Jump to content

Dave MacKay

  • Posts

  • Joined

  • Last visited

Everything posted by Dave MacKay

  1. I'm about 1/3 of the way through. Today I hope to affix panel 5 (of 10) and cut the speaker baffle. It is my first speaker build. I've found the build instructions to be excellent. Even though I'm just an average woodworker, I'm optimistic that I'll be successful with the project. The adhesive only cures above 19 degrees F so that I'm in a race to see if I can finish the build (in my unheated garage) before the cold weather really sets in. I've actually ordered the parts for 2 THTLPs, but building the second one will have to wait for spring when the weather warms up. Will the results be worth the effort?
  2. Well ... I've been out in the garage building a THTLP. That's a different type of enjoyment. 🙂
  3. Sorry for having to ask about what's already well known ... Dave's tweeter and lens have had much praise on the forums. Where can one find out more about them?
  4. This may be the wrong place to ask but ... Would you please share a bit about what equipment could be used and how one would set up the DSP? I'm especially interested in what one could use (that doesn't cost an arm and a leg) to replace both the input section (streamers, etc.) and the amp section of a receiver. I'd like to experiment with having a DSP replace my crossovers, but I'd like to do so without a spending thousands. I've purchased a UMIK and have played with REW but I'm really just fumbling around with it. If this should be raised in a separate thread, I'll create one.
  5. I didn't think that I could run a DSP with my setup. I would benefit from some education about how they are employed. I drive my La Scalas with a Yamaha R-N803 receiver. My understanding is that, to use a DSP, I'd need to replace my receiver with a separate input stage (tying together a streamer, etc.) and a separate amp. In fact, I thought I might need as many as 3 amps. The signal would be sent from the input to the DSP. The DSP would then go into the amps (one for each pair of tweeters, squawkers, and woofers). The existing networks would be disconnected. The exercise seemed too expensive and disruptive to be attractive. Please correct me where my understanding is faulty.
  6. I enjoy Radio Paradise. It plays a great, eclectic mix and has introduced me to music and artists that I wouldn't have heard otherwise. Because it's listener supported there aren't any commercials.
  7. What would be involved if one wanted to modify an AA to drop the crossover point to 4500 Hz?
  8. Another consideration is your location. I'm in Canada where used La Scalas come to market very infequently. Because of that scarcity, I paid about US$2200 for a pair of 1988 La Scalas in the summer. I replaced the old AL networks (crossovers), with new AAs from Crites. That was about US$500. Simply re-capping the old networks would have been about half the cost. I figure that the materials to repair and refinish my cabinets will end up costing about US$700 by the time I'm finished. I'm doing the work myself, so that there's no cost for labour. All told, my ~US$2200 La Scalas will end up costing about US$3400. I look with some envy at what I see in the "Alerts" and "Garage Sale" sections of the forum. Better speakers than mine come up frequently, and at quite attractive prices.
  9. Welcome to the forum! I'm interested in your perspective. I recently acquired a pair of 1988 La Scalas. They came with AL networks. Because I needed to take the speakers apart to refurbish the cabinets, I figured that, while I was at it, I might as well replace the >30 year old caps. When I looked into the cost, it turned out that buying new caps was more than half the cost of brand new networks from Crites. Not having had experience with La Scalas, I looked to others --- and this forum --- for guidance. The consensus was overwhelming that AA networks were an excellent choice and superior to the AL networks. Consequently, I purchased a pair of new AA networks from Crites. I'm not a particularly discerning listener and I didn't listen to the AL networks for long but I didn't notice much difference from the change in networks. I still have the ALs and plan to swap them in and out to see what differences I can discern. Your experience will make my testing more interesting.
  10. I was able to find the terminal strips I was looking for at an electronics surplus shop. In case the information might be useful for others, I'll share the product information here. They are made by CINCH Connector Division and are called a "barrier block". They are CINCH part number 2-142. Here's the web page that describes them: https://www.belfuse.com/product/part-details?partn=2142 The connector is rated to carry up to 30A and/or 7500 Watts. It can accommodate up to a #10 wire. The data sheet can be found here: https://www.belfuse.com/resources/datasheets/cinchconnectivitysolutions/industrialcinch/ds-CCS-IND-barrier-blocks-142-series.pdf They take an 8-32 machine screw. A screw of >2" will allow me to mount two back to back on either side of a 3/4" panel. They should do nicely for what I need.
  11. Yes. Although I found terminal strips at Parts Express, I didn't find any with an open back.
  12. Thanks for pointing that out, but it has a closed back so that two can't be connected on either side of a panel.
