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Cathedral Guitar

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  1. Here is a related question: a lot of simpler designs for tube integrated amps have just 1x volume pot, and 3-way selector switch. These generally have 2 input tubes, a rectifier tube, and the output tubes. On the other hand, many tube monoblocks also have the 2 input tubes, rectifier tube + output tubes -- but without a volume pot, and w/o the selector switch. So disregarding the multiple chassis / PSU of monoblocks, but is the only difference between an 'Integrated Amp' and 'Power Amp' the addition of a volume pot and a selector switch?
  2. I'm setting up a my 3-CH system using monoblocks to power my 3x La Scalas, and running them directly from a pro audio Metric Halo ULN8 DAC firewire interface. Anybody else running power amps w/o using a dedicated preamp?
  3. I was trying to get the speakers raised up higher on a riser, to what I thought a better listening level. So I guess to ported riser is indeed the best way to go?
  4. So I am wanting to raise the height of my La Scalas, and I have read all the previous posts on the subject, but am still confused about how to move forward. If I simply want to raise the listening level of the speakers w/o doing a riser port, am I correct in understanding that the best way is to raise the speakers without losing bass response is by putting "solid wood" underneath?? Not sure if this means to avoid plywood, or to fill the ENTIRE space beneath the speaker with wood. Like if I wanted to raise it 10" or so, I could cut up 2x sheets of 3/4" plywood into 2x2' sections and stack them? For 3x speakers I would need 6x sheets of plywood -- and it seems like a bit overkill, and I don't see anybody else doing this, so I am obviously misunderstanding the concept -- or not??? I could also cut up 8x8 posts into 2' sections, and then I would really have some beefy "solid wood" underneath. As an aside, is putting speaker vibration dampening material like sorbothane between the speaker and the stack of wood a good idea? So basically, I'm just asking for the best way to raise the height of the La Scala, in a simple, straightforward way, while avoiding any loss of bass from them sitting on risers, and thanks very much in advance for any thoughts you might have.
  5. Thanks for this!! I do have a Tascam 4-track R2R, and could try running things to tape in 3-ch. Or I could just just run the outer 2 L/R speakers in stereo, and then run the line out to a separate receiver with a mono button, and just run that center channel in mono. Both are pretty easy to set up try. Of course, I'd be tempted to run the center channel through a multi-band tube compressor before hitting tape.
  6. Thanks everybody for all the great info!! Do you understand PWK's comments on on 4-Channel in "Dope From Hope" as talking about configuring Quad with 3x in front and 1x in the rear? I have a bunch of Quad stuff, and have never even thought to try that, as all the outputs label the other 2 channels as Rear L and Rear R. I wonder how he would configure Quad with 3x in front?
  7. Frank had a pretty cool 3-ch home system, including a rare 3-ch reel setup. Does anybody know if these speakers are Klipsch???
  8. Thanks so much for this!!! It is exactly what I was looking for. Found this photo searching for 3-Channel Stereo.
  9. Can anybody tell me what a center channel system looked like in 1957? Pretty sure nobody made a 3-CH receiver back then. Was it Stereo + 1? Was it Mono with 3x separate amps? Was it for home stereo, or for theaters and other professional installs? Trying to figure out what that 3-speaker system was used for in 1957, and how they powered it. Thanks for any thoughts,
  10. I wish you would have put as much thought in the analogy as you did in the punctuation, as nobody has ever claimed that the color of the wire jacket made a sonic improvement, but rather it is much more like the improvements are due to heaver gauge wire (i.e., a bigger engine) better quality materials, as well as better engineering -- arguments which hold sway in automotive sales as well as most every other industry. Any car can get you from point A to point B, just like any wire can pass a signal, but the most expensive is not always the fastest, and the fastest is not always the best.
  11. Can someone ask Roy what the thinking was? I will if nobody else wants to. I noticed that they hiked up the price as well, so maybe they are now audiophile speakers marketed to wealthy audiofiles.
  12. Thanks kindly for the replies. I come from the Pro Audio world, and when we did remote choral + symphonic recordings, our mic cable of choice was Canare, so I have a lot of confidence with their products. I happen have some Type 4 on hand, but will also look into getting some Canare 4S11. Thanks very much for the thoughts and recommendations!!
  13. Thanks, y'all: John, just to be clear, I'm talking about the benefits of replacing the internal wiring on the La Scala. Type 4 is not crazy expensive for me, as I think I can rewire the La Scala for under $40 a speaker. But if I upgrade the internal wiring, then I might be tempted to upgrade the crossover terminals while I'm in there!! Enter the rabbit hole.
  14. Yeah, I was wondering if the change was made because it was really was an inprovement from OEM speaker wire, or if it was just in the realm of aesthetics/cosmetics/marketing. Since I'm upgrading the tweeters to SMAHL V2 -- and Klipsch has upgraded both HF/MF horns as well -- I was wondering if I should follow their lead and upgrade the 1970s wiring while I'm at it.
  15. Does anyone know what process Klipsch used for deciding on using AQ type 4 in the new La Scala? Does this move by Klipsch suggest that upgrading to Type 4 would improve the vintage La Scala? Am installing 3x new tweeter horns, Dave's V2, and am thinking of upgrading to Type 4 while I am in there. Thanks for any thoughts.
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