artto

See "artto's klipschorn room" in the architectural topic area. For what it's worth, I'm an architect. The typical duplex is not all that sound resistant. I suggest you do a search on Google.com on "STC ratings". Also you might want to look at few books on (light frame) building construction under the same subject. Some basic rules to follow if you want to block sound: 1. MASS (ie: 5/8" sheet rock will absorb smore sound at lower frequencies than, say insulation board)(also consider using a sheetblock sound barrier before installing the drywall). 2. Air leaks. You don't want ANY. 3. Discontinuous construction. (ie: using a 2x6 plate with staggered 2x4 studs so the sheetrock on either side is not on the same stud. or using whats called a "resiliant channel" thats used to hang drywall). There are many combinations of ways to accomplish this. 4. Utilities. Make sure the utilities are isolated from the building structure. HVAC vents, water pipes, gas pipes, etc. can all transmit sound across the structure. http://www.auralex.com/c_sound_isolation/c_sound_isolation.asp http://www.auralex.com/main.asp http://www.acoustics101.com/ http://www.allcomfortinsulation.com/sound-attinuation.shtml

I think its very fair if its in orginal condition. Right now I think the prices are down because people are afraid of the tubes being out of prodcution for many years. I've seen Futterman modified ones going for $1800+. If you buy any of these, and you are using them with something like a Khorn, you can probably get away with lowering the bias. The spec calls for .75volts. I've got mine biased at .67V now. And may reduce it down to .6V. Should make the tubes last a lot longer if you don't need the power. Also, be aware that these amps are a real pain in the *** to bias & need to be rebiased more frequently than most amps.

Guy......yeah......me, LOL I have about a dozen used originals & 17 NOS Gold Aero. Unfortuantely they don't last long. I've got about 400 hours on them & one tube in one of the amps is already starting to go (a Gold Aero). Seriously though, they come up on ebay once & a while. A pair of used original 8045G usually fetches $300+. There's really no exact substitute for the 8045G. The Gold Aero 8045G were made from Ei KT99 (I believe). Thats why I was asking Craig if he could externally rewire KT99 as a triode. The original 8045G was actually a pentode power beam internally wired as a triode.

Guy, I've had them since 1979. I got a great deal on them. The dealer I bought them from had nothing but low efficiency "high-end" (lol) speakers. When they found out I had Khorns, I guess they saw it as an opportunity to dump them as they didn't have any speakers the MB3045's could drive effectively. I needed 3, so they ordered a third one from Luxman (I'm surprised Lux actually broke a pair). $250 each. The bargain of the century! And then a few years later I ordered $700 worth of tubes from Luxman. Alpine bought them out & never cashed the check! I haven't ever had the opportunity to hear the EAR 509's in direct comparison with the MB3045. But from what I know, De Paravicini used a similar design concept for the EAR's. In the MB3045's the "trick" is apparently in the output transformer. Its quadrafilar wound (4 parallel wires wound together). Its what De Paravicini called his balanced-bridge or cross-shunt design which basically makes the tube that is "on", automatically force the other tube "off" at the crossover point, eliminating crossover or notch distortion. And according to De Paravicini, that circut is also the basis of the EAR 509 MkII and EAR 549 valve power amplifiers. The amps are extremely well built. I'd say, as far as tube amps go, they are very neutral sounding. But still have the ability to "see" every detail. Great presentation of space. And, they are dead quiet. Turned all the way up, with your ear to the Khorns, there is absolutely no noise or hum. They have a very powerful low end (flat to 12Hz at full output) & a nice "bloom". That full bodied tube sound with the solidness of SS sound on the low end. If you ever get a hold of some, beware! Most of the ones out there have been modified to use a different output tube, usually KT88. KT88 has less than 1/3 the current capacity of the 8045G. It really doesn't do the amp any justice. There were also some mod's for EL34 & a Julius Futterman version using 6LF6. IMO the Futterman version was the best mod, but I believe the 6LF6 is out of production now too.

