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About HDBRbuilder

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    woodworking, motorcycle touring, shooting, audio/video

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  1. 4 x K-55M adapter (K-4M): uses?

    Whomever is building these for you needs to keep in mind that conversion from U.S. dimensions to metric dimensions can be a problem, especially for the High Frequency motorboard where the tweeter and mid-range horns are mounted...there is not much "wiggle" space for the horn lens mounting flanges on those U.S. dimensions, so they have to be careful when routing out the holes for those so that the flanges will not be forced to overlap each other due to the holes for the horns being too close together...among other problems which CAN occur when using metric dimensional conversions. REALISTICALLY, they SHOULD have the horns themselves to ensure the accuracy of their metric conversions from USA specs will suffice for mounting what needs to be mounted, prior to making any cuts/holes.
  2. 4 x K-55M adapter (K-4M): uses?

    Wherever you wil have overlapping panels, such as the top of the cabinet to the sides, be sure to cut the top, for example, a little bit "proud" on its left and right so that it has a very fine "lip" overlap when installed...then you just putty-up any voids in the plys on the sides and sand it flush to the sides. You can do the same for where the side panels meet the speaker "woofer door" or "bottom" panel...let the sides be a bit proud at the bottom edge and just sand them flush after assembly. Tolerances are 1/64" or less...with emphasis on the "LESS" wherever possible. This is ESPECIALLY important for al the pieces involved in the woofer horn section due to the need to eliminate any possibility of "air leaks" from the "doghouse" section. You want all the sonic energy going through the compression slot and firing into the bifurcated horn-pathway lenses. Energy lost to "air leaks" from the doghouse will be noticeable, for more than one reason....they will be audible, also! It is also important because ..elimination of "air leaks" helps to reduce the excursion length at higher volumes...so that your woofer drivers won't be as readily capable of slamming. When the cone goes outward, the vacuum effect behind it in the doghouse reduces its outward excursion...and vice versa...when the cone is moving rearward, the air overpressure inside the doghouse does the same thing...reduces the rearward excursion length. If you are good at "splitting 1/32" when cutting you will be good to go...anything not cut "square" will create unique problems when assembly begins....have you ever seen a LaScala with a "twisted" bass bin section of the cabinet??...if that section ends up "twisted" the rest of the cabinet will become "twisted" also. LOL!
  3. 4 x K-55M adapter (K-4M): uses?

    Actually, the adapter was used in the MSM unit which was part of the old MCM 1900 system. MCM-1900 system: MTM=tweeter unit; MSM=Squawker unit; MSSM=sub-squawker unit; MWM=Woofer unit. MSM had four-way manifold with K55 drivers feeding into fiberglass mid-range horn. MSSM was a wooden horn lens/box powered by a cone driver firing through a compression slot...into the wooden horn. I believe the cone driver was a Cetec 8-inch or 10-inch unit, originally...lots of pics of those old early versions on the internet. The four-way manifold was one of the early projects Jim Hunter worked on after arriving to work at Klipsch.
  4. 4 x K-55M adapter (K-4M): uses?

    LaScala plans for the ones being built in 1977 time frame. You can adjust these overall dimensions for thicker bass bin BOX plywood, but if you intend to use thicker plywood for the doghouse section then you will need to make major changes to the given dimensions in order to ensure the bass horn lens is sized correctly. Don't ask me for the cut list, though, because the factory cut list doesn't exactly help out DIY folks because it is for mass production instead of individual units.
  5. Cables, Coffee, and Cocktails

    All of you vets out there...have a good Veterans' Day! Me about to make a balloon jump in England December 1975:
  6. I can't guarantee whether this is the case, or not, but the only theater speaker around the plant was the old folded horn woofer (currently in the museum at Hope), but it was acquired right before they tore down the old Hope movie theater, which was well over a decade AFTER the LaScala prototype was born. BUT, PWK had sent some of the engineers out to the old Hope theater PRIOR to the aquisition of that speaker to "have a look at" the speaker a few years BEFORE the theater was torn down when the Klipsch MWM component of the MCM1900 system was in development. PWK may very well have used measurements from that same theater speaker by going out to the theater to get those measurements, since there was no anechoic chamber at the plant until well after the LaScala went into regular production. That horn woofer is an RCA unit, if I remember correctly. The reason I bring this up is that I was working at Klipsch from 1976-1983, and I never saw anything around the plant/offices/lab that looked like a theater speaker, except for a few VERY OLD museum pieces, until that unit from the theater was purchased. And the old theater was actually still in business until not very long before that...it would have been a "no-brainer" to just go to the theater to do comparative testing when the LaScala was in its R&D stages.
  7. The Walnut in The Walnut

    Veneer was originally around just under 1/32" when the pre-veneered panels arrived at the plant in 1977. But the panels were sanded prior to assembly, and sanded again in the sanding department prior to the speakers receiving their finish....so you can figure that the final thickness for walnut veneer BEFORE finishing would have been much closer to 1/64". That means that you can quite easily sand through that veneer when re-finishing...so be VERY careful. Rosewood would probably be thicker, since it is harder and probably would not have been sanded as thin during original manufacture of the speakers. Me? I would not use a powered sander at all, just hand sanding with sanding block. It is safer that way.
  8. La Scala and LS Industrial

    K43 are industrial woofers...can handle more power than the K33, BUT there is a trade-off...for that extra power-handling-capability: They don't perform quite as well as the K33 does. Not sure who makes what anymore, but Eminence is probably who made yours.
  9. La Scala and LS Industrial

    Yes, if customers requested the handles (after Klipsch started using them on their industrial line), they could get them....or bring them in and get them installed.
  10. La Scala and LS Industrial

