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glens

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  1. Haven't looked at it beyond the posted pic. I was going to already say, when I got to your post, that the "flashlight" on my phone is entirely good enough for most uses, and I've always got it with me (scads times more processing power / memory than even the giant mainframes when I graduated H.S.). If I'm going to carry a dedicated flashlight, it'll be either a 2 or 3 D-cell Maglite LED, whichever's handier... ;^)
  2. While there may be an "AC" appearance to a strip chart of the {levi|ro}tation current, it'd still always be DC. A bearing of some sort (though not thrust) would be required but it would otherwise be cool to tie-together, and float, both the platter and tonearm. This would ensure the lateral tracking "tangent" stayed at least consistent. I'd bet the tolerance on that specification opens quite a (variably) bit with the current product. Alternatively, assuming good-enough repeatability of platter-to-arm rotation axis distances with what they've got now, it'd be cool to laterally shift the platter axis through the pattern required to keep the stylus cantilever on a perfect tangent to the groove at all times, just like the cutting head was (and nominally the Rabco [and one other with glass rods, the name escapes me] of the later 1970s). Shit! Did I just give away a patent idea?
  3. I'd think it's black stain, not paint. Either way, black stain will get you where you want. Gonna have to strip the top coat if there is one, first (either way?).
  4. Thanks for posting the reproductions (and now the link). Now I don't feel so bad for buying these speakers as the review I'd included made me feel. Hahaha! I certainly don't believe these speakers are the best ever made at any price, nor necessarily the best value ever. They are the most money I've ever spent on a pair of speakers, even adjusting for "inflation." (I've always appreciated the idea of quality audio production yet have historically limited myself to a more practical price point.) They are without doubt the the best and most enjoyable audio equipment I've ever had the pleasure of owning. They've got some minor foibles but they're utterly fantastic. I'd do it again in a heartbeat. Maybe a few heartbeats if full MSRP was the only option...
  5. How does it compare overall to this? forte_III-hifi_news_review.pdf
  6.  === lots of orange peel there. You have several hours of wet sanding ahead - love the look though — That's a feature. Think shark's skin or golf balls. The bumps keep the sound waves from sticking to the surface - they flow out with greater speed and authority.
  7. How's it wired in? Crossover output to the outsides and driver to one side and the middle? If so, it would make a difference. If one of the outsides isn't connected to anything then the specific 30 ohm value is unimportant except for the knob or whatever lining up with markings on a label. Even if it was the first possibility, you could go with something with a lower value and make up the difference with a fixed resistor wired between the one outside terminal and the wires from the crossover and driver. You just wouldn't have full range of adjustment but everything else would be right.
  8. OP: just don't confuse the facts that apart from the obvious additions at times available with the "format" (more sound channels, stuff to concurrently show on your tv, etc.), the far-and-away main difference (if not actually the only one) in sound quality between lowly CD and "hi res" is the choices made and care taken with the mixing/production, not the bit depth or frequency of the sample rate.
  9. Have to disagree with this, there is no way a RP 160 M would compare to a Heresy even on it's side, not to me anyway.  For sitting in "the sweet spot" I agree. And if the mids and highs had a nominally circular dispersion pattern like direct radiators it wouldn't matter as much for general usage either. But throwing the mids and highs largely up/down and hardly left/right ain't so good for room-filling. OP's got the right solution in mind.
  10. Now you can add to it by gluing a strip of 3/4" quarter round trim inside that edge!
  11. I just fetched "full frontal" images of the two from klipsch.com and crudely cropped them to just the bass bin, minus the riser on the one. Aspect ratios of the results were 1.25:1 and 1.24:1. Seeing that one vertical edge wasn't quite vertical, I fudged a bit on that crop, so by this method I'll call the riser as being tacked onto the bottom of the old (basic design) bass cabinet. The two PDF spec sheets sent from the server today show the same widths and depths, with one height being 50.75" [128.9.4cm - not a typo on my part!] and the other 53" Settles it for me.
  12. A completely uneducated totally unfamiliar-with question: does the Xilica have a master reset and if so, has it been used yet?
  13. Agreed. In particular, the crossover capacitors most likely need quality replacements, but that very well should be all to provide yet another 35 years of service. How much was "cheap?" And where are the photos?
  14. You invested quite some time putting together those last few posts, thank you for that. One notion in particular was given emphasis throughout: use "high-res" sources. It may be hotly contested, but I believe that's primarily by the vocal minority of people who merely disagree with the notion that Red Book CD Audio has handily been established as more than sufficient for the task at hand. I belong to the "it's been established" camp but I'm not here to debate that at this time. At any rate, it's more about what the engineers do to/with the signals they're using to "lay down the tracks" than whether the track is ultimately high-res (CD) or higher-yet-res. Just because a collection is produced in higher-yet-res doesn't ensure it's of lifelike, much less merely acceptable, audio quality. It just means the end result has such-and-such bit rate / frequency. The audio quality of classical / chamber / early music recordings is as "all over the board" as it is with any other genres of music. The engineers used good equipment and made good judgement calls or they didn't. What I'm saying is that the (provenance of - in part, and) delivery medium of a recording itself is no indication of the contained quality. I'm not claiming you're of a contrary mindset, merely that it could seem so. This can exactly be applied to what I just said above, so it seems that we're in agreement at least in part. It's unclear to me how you apply that notion to the content apart from from LFE in deliverables which have it, or those which don't. "Bravo" to everything else!
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