Craig, no, its a supposedly something where they rewire the pins for triode operation. They put a new base on the tube too. Gold Aero was doing this about 10 years ago. The KT99 & 8045G look extremely similar. I'm not sure, but it seems to me like the KT99 was, you might say, inspired, or based on the 8045G. The 8045G wasn't a "true triode". The 8045G (output) & 6240G (driver) were made specifically for the MB3045. Unique output trans too.

First, for those of you who have the Klipsch Dope From Hope papers, Id like to refer you to the one titled The Ultimate LSH, & specifically the footnotes on the back/bottom of the page. Bob Carver apparently made some pretty stupid statements in Audio Magazine way back in 1972. PWKs Ultimate LSH Loudspeaker was published in the Journal of the Audio Engineering Society. Its a spoof on Carvers dumb comments regarding speaker design. As you might have guessed by now, Im not a big Carver fan. Even going all the way back to the Phase Linear stuff. The amps like the 1.5ts spent probably no more than 5 or 10 minutes in my system. For a long time Carver claimed he could make any solid state amp sound like any tube amp. I never heard it. By the way, Im not anti-solid state. I use SS gear much of the time. Just not sure I can trust one from a guy who doesnt understand things like the laws of physics. But, as chickey has pointed out, those designs are over 20 years old (has it really been that long already? LoL). And apparently they have someone else designing things now. I like to keep an open mind. So maybe its time to revisit. They sure look nice.

(tongue-in-cheek) Dr. Bose is a great businessman (period) (ok, I'm farting now)

Justin....also beware,,,, I tried to get this stuff copied at Kinko's. They wouldn't touch it! Because of all the copyrights. Being a national franchise chain, I'm sure they've been sued for this kind of thing before. I had original materials. So maybe they won't notice (or care) in your case.

I believe the total number of actual "sheets" of paper was 138, maybe more. Might have been 158. I just told them to make a master copy "set", & run it as though BOTH sides, on all "sheets", as if all the pages had printing on both sides. Its just more efficient that way, especially with 40 copies. So its more like 300 "pages", 150 "sheets" of paper.

LOL Craig Craig...well, maybe there's an exchange in our futures....... Can you rewire & rebase a KT99's for use as an 8045G? a tube I'm looking for........12ax7 made by International (IEC) out of Japan. Kinda dirty, but extremely sweet sounding. They were in my original ARC SP6A, can't find them anywhere

You've got to be kidding. I still have quite a few of those mullards, amperex & a few telefunken (lots of GE I can unload too) from my old former days of tube rolling. Had no idea they went for so much! Hmmmmmmm....... looks like its ebay time. In all honesty, in my ARC SP6, I like the RCA's with the big red RCA letters on them made in Great Britain. If you're really interested, I may be willing to part with some of these. email me & we can talk

Ok. I guess I'll throw my two cents in. I've suspected for a very long time that error correction had a lot do with it (as Dave mentioned his initial post). I would even go so far to say that error correction is responsible for at least some, if not most of the sound differences we hear between CD players. And even certain discs. Not every company uses the same error correction scheme. I've noticed in mastering my own digital recordings, that if I "do too many things", such as excessive edits, resampling, acoustic mirrors, time compression, lots of indexing, etc., the more problems I have burning CD's that play trouble free on nearly any equipment. One particular situation a couple of years ago was so bad it prompted me to buy a new CD player because I thought my existing CD player (Revox B225) finally went bad. The CD played fine on the new CD player (Denon 600F pro audio). The Revox (circa 1984) had nothing more than standard CIRC (cross interleave code) error correction. No oversampling. It obviously couldnt deal with the amount of error correction that was required with this particular disc. I recently asked Dave about some problems I was having on my most recent recording since were both using Sound Forge. Dave, it turns out the is problem similar to what I mentioned above. Im quite sure at this point that resampling from 48Khz down to 44.1Khz for the CD burn, AFTER editing, inserting fades, etc., had something to do with it. When I re-recorded the DAT down to the hard drive at 44.1 instead of 48KHz & started the editing from there, the tracking problems disappeared. Before doing that, I backed thru each step of the mastering process, one by one (I save each stage of the mastering process as I go thru it so I can backtrack if anything goes wrong) & was still having problems after the final indexing was put in until I dumped the initial file that I edited AND THEN later converted to 44.1 KHz. Sound Forge calculates the waveform envelopes, cross fades, & any other effects in real time when burning a CD. All of this can add up to a CD that has more errors on it. And at some point, the frequency & magnitude of the errors can become more than what the CD player can deal with.

