CWelsh

Welcome to the club. Very cool speakers!

We've discussed this one. I think this will be my next DIY project, but will need to wait for a while until the wife isn't paying attention. 😉

Are you talking about a tube preamp with a SS amp?

I have to start by saying I haven't listened to a lot of tube components, so I can't really express any strong opinion based on my vast experience. That said, I can enjoy listening to music on my Amazon Echo or JBL Charge 4, but my enjoyment goes to a completely different level when that sense of space is there...what I think of as soundstage. To me, that is what separates great from good. And, I do feel like I've heard this from a number of SS components, but maybe it isn't as good as I think. How much difference does source material make? In my experience, some recordings seem much more spatial than others. Would that difference disappear or be reduced with tube equipment? I would appreciate suggestions of recordings I can try with my own SS based system.

I would have to sell both my cars plus take out a loan, so, yes, I would be walking around...LOL

My first band did this one. Of course, every band did it back then. Our bass player could never quite master the opening, so our lead guitar player did it while the bass player plunked quarter notes. The girls still danced to it.

The real question should be, how big is your room (total volume) and how do you want to listen? If you're truly in a small restaurant and need to play over the top of a lot of people, you will need more power from the amp. If it is just you listening at a moderate volume, you won't need as much. How anyone else listens isn't really going to help you unless you can compare it to your personal needs.

I don't know if you really got any help with your question or not. Another forum member went on a quest for the perfect amp for his Cornwalls a few months back and ended up with an AudioLab 6000A. You might want to check out his thread. https://community.klipsch.com/index.php?/topic/203853-the-perfect-integrated-doesn’t-exist…and-it’s-annoying/ Unless you feel the need to push your speakers to levels that will permanently damage your hearing and possibly crumble the foundation of your house (perhaps a little hyperbolic), you can use very low power. As some have already pointed out, your Cornwalls can also withstand huge amounts of power. Personally, like henry4841, I prefer quality over quantity. I'm using Fortes which are slightly less efficient than your Cornwalls and I'm currently driving them with an 8wpc Class A SS amp (Pass Labs ACA) and they play louder than I will ever want to listen and sound incredible. I've also used a very inexpensive Class D amp that is capable of about 80wpc and had no complaints about the sound. The Class A is better, though. Also, a number of forum members are using Class D amps and loving them. The Topping PA5 is very popular and only about $350. You will probably need a preamp of some sort to go with that, but that is also true of the Schitt Aegir. The great news is, there are a lot of amps out there that will pair really well with your Cornwalls. Look for the features you want and pick quality and you will do just fine. As Corey points out in his thread, there isn't one perfect amp for the Cornwalls...there are lots of them that you may find to be perfect for you. Have fun in your search and let us know where you end up.

You're making me hungry! Man, does that look and sound good.

I hear what you're saying and don't disagree. I don't even disagree with the bigger picture of the article. For me, at this point in my life, paying a monthly fee for a streaming service makes more sense than building a digital collection, but that may change someday. The issue of artist compensation, though, bothers me because it seems to always pop up in any article like this and it always sounds like a rationalization to me. Maybe it shouldn't, and maybe it isn't, but it comes across that way to me because I sense a self-righteous trashing of the streaming services as if they are cheating the artists by paying them "fractions of a penny". It is clearly speculation on my part, because I don't know the real economics of the music business today, but I wonder if those fractions of pennies from who knows how many streamed plays (tens of thousands, hundreds of thousands?) don't add up to significantly more money in the artists pockets than digital sales. I don't take any of this personally and don't even mean to throw rocks at those who share. I just don't feel the justification of concern for the artist is warranted. It makes me think the author feels guilty.

I'm curious...there is a Dutch version of sauerbratten that I've eaten before. I wonder if your mom's meatloaf had that kind of flavor? It's been more than 50 years since I've eaten the Dutch dish, but I remember loving it.

I've never tried a fried meatloaf sandwich. I always toast my bread but eat the meat cold straight from the refrigerator. Fried sounds really interesting. Oh, and it is spicy or Dijon mustard all the way.