    Not very sure the 1965 LaScala was built using BIRCH cabinet-grade plywood...much more likely it was built using marine-grade fir plywood, instead back in 1965. Fir plywood is lighter than birch cabinet-grade plywood. Plus, the original LaScala didn't have a 15-inch woofer in it (had 12" woofer, instead) and was shorter than later LaScalas.
  11. Klipsch Heritage test music

    For classical guitar, try out recordings by Laurindo Almeida...the Brazilian virtuoso. All that I have heard are outstanding and VERY WELL recorded. He passed in 1995 but his recordings still live on. There are any number of other types of music, to include pop music, that are good "testing music" to see just what speakers are capable of doing. Some of my personal favorite tunes for this are: House at Pooh Corner, Loggins and Messina, from their first album: Sittin' In. Don't laugh...it really is a GOOD "test" tune. Quite a few from Joni Mitchell...you can start out with her earliest albums which are not as heavily orchestrated, but feature her on guitar and piano...and continue on through her album timeline and observe how each album had more complex orchestration included. Too bad though, that as her career continued, her heavy smoking continuopusly took away from the vocal range she had in her early days. Lots of Moody Blues stuff is good for testing. For clean electric guitar leads on clean recordings, try Ten Years After, A Space in Time, with the late Alvin Lee showing his skill on "I'd Love to Change the World". Bonnie Raitt...quite a number of good test tunes by her. The same goes for Pink Floyd. Maria Muldaur's first album...large variety of stuff on it, and well-recorded. Everything from country to "New Orleans" style jazz, to blues! That whole album leaves a smile on my face, tune after tune! The list goes on and on.
  12. Heresy HWO serial number help

    You stated above that your RECEIVER controls were set to: "high volume, and bass at 90%, mid at 50%, and treble at 100%"....so just set them ALL at 50%. If the midrange is still too bright, then you can back it down to 30-40%. I am assuming that on your receiver the control knobs are pointing straight up at 50%, is that correct?? No need to put the equalizer into the mix...just re-set your receiver tone controls, and don't take the volume control past 50%, either. It may not be as loud as you WANT it, but you will ALSO not be damaging anything.
  13. Heresy HWO serial number help

    My best advice is: Set your amp controls for bass, mid and treble "FLAT". Boosting the bass level and treble above flat will not make the Speakers play any lower than they are able to do...it just sets you up to blow woofers (or tweeters), instead. The same goes for the midrange...set it flat. If the midrange is TOO MUCH for you, then drop ONLY IT BELOW flat, but leave the bass and treble set flat. Over-pushing the frequency settings does bad things to speakers and tends to put the amp section into clipping (especially when turning the volume way up!), which (in turn) tends to blow speaker components like tweeters and woofers. Not only that, but pushing your amplifier section into clipping is also the biggest reason that amplifier sections fail. Your Marantz receiver amp section was rated at 70 watts RMS per channel into 8 ohms with two channels driven. You have two speakers per channel, due to the four Heresy speakers you have hooked up to it. Because of having two speakers per channel, you are "starving one stereo pair of speakers to feed another stereo pair". Not only that, but you are pushing your amp section into clipping by doing two things: You have set your bass and treble way beyond flat, AND you are setting the volume up to high. Granted, Klipsch speakers are very efficient, but killing an amp section may also destroy one or more of your speaker components in the process. How do you know that your amp is clipping??? POPPING noises coming through your speakers is one of the MAJOR signs, ESPECIALLY if your top end (tweeters) start to "warble" on complex high musical passages...then you KNOW FOR SURE your amp section is clipping. For example, I have a 32 wpc H/K 900+ quad receiver, and because it is twin-powered, it actually SOUNDS as if it has more power than it REALLY has. BUT, when playing FOUR HERESY speakers in STEREO mode (like I used to do when DJing parties), if the volume was turned up just a little past half way (one-o'clock), I could hear the amplifier section going into clipping on SOME passages. The reason I have never blown a tweeter in even my Heresy pair which I bought new in 1977, is simply because I don't let the amp go into clipping when playing them. I also don't push that old quad receiver to begin with because it was originally made in 1975, and it listed for over $1000 when new...which was two and a half months salary for me BEFORE taxes, at the time. Keep in mind that the Heresy woofer is a SHORT EXCURSION woofer...meaning that its woofer cone can only "dance back and forth" so far before the voice coil starts "slamming". That is why the Heresy is built with a relatively air-tight cabinet...so that the air volume inside the cabinet slows down the woofer cone motion before it is able to reach its physical limits through overpressure/under-pressure effects on the rear of the woofer cone by the air "trapped" inside the cabinet itself. IOW, as the cone moves forward, it produces a vacuum behind itself which fights against it moving forward TOO FAR, and when the cone is moving rearward, the cabinet air overpressure created by the air behind the cone has the effect of slowing it down in its rearward movement. Make sense?? Simply put: don't slam the woofer to death.
  14. These are......interesting...

    Made a few years before I started working at Klipsch, but the screwed-on top panels are a dead giveaway (generally speaking) that the doghouse woofer access door is NOT on the bottom of the bass bin. m I would venture to GUESS that the "K447" designation had something or other to do with them being an "industrial model" LaScala, though. Eventually all the one-piece-cabineted La Scalas went to speaker bottom woofer access doors, no doubt moreso due to diminishing the hassle of woofer replacement since so many people were over-powering them and blowing woofers than anything else...some people just don't "get it" that the bass horn design is what limits the lower frequency end of the LaScala performance, and it doesn't matter how much power you throw into them, they will only GO SO LOW!...and those people blow tweeters and woofers trying to do something the design simply won't let happen.