Aren't RAID arrays usually (or always?) SCSI based? SCSI uses substantially more system resources than standard ATA drives. Sound Forge recommended that I not use SCSI drives for that reason.

Dave....what kind of mics do you use?

Ah, I see another unsolicited, first comment slander from EAR against me. EAR, you're not even creative or witty enough to come up with your own "line"! So now all you can do is turn the "nancyboy" thing on me?.........LMFAO I'll go on record right now.....I said it FIRST. Second, Third, etc, etc. Took you a while to figure out that you couldn't do better, so now you copy Arttie! LMFAO And if you don't watch it, I'll send you up into the mountains where you can pick up my previous "post in writing" (this time on a stone slate), at which time I will promptly break it over your A**. That, after all, is where your brains are at. I know. Because I put them there. Yes, its true EAR. Sorry. My Mistake. But at this time, I certainly have no intention of correcting it. Furthermore, both you & your old man shall remain nancyboys forever. Have a nice day. GOD

Hey EAR.....thats not Arttie in the pic YOU A**hole. Your old man is even more of a jack*** than the guy in the pic. Hell, I bet that probably IS your nancyboy old man in the pic. He's says he's selling his "PA" speakers (as you put it) to pay for a Bose system because he's too embarrased at this point to admit he already bought those $85,000 car speakers you admire so much for the living room. I'll take a good "PA" speaker over an $85,000 car stereo speaker system any day! It's quite apparent that you're very emabarrased bragging about "your daddy's $$$$$$$ system". And that you've come across someone on the Klipsch Forum that knows considerably more about Dynaudio than you do. Aw. Its a pity you can't get over yourself EAR. I sense a JR mobilehomeless (kelly, KH) in the making. Oh, and another thing......you said on another thread that you spoke to GOD daily. Apparently you're doing too much talking & not enough listening. So I'll tell you again, this time in writing. Do you really think I create the delicate sound of thunder with some 8" car speakers? LOL I use Klipschorns. Nice swimming pool.

Sounds like some maintenance might take care of it. Try the cheap & easy things first. Electrical contact cleaner. Caig ProGold works real well as long as things aren't TOO dirty. They also make a product called DeoxIT if things need more cleaning power. DeOxit should be used with their PreservIT afterwards. Due to its unique properties, it deoxidizes and cleans surface contamination, penetrates plated surfaces and molecularly bonds to the base metals. ProGold increases the performance and reliability of all electrical equipment. It improves conductivity for greater definition and dynamics, reduces noise and interference, and lowers distortion. Unlike other products, it also stabilizes connections between similar and dissimilar metals. ProGold provides long lasting protection (1-10 years) on gold, silver, rhodium, copper, nickel and other precious metals. http://www.caig.com You can get this stuff at electrical supply distributors or directly from Caig.

Moon, if you really find that you want/need more bass, two things I would recommend are: 1) try the acoustic thing if you can. More sound absorption at the back wall & rear side walls. Auralex & Sonex both make good materials for accomplishing this. I believe I sent you a few links on that a week or so ago. Simply absorbing more mid & high frequencies that are reflecting around the room, especially at the back & rear sides surrounding your listening position will make the bass more apparent & at the same time produce better definition & resolution. 2) I know this one is may sound sacrilegious to many purists (I'm one myself), but it works. You might want to try an Aphex Aural Exciter 104 or 204 with "Big Bottom". Its a pro audio "effects unit". You can usually insert these in audio chain somewhere. You can buy a used model 104 for maybe $100-$150. By adjusting the level of the "girth" & "overhang" controls you can make the low end sound much fuller, deeper, louder, etc. Its a unique device in that unlike other effects units, it does not boost the gain (like a bass tone control or EQ would). It doesn't require the amp to work any harder or put out more power. & it doesn't make the speaker cone excursion increase. From what I can tell, from your previous posts, it sounds like you're not going to be listening in a very large room. Many times its actually easier to produce more formidable bass (albeit, exaggerated IMO)in a small room than in a large one. The smaller the room, the more "modes" (caused by the room's dimensions/proportions) are likely to pile up bass at various frequencies and places within the room. The bass response will be more irregular, but will sound louder at certain frequencies, which, may or may not be a good thing depending on your particular situation.

