Soundthought

To thine own self, be true.

Heh...... Did I write this thread? Wow! I remember how excited I would get when a new/old peice came into the collection. Almost giddy, as it were. I've still got the bug, no doubt, but the peices i'm into aquiring are becoming increasingly harder to find (which can be a good thing) and more expensive. ...plus the thrill is, well....not so thrilling as it used to be. Ha Ha Ha. Such is the hobby. The "TRUTH" hurts, no? Heh... I now have "several" 70s receivers including Jim Cs SX-950. Yamaha, Sansui, Marantz, Harmon Kardon and Onkyo are among a few names in the lot. Whilst, they are all beautiful in their own way, I have started to seriously narrow my focus and thin out the herd. (so to speak). More recent aquisitions include a Fisher 400, Carver "the receiver" and an Adcom 5800. While the deletions have run somewhere on the order of 5 peice of gear a week. (It's a pyramidial effect) Anyway, it really come down to the pure appreciation for this vintage gear, good and bad. It's a learning curve, for me. As an audiophile in progress, I find my evolution through this constantly meandering hobby quite enlightening and fulfilling. Though, it does have it's drawbacks and share of heartaches. It's so totally worth it. Regards, John. P.S. The Mac and Forte combo are still in my office.....and they rock!

Hey man......cool site. Very nice. I sure would like to get my hands on one of those NosValves modded Dynaco ST70s..... I've heard that they sound sweet. Regards, John

Audioquest Type 4. Good solid core cable with a decent dialectric, at a fair price. It's manufactured for bi-wiring, but just twist the matching pairs together, and you've got yourself a winner. Enjoy.

No doubt... Great post, Soundbroker.

Happy Thanksgiving!

Most likely, it's toast. I've seen this with several 9090s. It's too bad. They are impressive pieces when up and running. Unfortunately, parts are almost impossible to aquire. (Sansui buried all their spare parts supply, 20 years ago, in a landfill) Regards, John

I have a dozen or so consoles. Most of them are currently garage kept as well. The Telefunken consoles are very well built peices of furniture..albeit kinda cheesy with the trim they use on most of their models. The Opus Royale was one of Telefunkens' better selling production lines. Very euro styled and weighs a ton. They have good multiband tuners, decent record changers, and fairly decent sounding oval shaped drivers. The best part of finding a Tele console is the distinct possibilty of find Telefunken tubes in it. Regards, John.

Count me in! I'll bring whatever..... as long as I can fit it in the Camaro.

You might want to check out "Sound Studio Construction on a Budget". (F.Alton Everest) 1997 ISBN 0-07-021382-8

Hello, I have a TD124 but have never heard a 125. They really are 2 different critters, from what I understand. TD124s are pretty cool units. Rock solid and fairly easy to work on. Parts can be an issue depending on what fails. The rubber is all easily replacable, which is probably going to be in order unless the person who had it before you had already attented to it. Belts are out there but bearings and drive units don't come easy from what i've seen. All in all, they have a respectable performance. I find them unique, as they incorporate a mechanical clutch plate type engagement unit for the main drive coupling. (parts unknown) It makes them interesting. IMO Some don't like them for this reason, but to each their own. I, personally, have mine outfitted with a Rek-o-Kut tone arm (the long one) and GE VR15 cartridge. Sounds good. For a 50 year old unit, it plays vinyl just as well as any of the others in my collection. Albeit, with a slightly limited range ala. the GE VR15........ Regards, John. BTW. I feel that the TD124 will and does have an overall greater equitable value than the latter given the nature of it in itself. Just my opinion.

Zoinks! Heh..... I like the way you people think.

Just to throw my 2 cents in here.... I have found that aside from related phase issues, the interaction with the room and the corners in which they are incorporated have the most profound effect on the overall output. If the corners they are in match indentically (ie. same size- 4' sidewall minimium - without obstuctions) and the nature of the furnishings is consistent between both sides, then there should be no discerable difference between them. IMO If the above criterea has been met and a notable difference is still prevalent then I would say to check your gear first (polarity issues or weak links and so-forth). If you still find that one is "louder" than the other, then I would suggest swapping channels to see if the problem follows the appropriate channel in question. If it does..... gear issue. (mechanics of your gear or a failure in the related channel signal chain) If not...... it's a room issue as it relates to acoustics. Or..... a problem with one of your speakers (Which really isn't to common). Seriously. Just a thought.... Khorns are not shy in pointing out flaws in spacial acoustics. They will sound great in any given space, but the smaller of a space you allow them the greater the chance for acoustical flaws, hence a funky or uneven sound. I have my 57' Khorns in an etremely small space (12x15) and let me tell you........imagining and depth is totally bound to the nature of the recording venue in which they reproduce. I have a sweet spot that is just large enough for me to fit in by myself. (girlfriends have to sit on my lap...not nessisarily a bad thing ) But....I have found that with Khorns, having a specific sweet spot isn't really nessisary given the fact of what they do in general. I give up stereo imagery and spacial quality for a level previously unheard detail and articulation that just can't be found with any other loudspeaker I have sampled. (and i've sampled alot) It is a trade off that is entirely welcome given the fact that what I am experiencing is closer to what I want than anything else out there. I hope you get it figured out. Let me know if there is any way I can help. Regards, John.

