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danalog02

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Posts posted by danalog02

  1. On 3/8/2020 at 3:19 AM, Anton said:

     

    Hello! That's an interesting amp, I thought things like this one are more expensive. 

     

    Is it good for any music genres? Jazz, Acoustic, Rock, Metal, Hip-Hop
    And can I connect a subwoofer to it?

    You could always use the speaker-level inputs on a subwoofer. Run your left and right speaker outputs from your main amplifier or receiver to the "high level input" section of your subwoofer, set your crossover point at the sub (probably around 80 Hz), then use the speaker-level "high level" outputs to go to your left and right speakers. Just use some high quality speaker cables (Monoprice and Amazon Basics both have good quality, oxygen-free cables for not much) to make as short runs as possible, leaving some slack to move things around.

  2. On 11/25/2018 at 5:40 PM, Khornukopia said:

     

    It is the Dayton Audio Planar Horn tweeter. The 105 db sensitivity allows it to be used with a stock passive crossover. Sounds very good and it's dispersion pattern is well suited to the setback from the front edge of the speaker for time alignment positioning. In my case, it is bolted to the overhead shelf.

    How do you like the Dayton tweeter as compared to a K-77-M? I'm restoring a pair of Speakerlab K's and I'm having to piece together some missing stuff, one of which is a missing tweeter. I'd love your input. You do some amazing work.

  3. 6 minutes ago, Alexander said:

    Yes the cost of parts could easily get out of hand foe sure. Do you have the old xo's (a or AA) to start with? If so all you would need would be just the caps, and that could be done easily on a budget. Dayton or Solen caps for this xover would be ~$30. And the cost of a .245uH coil (if you have an A) are cheap too. The only real  "skill" needed would be to solder. Just a thought.

    Thanks. Yes, I know how to solder and have a nice variable temp iron. I don't have any crossovers at all to modify. Starting from scratch. That's why I'm looking for an old pair of AA's or something easily modified into AA's.

  4. 1 hour ago, Alexander said:

    Just built your own crossovers, very simple schematic. You can look at it here: https://community.klipsch.com/index.php?/topic/113804-klipsch-crossovers/

     

    Scroll down to the 2nd post.

     

    And of course you could buy them new from Crites too.

    Thanks for the info. I don't have a lot of experience building electronics from schematics, and it seems like the parts themselves could end up costing as much or more than the finished product. I would need some step by step YouTube videos to pull it off I think.

  5. Hello all!

     

    I'm working on a rebuild project for my Speakerlab K horns (detailed over in Technical/Modifications) and many of you have been very helpful with insight and advice. I need a few pieces to continue my build and I'm hoping y'all might have some extra stuff laying around you'd be willing to make a deal on.

     

    I need one K-77-M or EV T-35 square magnet tweeter and a pair of AA crossovers or something that can be easily modified into AA-style. I plan to keep these fairly old-school (no Crites tweeters for now). Shipping would be to Murfreesboro, TN 37128.

     

    Thank you!

    • Like 1
  6. I just looked online and found that the 1823M mids were available in 8 ohm, so that's my guess.

     

    Is the tweeter measuring 6.5 ohms acceptable? I may check it again.

     

    Do I need to get a pair of 8 ohm woofers to match (the Speakerlab one I damaged is a 4 ohm) or does that just get sorted out at the crossover? I'm unclear on this. Do driver impedances need to match or can you use different ones together?

  7. If any of you have looked at my other main post, I'm beginning to restore a pair of Speakerlab K horns and have been asking for advice. Since my new digital multi-meter came in yesterday, I decided to go out to the garage to test my existing drivers and tweeter to check for continuity and measure impedance.

     

    Tweeter - K-77-M or equivalent (x1) - PASS (measuring about 6.5 ohms (is that right?))

     

    Midrange horn drivers (x2) - EV 1823M - PASS (measuring about 8 ohms each)

     

    Woofer - here's where I ran into trouble. One is gone, pulled for some project of @rigma's. The other one has been safely secured in its bass bin since the 70's. When I say secured, I mean SECURED. It was overbuilt in the way of German cars, tanks and aircraft. I believe had these been on the Titanic, you could have pulled them from the sunken wreckage and there's a good chance they would play once drained.

     

    I had to remove at least 15 screws that were completely coated in thick silicone and tightened into threaded inserts by scraping them clean, one by one. Then I had to use a razor to cut through even more silicone and get a small pry bar to separate the "access panel" from the bin.

     

    That's where I messed up.

     

    I should have known. The speaker cable going to the driver had also been still securely soldered to the driver inside, which pulled the little soldering tabs loose from the speaker.

     

    Damn.

     

    After removing 3 wingnuts, 1 3/4" nut and two wood screws securing the motor board to the cabinet (then prying it loose with said pry bar), the speaker came out.