I'd be willing to bet that Klipsch has sold many more speakers through (because of) their existing customers than they ever did through their dealer/distribution network. I suspect I am one of the "rare" ones who actually heard Klipsch for the first time, at a dealer. Let's see, first I bought the Cornwalls. My friend Rick hears them at my place. He buys Klipschorns. Mutual friend Andy hears Rick's Klipschorns. Andy buys LaScalla's. Another friend buys my Cornwalls. I buy Klipschorns. Another mutual friend hears my old Cornwalls & my Klipschorns. She buys Cornwalls. Another couple of guys I worked with at an audio store come over & hear my Khorns. They buy Khorns, and so on, and so on.............................. There are few manufactured products in this world, of any kind, at any price, that have the longevity that withstands the test of time like the Klipschorn has.

Glad to see the papers are getting there alright & you guys are already enjoying them! That Richard Heyser review of the Khorn that Paul mentioned was probably the most thorough technical review ever published on it. I had one of those experiences (like Heyser described) just last week. I was heading back down to the listening room. As I stood at the top of the stairs listening for a moment (FM radio broadcast WFMT), I called out to my wife in the other room & said Nice! This sounds just like when youre at Orchestra Hall (Chicago), out in the lobby. We havent been to Orchestra Hall in a while but used to attend frequently. I go downstairs & continue listening. Low & behold. Guess what! Turns out it actually was the Chicago Symphony Orchestra at Orchestra Hall! It doesnt get any better than that. Mark, the article Jim referred to (Klipsch vs. Carver) is in the Dope From Hope collection titled The Ultimate LSH (Loudspeaker). I suggested Jim take a peek at that one first. Its a real hoot! As I told Jim, There are not many people who can get away with publishing a derogatory parody about a fellow professional (in this case Bob Carver) in a professional publication like the Journal of the Audio Engineering Society. Have fun guys!

I fix anything electrical the the "old fashioned way"........... I pick it up......& drop it on the floor. If it works.....(& this usually does the trick), its fixed!.... If it doesn't......stage two......... Pick it up again, this time, give it a little extra push towards the floor. If that don't work.........tchoobad for you! Its over

Be Wary of the late 60's/early 70's solid state Marantz. Saul sold out to Sony/Superscope around that time, can't remember exactly when. Maybe they recovered somewhere since then. I don't know for sure. At any rate, certainly not what it was in the first place. The Marantz tube gear...now that's another story. It's up there with them best of them IMO. (ie: the Marantz 10b tuner was supposedly designed on the theoretical limits of FM transmission). http://www.classic-audio.com/marantz/mpa.html

OH NO! The nancyboy thing is clearly spreading to Canada!

I have (finally, lol) noticed that on the newer Heritage series (ie: Klipschorn with AK3 network), the speakers have fuse protection. Im just wondering what everyone elses experience with fuses is like. My Khorns, are, for the most part original condition. (except for rope caulk wrapping the mid horn, disconnecting the inductor to the woofer, & removing the zener diode protection from the tweeter: Type AA). I know in the Dope From Hope Newsletters as well as from personal correspondence with Klipsch many years ago that fuse protection is recommended. I installed fuses a long time ago. But they seemed to degrade the sound quality, so I took them out. Any similar experiences?

Justin....you're more than welcome (& so is anybody else for that matter!). JDM.....last week of May is usually really crummy weather in Chicago. Like clockwork. Memorial Day weekend. Almost always turns cold & rains. Thats why they eventually moved the Chicago Blues Fest out a week or two. Other than that,,,,may I suggest Buddy Guy's Legends?....I'v played there on both "jam nights" & regular gigs. On one great Friday night, Roger Waters (of Pink Floyd) & band walked-in in the middle of our set, signed my bass & invited us as his guests to his concert the following night! Second row center. What a fine weekend! And don't forget the Pizza!