My mom said the stork brought me. I don't thinks storks can fly all the way across the Atlantic. 🤣

I'm relatively new to streaming and like it because it introduces me to new music and artists that I would not find otherwise. Where I live (central Iowa), radio sucks. Even when I lived in the Chicago area, it wasn't that great. So far, I've only used Amazon Music Unlimited and I've been happy with the quality. As for purchasing and collecting my own digital music, I haven't been motivated so far. Not saying I won't, but I'm still exploring. When I read the article, something troubled me regarding artist compensation. Maybe I'm misunderstanding, and I would welcome enlightenment if I am. The author said: "And of course, your one-time purchase of the files supports the artist who made the music exponentially more than the fractions of pennies generated by the occasional stream." Then, goes on to say, "I also love to rip CDs—from friends, the library, or the used bin at record shops. Peer-to-peer file sharing networks have receded to the underground, and while that’s largely a good thing—artists should get paid!—they’re often the only place to find music that’s no longer available to buy or stream. Digital files are infinitely transferable, which leads us to one of the biggest reasons to become a digital music collector: sharing.... But for me, there’s no better way to organically spread music than sharing files, thanks to its mix of convenience and intention." My question is, when the author is "rip[ping] CDs—from friends, the library" and "organically spread[ing] music [by] sharing files", is the artist being paid for the ripped/shared files? My guess is, not. And, if not, is the artist actually making more money from the one time purchase from a file than from the fractions of pennies they earn each and every time their music is played because the streaming service is responsible for each use? The day may come when I start purchasing and collecting rather than paying a monthly fee. For now, streaming works really well for me.

I should have been more clear in my comments, as well. My point was more about the arguments over the importance of tone woods vs. anything not considered a tone wood. And, I included solid bodies because the arguments extend there as well. I build guitars as a hobby, so I see the parallels between the two groups. Like Edgar, I've been under the impression that MDF was being used not to save cost, but to dampen vibration, but that may be a misunderstanding. I would be very interested in CBH's thoughts on this.

Ovation uses a composite material for the back and sides of their acoustic guitars. You would probably get a kick out of reading their marketing materials touting the clear superiority of their "space-age" product. Many solid body guitars use plywood or various sorts of particle board for the bodies. MDF has been used, but it is generally considered too heavy. Discussions of tone woods for guitars is ever bit as contentious as anything in the audio world.

In the tradition of philosophical inquiry, we may need to share a few pints while we argue the issue.

I haven't listened to this yet, but it reminds me of a question posed in my introductory philosophy class...can you prove that what you see as orange is actually the same color that I see as orange. I suspect that various branches of science may be able to make pretty convincing contributions to that question, but from a philosophical standpoint, I guess it is valid.

I'm right there with you. Having just completed my Amp Camp Amp build a few days ago, I suspect you would love it. Very well worth the money.

Puppies...cute or ugly? 😄

Hooked up the ACA to the preamp out on my 1060 and it makes a significant difference. Also, while the Node offers the ability to boost or cut bass and treble by plus or minus 6db, but I think the tone controls of the 1060 offer more flexibility.

I'm sorry I didn't see this earlier. Did you get the information you need? If not, I will pull a grill off my Forte IIIs and get measurements and pictures for you.

Anansi Boys by Neil Gaiman.

I'm not sure I understand what you mean when you say stereo full bandwidth? I am running it in stereo mode and it is the only amp driving the speakers, if that is what you mean. After a few hours of operation, I need to amend the results. Last evening I measured maximum peaks of 94db at 1 meter on axis. For me, that is significantly louder than I usually listen. I'm generally more in the 50-60db range. I noticed something else, though. When I lowered the volume to what I thought was my more typical listening level, it was actually in the 65-75db range and it sounded wonderful. I'm sure a big part of that is just my brain adapting, but I think there is also a purity to the sound that makes it really easy to listen to. I think I'm going to love this thing. As for building a BA-1, I can imagine more projects in the future. For now, I have some experimenting to do with what I have on hand. I've learned that the maximum output from the Node is only about 2 volts. That works, but may not be enough to get the full potential from the ACA. I want to try running everything through the preamp on my Marantz 1060 to see what that does. I also want to try bi-amping with the Aiyama chip amp on the bottom and the ACA for the mids and high. I should have enough to keep me entertained for awhile.

It's up and running! The sound is stunning. Much warmer than the Class D amp with a more spacious soundstage. The volume leaves a bit to be desired, though. Running my Node full out it hovers around 70 - 80 db on what should be fairly loud passages. I was going to say that it sounds less detailed than the Class D, but I'm not sure that is an accurate statement. There is still a lot of detail...it's just somehow different.