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Desert Noises

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  • Location
    Salt Lake City
  • My System
    System 1: Klipsch La Scala, Pioneer SX-1250, Kenwood KD-750
    System 2: Home-built Cornwall clones, Kenwood KR-9600, Fluance RT85

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  1. Fluke 179 here as well. I trust it and never second guess its accuracy. It’s a great meter. At work I use a Fluke 87V. That’s a very nice meter and quite a bit more expensive, but work bought it.
  2. I fitted my Cornwalls with PF Flyers. Now they run faster and jump higher!
  3. I’m currently using an SVS SB-2000 sub with the La Scalas, crossed over at 65Hz. I’ve found that setting to be the best seamless transition point. I’ve seen others recommend crossover settings as high as 120Hz, which I’ve tried, but that’s just way too much bass overlap. Even 80Hz is too much. It has been my intent to get a second sub but other priorities keep coming up. I think it should be a crime to listen to La Scalas without using a sub. I’m going to see what the AL-3 crossover does, since that’s the closest design to what my La Scalas originally had (Type AL). Out of all the mods I’ve done to these La Scalas (and I’ve done them all) the one thing that made a difference was upgrading the tweeters to CT-120 from Crites. Next would be the A/4500 crossover with -6dB on the squawker. I have the A55G mid drivers and original K-55M and I cannot tell any appreciable difference between the two. Initially I thought the 55M sounded harsh with a Type AA crossover. I put them in my Cornwalls with B-2 crossover with low expectations, but the 55M sounds fantastic in those. Not shouty at all. I swapped the 55M back to my La Scalas with the A/4500 crossover at -6dB and the sound is exactly the same. My theory is that maybe the A/4500 rolls off the squawker and keeps the mid from coming back to life at 9kHz. I must say that the La Scala has been a great teacher, along with the people on this forum.
  4. I have La Scalas, Heresys, and home-built Cornwalls. I completely agree with you. My 1988 La Scalas have been difficult for me to make sound right. I’ve had my 1982 Heresy pair for 12 years and they were always great speakers. Moved into a house from years of apartment living and decided to get a pair of La Scala. I thought I loved them at first and then went down the rabbit hole of “upgrades” to correct some harshness at louder volumes. Then I moved to a house with a basement and space for a second setup. I built a pair of Cornwall clones using the leftover La Scala parts. I was blown away by the Cornwalls, not expecting too much. I found that I preferred their sound over both the Heresy and La Scala, especially at volumes over 80dB. That got me to messing around with the La Scalas again, changing the attenuation on the mids from -3 dB to -6 dB (Type A/4500 x-over). That helped the mid harshness, but something in the bass just sounds “off” to me at higher volumes. It’s best described as a nasal boxy sound, similar to boom box speakers from the ‘90s. Right now I’m waiting on parts to build an AL-3 crossover with steeper slopes to see what that does. My La Scalas sound great at low volume. They just get a little screwy above 80dB. The Cornwalls, however, sound perfect to me at any volume level and they have great full bass. When I want to crank it, I go for the Cornwall system. Even when I had the Heresy pair hooked up, I tried convincing myself that I couldn’t possibly prefer them.
  5. Sad, indeed. Especially when reading about it on a forum all about…sound. My mom had to get hearing aids and I couldn’t understand why. She never worked in the usually suspected noisy environments. Some time before she passed, I asked her about it. She said it may have been from the years she worked at the IRS back in the ‘60s and ‘70s as a keypunch operator. She said all of the typewriters and keypunch machines operating in those large rooms were deafeningly loud. She probably never thought about wearing ear plugs in an office environment. I can see how 8 hours of exposure to that can cause some hearing damage. At work, I’ll occasionally open up my SPL meter app in a noisy environment (mechanical room) and I’m always surprised at how easily it gets to 85+ dB, the threshold of where long-term hearing damage can occur. I carry foam ear plugs in my pocket at work and I also wear them at ALL concerts. Once our hearing is gone, it’s gone for good. Wear your damn hearing protection, kids!
  6. Desert Noises


