere that Magico uses it for the internal wiring inside their expensive models. Works great for bi-wireable speakers, like LS ii and Hiii. I terminate with spade lugs on the amp end. Two wires twisted together is too fiddley for the Johnson 5-Way terminals on the amp. Use bare wire on the speaker end. Tin with solder and cram into the hole in the binding post. If the AK-6 uses Audioquest I am sure many will change over. A theory that cables have a family “sound” that needs to be maintained. The Canare quad is inexpensive. The 4S8 is 16 ga wires. Which is overkill for most Klipsch speakers. There is a 4S11 which has 14 ga wiring for the bigger is better mindset.

I was thinking about putting the glue sides together. Two sandwiches together may be thick enough.

When I was in college one of the better bands playing the clubs around Nashville was Sweetheart. They split up and the guitarist picked up a steady gig playing with Zappa and then Bowie. Later playing with King Crimson for a long time. He was able to go BIG time in my opinion. Ton of talent, dedication, and unique chops allowed him to move from a bar band to a top act. Kept it together too.

I would source some of the cork round pads from Home Depot. Stick two together to prevent damaging the finish. Use one in the middle also. Some do not like the isolation used in the La Scala ii. It is a factory rubber doughnut. Maybe not the most elegant. But effective.

This used to be my favorite album. When I was 16. Maybe 1971. Never has sounded as good as the LP did on a crappy system back then.

It out of sequence. Did not hit post to the question of will these fit a Klipshorn or La Scala on page one. It posted later, much later.

I have a couple single subs. The baddest is a Bluesky SUB212. Two push-Pull 12” drivers in a large sealed cabinet. One is front firing and the other floor. Each has a real 200 watt discrete AB bipolar amp. Another sub is a little smaller Bluesky SUB12. One driver and amplifier. Maybe 80 pounds instead of over a 100 for the 212. These are beasts. Bluesky formed from the ashes of M&K. They know subs. Have several smaller. But more important is how you do the crossover. I use Channl D’s Pure Music playback software. It is a 64 bit software crossover. Selectable frequency, slopes, and gain. That comes in handy when matching a Klipsch with a sub. If gains are the same you will never hear the sub. Usually roll the sub off at 6 dB and the Klipsch at 18 dB/octave. Around 60 - 65 Hz. Both my Hiii and LSii are better with a sub rumbling along. Bring the sub in at a low level. Subs are better being dialed in too low than too high. You should never be able to localize the sub. I use a dac with four channel monitor output to make this happen. One knob adjusts output digitally for all four channels and sub and software sum the bass to one channel. I think ALL the crossovers built into subs will hurt the sonics. Some more than others. If I did not have a software crossover and four channel dac running the Klipsch full range would be very tempting.

That is large. The same Dcr indicates the winding matches. There may be a difference in the magnet structure.

The coffee table is killing the imaging. My room is the opposite, speakers upstairs in a loft area. With only two walls, K-Horns are out of the question.

I will answer. You need the smaller horn for LS ii. The K-77 replacement.

Dave, sonically how do these compare to the B&C DE-120?

From my experience too hot a tip can be compensated with reduced contact time. Too low just results in cooking the components. I use three irons with building. A 40 watt for the big stuff, a 25 watt for normal, and a 12 watt for the delicate items. Always use Kester 63/37 for everything.

I used a Croft Epoch for several years. Great preamp for the money. Must have been about 2000 vintage. Glenn Croft knew how to extract good sound.

My system is best served by a four channel dac with a single volume control. Use a subwoofer whether using active speakers, normal efficiency speakers, or horns. Used a KRK Ergo for many years. It also provides Room Perfect digital room correction from Lyngdorf. Used many units, a stock unit and modified ones. I do surface mount board surgery. Only downside is this is a FireWire dac. An Apple FW to Thunderbolt adapter kept this as an option. Switched to a Focusrite Clarett 4Pre a couple years ago. Also four channel monitor output and Thunderbolt connected. Did a little work on decoupling and opamp swaps. Bought another as a reference. Paid 400.00 each for them 2 years apart. I have bought and borrowed several expensive dacs and none could replace these pro dacs. Suspect it is the USB interface they used. They make 100’s of USB cables, dozens of USB reclockers, filters, dongles, and dangles. Plus expensive power supplies just to power the USB cable. If there were not issues these addressed no one would ever buy these bandaids. Never seen any of this for FireWire or Thunderbolt connected dacs. Oyaide makes some 100.00 FW cables. I liked 10.00 Pearstone cables from B&H better. Corning makes some expensive optical TB and USB cables. Cannot speak for the USB cables, but the optical Thunderbolt cables are the bomb. Has galvanic isolation to prevent computer noise from entering the dac. 1,000.00 will buy a Corning cable and Clarett dac. With plenty of money left over for either an iFI iPower switching supply, or the new iFI iPower Plus.

Another item is the factory tweaks the crossover in the latest Heritage models without changing the specs or designations. There are two obvious crossovers for the La Scala II. Maybe more. The latest dropped a resistor. The values might be different also. The delays in getting the AK-6 out is crossover design. They are very serious about getting it dialed in.

The K-79 tweeters should work crossed at 4500 Hz. The B&C DE120 seem to be popular as a replacement. A titanium diaphragm on the driver might be even better.

Take a look at a schematic. You can tell by seeing where the +/- connect.

My experience follows the Linn mantra. The largest improvements will come from the source. Whether turntable, tone arm, phono cartridge, and phono stage. Set up is critical with phono. Look at cartridge alignment, VTA, VTF, record mats, clamps, counterweights, the list just keeps going. A revealing speaker like yours will make all these tweaks easy to hear. You can dink around for a year getting the phono where you want it. I find my LS ii allow small changes in the front end to clearly be heard. Hiii were the same. The electronics in between the source and speakers need to be transparent enough. Do not know the Marantz unit. Signal to noise ratio and low level linearity are very important when output is milli watt level.

I might be wrong, but that picture looks like a Hiii to me. The backside would tell.