gigantic

Nbb

A lot of it, I think, depends on the venue, the sound engineer and the band. I've seen shows at the Mann center that blew me away in terms of sound and imaging- the Fleet Foxes, before the pandemic, for instance, and other shows that were as you described. in smaller venues, because of my height, I'm 6'8", I tend to stand either in front of or behind the mixing console. This way, I'm not spoiling anyone else's show, but I also get to hear the best possible version of the performance. these days, many venue have better sound systems. When I was a touring musician in the 90's, I had a lot of house sound guys either scoff or grumble about my stereo guitar rig. I'm certain that abut 98% of the venues I played back then were mono. These days, most mid to large sized venues are stereo and depending on the band's stage volume and the skill of the sound engineer, you might actually hear some depth in the sound field. However, those factors coming together are rare. Most rock bands have summers who play much louder than necessary and the other musicians raise the volume of their amps to compensate, by habit. this makes the sound engineers job difficult, if not impossible to deliver any presence and depth in the sound field to the listeners. Heavy music is out right. However, for musicians whose sound is dynamic and utilize low stage volume, you can occasionally witness magical performances. we obsess on this aspect in home performances, because it better approximates the illusion of live performance. We can't be there, but if we're sitting in our living rooms, listening to a well engineered and produced recording on a good hi-fi system, we can have a different, but equally good experience that enhances the songs and performances to create a transcendent experience that rivals that of live performance. I'd argue that in many ways, listening to music in my living room is actually a better experience, but I go see live shows to have a different experience than what I can have at home. Sound is part of that live experience, whereas at home, it's the entirety of it, however, in live performances, it's not so much how true the artists are to their recordings, but how they interpret their songs into the space, how they interact with the audience, the space and whether they take their material in different directions. Truly transcendent live performances are actually quite rare- I can sound on one hand shows that I've seen that truly took me beyond the music, but the reason we keep going to shows, is for the chance to see that happen again.

a few snaps I took over the weekend in Cape May, NJ:

I’m curious as to the effect that the motorboard has in H-1 vs later versions, 2, 3 & 4. Is there any “smoothing” (sic), decrease in distortion or wave interference with the flush mounting of the speakers in later versions? Is there an audible or measurable advantage, particularly if one were to use motor boards constructed from identical materials, e.g. 3/4” Baltic ply?

I was born in 1970, so my heyday for music was basically those years: new wave and post punk, a smattering of 80‘s metal, techno-industrial, shoegaze & dream pop, indie-rock, post-rock, instrumental and underground hip-hop- too many bands to mention… my tastes ran the gamut and still do. Even though those were my golden years, I’d posit there’s still great stuff being made now.

Thank you @Invidiosulus& @RealMarkDeneen! I have an instagram account as @sparklemotionguitars, there‘s more in my feed.

I don’t care so much about resale value as much as a maxim that a mentor told me years ago: “how you do anything, is how you do everything.” the upshot is that I got the 8 & 16 ohm tweeters for the price of one, so I might be able to sell one and recoup the cost. So for the time being, I’ll use the K-77M and live with the shame that only I know… 😉 actually, you all know now, too. 😳

That’s odd, I couldn’t find them on either website when I tried looking yesterday. At any rate, if I were to replace the drivers, I’d rather get @Dave A sMAHL’s, but before I do that, I’d like to build the cabinets and make sure I’ve got everything dialed before making that investment.

I’ll add that the bevel on the front and back pieces is 7.5°

It looks like @Dave A& @BEC have cornered the market on them, none of the US dealers have either DE110 or DE120 listed in stock on their websites.

I just got a deal on a pair of K-77s that I hope to use on the Super Heresy/Baby Cornwallis that I plan to build, however, there’s a reason that I got them for a bargain price: IIRC, one of the tweeters reads 6.5 ohms, which seems normal, however the other reads somewhere around 11-11.5 ohms. Short of replacing the driver, is there an easy fix for this? Would a replacement diaphragm solve the problem? I also have a square magnet K-77 that I can use, but I’d rather keep it matchy-matchy. What is the recommended replacement driver? As far as I can tell, B&C drivers seem to be out of stock everywhere. tia, Lance

interested. PM sent

hmmm... I discarded 6 of them when I refinished my Heresy H700's and built riders for them. I figured they were an after market part. The ones I threw out were pretty scuffed and rusted, so I'm not entirely mad I tossed them; the risers are definitely an improvement.

Right now, the mids sound kinda harsh, which I hope is just the old caps and my tinnitus acting up as I recover from COVID from last week.