    What does a pirate say on his 80th birthday? Aye Matey!
  7. Like others have pointed out, this doc is too long. I got an hour into it and asked my wife if anything was going to happen, or are we going to be watching the Beatles smoke, drink, and tune their guitars for 8 more hours. I watched it on recommendation from a musician friend of mine who raved about it. I appreciate the Beatles and their music, and the impact they had on music, but I guess I just don’t need to watch how the sausage is made. For people like me, a much condensed version would have been great. I thought it was neat seeing the actual footage of the way everyone interacted, but my attention span ran out of steam a little early on.
  8. Jingle All the Way. I’ll see myself out now.
  9. I opted for the cast frame version for my home-built Cornwalls. Just curious, why is the stamped steel the better choice for a Cornwall? Aren’t the T/S parameters almost identical?
  10. Thanks for the explanation. That plot helps me visualize what effects the different capacitors have on the LF filter circuit. I have a lot to learn about crossovers, so I'm trying to expand my understanding. I notice on the AL-3 schematic that there are two 68uF capacitors in parallel across the woofer terminals, which would equal 136uF. Would you say that this instead of an 80uF would be adequately damped? What did Klipsch accomplish by adding these capacitors and increasing the inductor to 4mH?
  11. I'm not the right person to ask since I don't really know. Dean would be the one to ask. However, when I look at later crossover schematics, such as the AL models, which have the parallel capacitors across the woofer terminals, the polarities of all the drivers look the same as they do on the A and AA networks. As I understand it, the woofer is still a first order with the added capacitors. Again, Dean would be the guy to ask about this.
  12. I think you are spot on. I’m finding that the La Scala takes a little work to sound right, such as placement and playing with toe-in. They may may not be the best speakers for many rooms. For sure, pulling the mids down by -3dB made a big difference and solved the shoutiness issue. The thing that reduced that stuffy sound at my listening position was toeing them in 45 degrees. Having all that bass energy focused directly at me through the mouth of the bass horn may have been a little much. I also installed an 80uF capacitor across the woofer terminals (parallel), and that seems to help cut some of it out. I’m still listening and evaluating. One thing worth mentioning is that these La Scalas are absolutely magical with classical music.
  13. I have not actually swapped the Cornwalls with the La Scalas. The Cornwalls are in the basement and I am waiting for some ambition to bring them up and try them in my main living room. I corrected the harsh "beaming" mid horns by attenuating them by -3dB. That made a big difference and they sound balanced now. As for the boxy, nasal, stuffy bass, I somewhat eliminated it by toeing in the LS 45 deg as an experiment. That cancels a lot of it out but I still notice it. I'll leave them positioned that way. Before toeing them in, I moved from my sofa along my back wall and sat in the center of the room (about 10' in front of the LS). By doing that, the soundstage opened up and the LS sounded more natural with 3D and depth. With the 45 deg toe-in I get the same effect sitting on my sofa, even though my horns point to and intersect at the center of the room, which is 10' in front of my sofa. The jury's still out, but my LS sound a lot better and are still great speakers. Maybe I just don't prefer short horn bass? I can say for sure that, at this point, I would choose Cornwall bass all day, any day. It's so clean and refined, with depth, and is not in your face. I still have to bring my Cornwalls upstairs to audition in order to prove or deny that assessment.
  14. I’m grateful that Michael is continuing the Crites legacy. I hope he visits this forum.
  15. Update: I received a lot of good advice and ideas from you on this thread and I appreciate your feedback. I suspected my midrange to be a bit too hot. So, I ended up dropping my mids down to tap #3 on the auto transformer and replaced the 13uF capacitors with 6.8uF to attenuate the midrange an additional 3dB while maintaining that 400Hz crossover point. First impressions when I played some music were generally positive with a noted reduction in midrange “glare” and better tonal balance - perfect I would say, but that boxy “stuffy nose” bass sound was still there, obnoxious as ever. I temporarily reinforced the sidewalls of the bass horns with wood blocks and clamps to rule out resonance issues. That didn’t have any effect. I did a little more reading on here about speaker placement and interaction with rooms. I came across something PWK wrote, recommending a 45 deg toe-in for the best stereo image. Looks to apply to both the La Scala and K-horn. So I tried it, ridiculous as it sounded to toe them in this extreme. Not expecting much, I listened and listened some more. They sound more natural and that dominant boxy sounding bass is reduced to a more acceptable level. I wonder if that boxy sound I’ve been hearing is related to that oft mentioned 148Hz peak inherent in the design of the La Scala. To conclude, I can confidently say for sure that the mids belong on tap #3. And for my room, a 45 deg toe-in is the golden ticket to get rid of that nagging upper bass boxy sound. Not sure what science and acoustics are at play here but it works. I’m listening to Rossini overtures right now and I’m getting a great sonic image of the orchestra.
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