     

    It is a Speakerlab W1500D 4-ohm woofer and seems to be in OK shape (minus my screwing up the connecting tabs). I was able to test it by connecting the multi-meter probes to the little wires coming off the woofer. It does PASS continuity and looks to be reading 4.5 ohms(?) My hands were a little shaky by this point.

     

    So, CAN the driver be repaired? Is it WORTH being repaired and finding a similar K-33 or equivalent? How much money did @rigma spend on sealants in 1970-whatever and what is that in today's dollars? These and other questions linger.

     

    The line to take shots at me forms to your left. The line for helpful comments, on your right.

     

    Thanks!

    20200306_173241-COLLAGE.jpg

  8. On 3/3/2020 at 1:04 PM, Pats3of4 said:

    I have one woofer, but that is it

    What would you need to get out of the remaining woofer, shipped to Murfreesboro, TN 37128?

     

    I'm about to find out if the sealed k horn bass bin I have has an original K-33 in it.

  9. On 3/4/2020 at 5:17 PM, mikebse2a3 said:


    While it can’t help all recordings a well designed EQ appropriate for less than ideal recordings with Tonal balance issues can many times make the intolerable very enjoyable in my experience. 

     

    miketn

     

    B850E27C-372D-40F6-B507-A7584AE46ADD.thumb.png.3861deebc5d1f04b044d03e4a817ab78.png

    I love EQ and I've never understood the purist position that one must always use a "direct" mode or bypass all equalization. Avoid the MEGABASS button, sure, and if it's a crappy EQ (especially graphic EQ, I much prefer parametric) skip it, but not all EQ is bad. I do wish more audio equipment had multiple parametric EQ adjustments, not just a low and high shelving, but a low, low mid, mid high, and high with sweepable frequencies and adjustable Q. Sometimes you have to compensate for a room, sometimes you can compensate a bit for a speaker, or even just a recording that's maybe a bit harsh or shrill. I prefer subtractive EQ to additive, though. Being able to pull problem frequencies is usually better than just boosting everything else in my experience. You deal less with weird phasing issues, overdriving downstream components, or raising the noise floor.

    • Like 1
  10. Very nice system. Mine isn't quite as high-end in components, but I love my 1982 Heresys running off an Onkyo TX-8270 and paired with a Dayton Audio SUB-1200. I have considered getting a 2nd sub or selling this one and getting two SUB-1500 (that I wouldn't have to turn up much at all), but I'm going to wait until I finish rebuilding my Speakerlab K-horns and see how they perform.

     

    Here I'm enjoying Rush R40 live and a Neil Peart drum solo (RIP Neil).

    IMG_0823.JPG

    • Like 4
  11. Just now, tigerwoodKhorns said:

     

    Good insight.  I was actually referring to the OP who wants nearfield speakers for enjoyment. 

     

    I had a pair of B&W DM3000s that I restored and they were great for poor recordings. They 'smoothed out the edges' giving up some resolution, but they always sounded nice.  They remind be of the old JBLs but with a much better midrange.

    Copy that. In that case, I'm not sure I'd use designated "nearfield monitors" for enjoyment. With extremely limited exception, I've never found studio monitors Fun to listen to. It's one of the reasons I love Klipsch so much and have become an unabashed fanboy. Klipsch are FUN speakers. They liven up most anything I want to listen to. Would they give me fatigue to listen to should I use them for 10 hours straight? Maybe, but that's not what I'm doing with them.

     

    Good luck, OP. May the schwartz be with you.

  12. 8 minutes ago, tigerwoodKhorns said:

     

    I think that you will appreciate a lower resolution speaker as they do better with less than ideal recordings.  I have an old set of JBL LX55s that work well for this. 

     

    However, to make sure that I contradict myself, I use B&W N805s for nearfield listening and poor recordings do not sound that bad.  I listen at low levels.

    Finding a balanced speaker that works reliably and clearly at lower volume levels is critical to studio work. You can always crank a speaker up to get a feel for it, but when you're in a studio listening for 8-10 hours a day or more, you need to be able to go the distance and no engineer is worth a damn if his/her ears are fried from listening too loud for too long. Those Genelecs I used were great because I could listen to them all day and not get fatigued. You can't edit, EQ, apply dynamics controls or effects if you can't hear the subtle changes occurring when applied, especially for spatial effects like reverb or delay. For many mixes I wanted to use reverb or delay but not really have it apparent. It was more just to give the mix some depth without screaming "I have a Lexicon and I'm not afraid to use it!" Can't do that if your ears are toast.