Original. While I could recap them to original spec, I’m most likely going to skip straight to a Type E network.

Listening setup: Pro-Ject Debut Carbon run through a Denon AVR-04 in two channel, as my Onkyo TX-SR674 is offline. I’m supplementing with a Mirage FRX-S8 Subwoofer. My gear is old, but apart from the speakers, not old enough to be cool… Lieutenant Dan the Tripawd Cat approves.

2x post

Sorry, I thought I’d mentioned previously that I was restoring them to stock today and listening to them in stock configuration. Perhaps as soon as tomorrow, I’ll upgrade the networks to Type E. The Eminence woofers arrive on Thursday, however, I doubt I’ll get them installed until next week; I’m on vacation now, but we’re going down the shore to Cape May on Friday for a long weekend on the beach.

First impressions: I’m not likely to report anything that anyone here doesn’t already know. Phenomenal sensitivity, dynamics and clarity, the imaging is incredible and it even sounds amazing in surround mode. But… everyone knows this is coming… no bottom end, it just falls off when things get low. With my subwoofer turned off, there’s almost nothing there at the bottom end of the spectrum below mid-bass. Treble is nice, but in the range of the human voice, it’s a little harsh, I’d almost describe it as sibilance, but it’s not distortion. Is this a characteristic of the Type C network? I’m just recovering from COVID and my tinnitus is working overtime, so that may be a factor, too. I think I’d appreciate choking the the midrange back a little bit. So far, I’ve listened to Talk Talk’s “Spirit of Eden” LP, David Sylvian’s “Secrets of the Beehive,” and my bass test tracks, Boards of Canada’s “Aquarius” and “Everything You Do is a Balloon”. On deck, I have Dark Side of the Moon, Charles Mingus’s “Black Saint and the Sinner Lady,” Henryk Górecki’s “Symphony No. 3” (with Dawn Upshaw), some Steely Dan, a little Slayer and perhaps some Wu Tang Clan, just to cover all of my bases.

the UPS delivery arrived at noon, @dtr20 did an outstanding job packing the K-22K’s I have everything reassembled, as PWK intended, with a bit more sound insulation added: Voila! They’re ready to be taken home for testing: I also made a set of risers for them: Considering that they were rescued from and nearly ended up back in the trash, I’m pleased at how they’ve turned out. Total expenditure to this point is about $160 for the replacement speakers and paint. @ClaudeJ1, the plan is to test them with the B circuit today, then upgrade to the e circuit. Then when the Eminences arrive, I’ll try them with the ported back and depending on the base response, do your recommended mods. I’ll keep you posted every step of the way. by the way, what do you mean by “restoring” the stickers? I had a notion to scan them, clean them up and replicate them, but I feel that runs close to forgery.

Yes. I’m keeping the original backs intact to use with the K-22-K’s and have another set of backs that I’ve made to receive the ports, as well as banana terminals. I like retaining the option of returning them to stock. i may very well make another set of cabinets and either transfer the baby Cornwall mods to that, or build them as Heresy 1 replicas with original Klipsch parts.

Sealing up the boxes with 3/8” x 1/8” neoprene tape: horns and badges installed: and now I check UPS tracking every 10 minutes, waiting for the K-22-K to arrive latter today, to assemble, test and begin updating the network to Type E spec, and then to @ClaudeJ1’s Baby Cornwall spec, once the Eminence Delta Pro 12A’s show up at the end of the week.

Touched up the badges

Whelp, I couldn’t resist a pair of Eminence Delta Pro 12A’s on Ebay for $200, shipped, so it looks like @ClaudeJ1 ‘s Baby Cornwalls are on the table, proper. Will still put them back together with all the stock components, just to establish a baseline, then do the mods

I had some scrap 3/4” mdf in my workshop, so I decided to play around with it and make new backs, so I didn’t have to damage the originals. Also, considering how thin the oem back panels were, they seem like a potential weak link in the cabinet construction; MDF, being both dense, structurally stiff and and not particularly resonant, should in theory, tighten things up a bit, with the rabbeted edges providing a good seal against the back. i also cut and shaped a hole to fit a 4” port in the back: here’s a panel installed flush on the back of the speaker box: i wasn’t able to get in the paint booth today, but I’ll scuff-sand the panels and spray a few more coats tomorrow. Tuesday, the K-22-K’s arrive, as well as the speaker terminals, so I’ll begin putting everything together with the stock, type c network to see how they sound, before I upgrade the capacitors.