Wow..... huh. Wow. How cool. Very creative, my friend. I have most of the silver faced gear that came out between 68' thru 80' and I have to admit....it all sounds pretty darn good.----to a certain degree. Granted, there are definately some lemons out there. No doubt. Buyer beware.... It isn't like that old gear is bad, mind you. It really comes down to the respective tolerance of the internal components of the gear in question. It is an undeniable fact that most ceramic disk capacitors dry up and eventually fail over time. Some faster than others. Though, the big issue really becomes a matter of whether or not the specified gear is operating within spec or not. Unless your savvy to the internal architecture of the gear your sampling, you'll never really know for sure if it's relaying info within the given specs on which it was created. Distortion can be hard to spot if you haven't heard the specific piece in question while it's operating within it's proposed specs. Many differing topologies can distort in various ways. Not all are bad...... Though...most aren't good. FWIW Anyway....Great story. Enjoy your vintage gear. I sure as heck do. Regards, John.

Prince. CS&N. George Benson. Sting. Though....I usually just tune into local light rock station so I can devote my attention to the task at hand.

I'm always learning something from you, Gil. Thanks for breaking that down for us. Regards, John.

Interesting thoughts. I think of it in terms of how it was engineered? What would be considered a fair amount of flexes for a "break-in" period? If given the average warranty for a loudspeaker is 5 years, and we listened to a 60Hz tone 1 hour a day, seven days a week, for the enire 5 years....your looking at 45,990,000 total flexings for that one tone alone. That's alot. But, i think the problem is far more complex. First, you have to take in to consideration the physical attributes of driver in question. (Xmax-Qms-etc) IMO. This is were it would seem to make the most difference. Second, are we feeding the driver in question it's full capable range as far as allowed by any given crossover slope or are the usable frequencies propagated sporadically as it would be with most music venues? Third, I suppose would come along the lines of wondering what the thermodynamic effects on the type surround material in question. There, of course would be other factors involved as well, but I think the above few elements beg certain questions. I do wonder about these things. To conceptualize the amount of flexes the woofer in my Khorn would make with it's full usable range in the same afore mentioned situation is mind bending. It has to be in the billions and it's crossed over at 500Hz..... I'll bet the RF7s move somewhere in the order of trillions of times in the same case. Humble regards, John.

HOW COOL! Good for you Gary. Doesn't it just blow your mind? Talk about restoring ones' faith in humanity. Wow. I love it. Today, at work, a young parts delivery guy came through my shop and commented on the system I had set up in my bay. He couldn't believe I had set up a turntable at work and how good it sounded. We talked for a while and I came to realize he has a major passion for vinyl. Pretty cool for a kid in his early twenties. Sounded like he had amassed a decent little record collection. You don't see that kind of enthusiasm too often with this younger crowd. IMO Not that i'm old or anything (turned 32 on Sunday), but you know what i'm saying. Anyway, after about an hour of BSing, he tells me about his bookshelf rack stereo he's using to power his old Fisher monsters. Ouch. Now, I couldn't bear to hear that from a guy who seemed to be so into his vinyl. So.....what did I do? Well, I proceed to reach up on the shelf, unhook my vintage receiver, and handed it to him with a smile on my face. "What's this?", he asked. "For you.", I responded. "NO WAY!", he yelped. "Sure enough, my friend" I said. "How much do I owe you?" he asked. "Nothing" I said. "Just keep on enjoying the music" He was pretty stunned, to say the least, but accepted my offer with a grin that went from ear to ear. Heh.... I may have made this guys' day, but he just made my month. Feels really good. I'm always trying to help people realize the importance of music in their lives. It is my mission. Regards, John. ....Pay it forward.....

Edwin- I too, run a Jolida 202a with my Klipschorns. I've got my Svet EL34s in with roughly the same hours on them. And like you.....I find absolutely no reason to turn it up past half way. It's just too darn loud. Enjoy. Regards, John.

Chris- I know what you're saying. The first time I heard my RF7s put out that kind of intense, mind blowing volume, I was floored. Literally stunned. They can actually make it hard to breathe. Enjoy. Regards, John

Hmmmmmm. I dunno...... Thermodynamic effects on suspension compliance? Magnetic supersaturation? Network "burn in"? Who knows? Interesting thread, though. Rock and roll ain't no riddle man, too me it makes good, good sense. Regards, John

wire............sigh.

If you hate Paradigm...cool. I can dig it. Just hope your hating them for the right reasons or else you may be heading down the neverending audio path with a closed mind, and that's not healthy. I'll give you my 2 bits concerning your plight. Go for the Forte2s, if you want mid-range articulation and accuracy. Go for the Totems if your into the holographic imagery. I have all the Klipsch speakers you've mentioned and have had them in my 12x15 living room at various points. IMHO..the Forte 1s' and Chorus 2s sounded the best in that space. Granted, my living room is treated acoustically so it assumes a larger size in that respect. As it stands today, I have Khorns and RF7s in my living room along the 15' wall. It sounds great, but can be a little forward on badly recorded or old material. Regards, John.

I hate to break it to ya but......... Paradigm makes some fine loudspeakers. In fact.....I don't think they have ever sold anything that lacked in quality. Not only do they offer one of the most consistent linear responses going, they also make most all of their components "in house", which can't be said about too many major loudspeaker manufactures. Regards, John.

Carol....you rock!