     

    Ear fatigue is such an issue with engineers that I know of at least one very famous engineer I've worked with who refused to even step into the studio for 24 hours after taking a flight so his ears could "reset" from the pressure changes. Which was amusing bordering on annoying because this particular engineer was in his 60's or 70's and had lost much of his hearing anyway, but I digress...

  13. Just now, ReedG said:

    thanks for the reply. what i was trying to gain through bi-amping was trying to balance, or spread out the power across multiple amped outputs so that the main speaker output (which is at 70 watts) wasn't being overloaded. the speakers are at 150 watts but very efficient so there may not be to much of a power draw from a channel that isn't putting out that many watts. however what im realizing is that bi-amping requires a little more customization that my system currently has and so i may not see any true benefits.

    I would agree. Between the high efficiency of Klipsch speakers in general, and the lack of true biamping capability of your setup, I'd bag it and not worry about it. Biamping really only pays off when you've done something custom with your different drivers, or in a situation where the highs, mids and/or lows all have very different power draw requirements.

     

    Those RF-82s will give you a headache long before you push them past operating specs. Good luck and happy listening!

    • Like 1
  14. Good morning all.

     

    So I'm wanting to do something nice for my Dad, and I thought I'd buy him a pair of Klipsch speakers. The last several times he's come over for a visit, he's commented on and complimented my 1982 Heresys and is interested in my Speakerlab Khorn restoration project. He said he'd love to have a pair of speakers like mine, but didn't have the room.

     

    So I'm planning on buying him a set of RP-600m speakers and I was thinking about getting a "matching" center channel to go with it. Price is a bit of a factor, so I guess I'm asking what y'all think about pairing something like the R-25C, R-52C, RC-42IIBL or similar with the RP-600M.

     

    Thoughts?

  15. Situations like this are why I have gotten in the habit of taking pictures of what I'm shipping (either sold online or as a return) and how I've packed it into the box and also the outside of the box to show that it was not damaged when it left. It's saved my *** on eBay disputes a couple of times because I was able to prove that the item wasn't damaged, that it was what I listed it to be and that I packed it safely and adequately (all time and date stamped, of course).

     

    Sorry you got the run-around.

    • Like 2
  16. 4 minutes ago, billybob said:

    Yes, but I live in a shoebox... welcome and enjoy the talent here.

    Not many have fallen off of a turnip truck like I have... thanks.

    Hey, you work with what you've got. I spent years banging away on ADAT and DTRS machines while all the cool kids were using DASH and Pro Tools.

     

    Then I went to RADAR. Loved it. I hate digital tape. DATs especially. Little buggers LOVED to fail on me. Had to make way too many safetys.

    • Thanks 1
  17. 2 minutes ago, billybob said:

    @danalog02 ...Heresy for nearfield in use...

    Not sure I'd have them as nearfields. I don't think the sound would converge well that close. I might use them for midfields if I could back them up far enough to get everything evenly. And have them on stands with mid horns aiming to ear level but cabinet bottoms at least level with the top of the console or DAW mixing desk.

    • Like 1
  18. 31 minutes ago, tigerwoodKhorns said:

     

    That is funny.  I don't doubt it for a second. 

    Seriously. There were so many insanely talented people here in Nashville. I kept thinking about the great stuff we could have done with them, but we were a mid-sized studio on Music Row. Mortgage and insurance was insane and we just couldn't afford to work on spec or pro bono. On the other hand, kids would show up from out of town with daddy's credit card to make it big because they were hot shit wherever they were from. They'd take meetings with every publisher in town only to be given (what they didn't know was) C and D drawer material. They'd hire the best session guys in Nashville and drop tens of thousands on recording, mixing and mastering. The recordings and musicianship was always amazing, but a bad song is still polishing a turd. They were called custom records or vanity tracks. No substance.

     

    The standing joke was, "Hey kid! Want to know the fastest way to make a million dollars in the Nashville record industry? Start with two million."

  19. 30 minutes ago, MechEngVic said:

    True. It's actually a lot like speaker making, or most of anything that is produced by humans. Even today, the two biggest limiting factors are technology and the human influence (costs, timing, and certainly ego). I've worked in a studio, never behind the board, but I was pretty good at setting up spaces and mic placement (my brother-in-law owned a studio for many years). Most of the music that came out of there never got mastered, and even though the bass is a bit boomy, or there are some uneven levels, I like listening to it because it isn't smashed together.

    Whenever possible, if a client was paying to have our mixes mastered, we'd go to the mastering session (at least part of it) to hear what they were doing. At the time, we were mixing down to an Alesis Masterlink hard disc recorder and I'd just take it out of the rack, put it in a road case and take the whole thing to the mastering studio. No issues though, because our mastering guys were super awesome and happy to let us hang out. That was always fun. I realize not everyone has that same experience.

    • Like 1
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