  13. I've been trying to find the terminal strips that connect the inside of the bass bin to the squawker/tweeter "shelf" on my 1988-era La Scalas. I think they're "dual row, 2 pole, open back" terminal strips (or barrier strips). (I don't need them for my La Scalas, they're for a subwoofer I'm building). The terminal strips are mounted back-to-back, one on either side of the wood panel that forms the top of the bass bin. The one on the inside of the bass bin is connected to the woofer. The one on the opposite side of the wood panel (i.e., the bottom of the compartment for the tweeter and squawker) is connected to the network. Each pole on the two terminal strips is connected to its mate on the other terminal strip with machine screws that pass through the wood panel. The tricky bit is that it must be possible to connect the two strips; the ones I've found are solid plastic (not open backs) which makes them unsuitable. I've looked for suitable terminal strips at my local electronics suppliers, but have not been successful. Similarly, I haven't found what I'm looking for at Parts Express. If they're in the Digikey or Mouser catalogues, I haven't been able to narrow the choices down to find what I need.. I'd appreciate it if anyone could point me to where I could find these terminal strips. Thanks in advance.
  14. Thanks. I've been trying to correlate the -80 dB to +16.5dB that my Yamaha R-N803 receiver displays for volume to what I see on my SPL meter. But I haven't been successful. I recognize that the dB numbers shown on the receiver aren't dBA (i.e., sound presure level) but are instead a measure of the receiver's electrical output. I also noticed that a 96 dB range is what woud be expected of a 16 bit value. I expected that max volume would be at 0 dB and that everything lower than that would represent how much attenuation was in force (restriction from full power) so that all numbers would all be negative. But since my receiver goes -80 to +16.5 dB that didn't make sense. I then thought that perhaps 0 dB was set to max power before a certain level of distortion. If that were the case, any numbers above 0 dB would have increasing levels of distortion. That seemed sensible, but I couldn't get the numbers to work. When I deconstruct the receiver's published max power specs at different impedences (e.g., 100W at 8 ohms, 140 watts at 4 ohms) using watts = volts^2/impedence, I get different voltages for the max power (28.3V RMS @ 8 ohms but 25.3V RMS @ 4 ohms). Peak-to-peak that would equate to 40V or 36 V. I had expected that the voltages would have been the same. I had thought I'd hook up the receiver to an 8 ohm resistor and measure the voltage at different volume levels when I input a signal (like a sine wave). However, the biggest 8 ohm resistor I have is rated at 50W which would only be good for 20 volts peak-to-peak (i.e., 14 volts RMS). That won't let me turn up the volume too high on the receiver; in fact I wouldn't even get out of the negative numbers. Any suggestions?
  15. Will you please explain how one would calculate watts used, particularly so that peaks could be included? I'd be interested in finding that out for my system. I've been stymied by the changing mix of frequencies in music, and the different impedances that different frequencies present.
  16. I bought an SVS SB1000 Pro about a month ago and have been very pleased with it.
  17. Will your system support SSDs? The performance difference between HDDs and SSDs is remarkable.
  18. Having been in a similar situation, I've purchased "modern" low-to-middle of the range Klipsch speakers. I've also purchased speakers from other manufacturers. All were OK, but nothing special. Recently, I purchased a pair of 1988-vintage La Scalas. None of the other speakers even come close to the La Scalas. My advice would be to search out a pair of used Klipsch heritage speakers (e.g., Cornwall, Forte, Heresy, La Scala, etc.). Look at the "Garage Sale" section of this forum, Craigslist, Facebook Marketplace, US Audiomart, etc. You'll have to stretch your desired price point, but the results will be well worth the extra expense.
  19. What are they? Are they the Crites tweeters with different lenses? I'm interested in your modifications and in aplying some of what you've done to my La Scalas.
  20. I'd not heard of re-magnetizing before this. What symptoms would indicate that re-magnetizing is warranted? Where does one find places to have drivers re-magnetized? How expwnsive is re-magnetizing (versus, say, buying a new driver)? Thanks.
  21. Today I got a UMIK-1 microphone. I've downloaded REW and now need to start learning how to use it. My goal is to characterise my room and improve the placement of my La Scalas and my subwoofer (currently an SVS SB-1000 Pro). My plans are to replace the SB-1000 Pro with a Bill Fitzmaurice-designed THTLP but I'd like to be able to assess whether I'd be better off with a single THTLP or if I should add a second SB-1000 Pro instead. I'm hoping that REW with the UMIK-1 will help me determine the best path forward.
  22. Your question may not garner the answers you're seeking in this forum. I suggest that you repost it in either "General Klipsch Info" or "Technical/Modifications". My 2 cents worth ... Yes, you could sand off the spray paint. You should remove the horns and woofer, not just tape them off. You're likely not going to get the finish you want with a new coat of stain. I suspect that the speakers you're admiring have a veneer, not just stain on birch. However, adding and staining veneer isn't that hard a job. Local furniture refinishers might be able to help you. Good luck.
  23. I bought an SVS SB1000 Pro subwoofer. I'm using the subwoofer with my La Scalas and driving them from a Yamaha R-N803 receiver. Currently I crossover to the subwoofer at 100Hz. Previously I'd been using a Klipch Synergy subwoofer that I got at Best Buy years ago. The sound from that was quite muddy and unimpressive. The SVS is in a whole different league: the sound is tight and crisp. I'm planning to build a Bill Fitzmaurice-designed THTLP but supply chain problems will delay that until the new year. But I'm so pleased with the SVS that the THTLP will have to be really fantastic to replace the SVS SB1000 Pro.
  24. I'll be very interested in your impression of the THT(s). I've purchased the plans for a THTLP but haven't yet started my build (parts are back-ordered). Due to space limitations and WAF, I'll have only a single THTLP.
  • Create New...