artto

Hell, I thought it was funny.........

Al, I take it you can build me a trio of ALK networks, 2 for the R&L Khorns & a 3rd for the Belle center? Would these all be the same or is there something different for the Belle as a center speaker? Also price, I never got a firm answer from your website. $500/pair, so 3 would be $750?

Briefly hook up a 1.5 volt flashlight battery to the speaker (C or D cell should be fine). If the speaker moves "out" (positive direction), then the positive battery terminal is connected to the positive speaker terminal. Followup: sorry, I didn't realize you were talking about a compression driver. Might be kind of difficult to see the diaphram. But I'd say Gil's assumption is correct. L1=+ L2=- Try it. I doubt it will hurt anything.

Well, lets see, the Dope From Hope sheets have 3 blue trumpet looking horns on them & the DFH text is blue too. The 2 magazine covers are in color. One of them has color pictures & graphs. Some of the spec sheets are white & cepia. Other than that, for the most part its B&W. Many of the "Audio Papers" go back to the 1930's.

3' apart?....geez. May I suggest headphones instead? While the Belle's may not need quite as much room to breathe as a Klipschorn, if you can't place them further than 3' apart, its a waste of time & money IMO. Give yourself at least 12' my friend. 3' is for cheap compact "stereos". And sitting 4' away? Is this going to be a full fledged Kamakazi mission, or are you simply going to attempt suicide?

no kiddin'

They are not "books" & they are not bound. There are many different bound & non-bound configurations in the originals as some are from magazines, some were originally single sheets, some, several folded sheets (book style) bound with staples, in a ring notebook, etc. These are simply high quality B&W xerox copies. You will have to break out the individual sections as you see fit. The articles will all be in logical order so it shouldn't be difficult to sort.

I've always liked the Fisher amps. And quite frankly, IMO, its a better unit than some of the other stuff promoted around here. Things like EICO were just cheap el'crappo stuff when they were new. Some folks would have you believe they somehow magically got better after 30-40 years (even after mod's & upgrades)? I don't think so. DD: "It tamed some of the horn harshness" I think what you meant to say is "the horns exposed the SS amp's harshness". In Europe, integrated amps are the rage. The idea being that all the amp stages are "hard wired" & therefore there are fewer connections, cables, & shorter signal paths, etc. I prefer separates. Single-ended triodes may be all the rage now too. But they are not necessarily the end all to end all either. Some very well known & highly respected amplifier designers such as Tim De Paravicini & Mike Sanders (Quicksilver Audio)(has worked with Klipsch for years & has owned Khorns for more than 20 yrs) prefer push-pull output stages. Use your ears & decide for yourself. http://www.audiocircuit.com/9120-valveamplifier-circuit/Commercial/EsotoricAudioResearch-EAR/9120CMEAR-HIS.htm http://www.stereophile.com/showarchives.cgi?581

Go with #4

I reviewed & approved the master/proof copy this morning. The papers are going to print today. Sorry, but no more orders can be taken at this point. Below is the final list of names from whom I recieved payment. Tom Mobley Gregg Fautley Paul Lober Ron Takchaohi Shaun Purcell Chris Robinson Richard Flynn Bobby Crites Mark Williams John Albright Dave Herkert James Phillips Kenneth Lehr Charles Turner Jeff Caban Doug Drake Tony Zorn Larry Jackson James Tidwell R. J. Kropiewnicki C&S Andy Kubicki R. Kerr William Whitesell Scott Caldwell Chad Miller Randy Bey Fred Muzenmayer Howard Halligan F. K. Sullivan Joe Mondragon Ben Clark Joe Tumminia Bert Weimer Mike Hurd Leo Keightley Robert Hixson Steve Counce Jim McClung John Derven

cut throat,...the Type AA network used in the Belle & LaScalla should be identical with crossover points @ 400 & 6000Hz. Later, when the type AB network was introduced around 1982, a new midrange driver (K-55-M) was used on the Belle. The Belle Update sheet (1982)also mentions "Tweeter filter identical to that of the LA SCALLA. The tweeter circut is now wired directly at the system input, not at the auto-transformer." To me, this would imply that the Belle & LaScala did not use identical crossovers, at least not at that particular time. Possibly the LaScala received this update some time before the Belle did. The Update Sheet also says "Somewhat higher squaker crossover point with a steeper high-pass filter." So, at this point it appears that the Belle & LaScala no longer shared identical crossovers. Also mentioned is "Reduced peak/trough in the woofer range and increased woofer output by means of eliminating the woofer filter (choke) entirely." I still have my original Type AA networks in the Belle & Khorns, however, I did disconnect the woofer filter as mentioned above.

There isn't much difference. As stated previously, the Belle was indeed named after PWK's first wife, Eva Belle Klipsch. The bass horn is actually, virtually identical to the LaScalla. Its just wider & more shallow instead of narrower & deeper. The bass horn length, throat/mouth areas are substantially the same. Accordingly, the mid horn had to be shortened as previously mentioned, to accommodate the decreased depth. & the crossover network was appropriately changed to accommodate the higher cutoff frequency of the mid horn. If you can hear the difference, .....act accordingly. Some folks like the LaScalla, Some think the Cornwall is the real deal, others the Khorn. Hey, they're all Klipsch Heritage, right? For what its worth.....Barbra Streisand has a 3 channel LaScalla setup in her "preview room".

The Klipschorn is basically a trihedral, bifurcated, multiple impedance, exponential horn. As such, it is composed of what could be considered a series of horns or horn sections, whereby the acoustic impedance at the mouth of one horn section matches the throat impedance of the next section, & so on, as the horn unfolds. If you change the size of the throat area, you are changing the acoustic impedance at the throat which will likely result in some amount of acoustic impedance mismatch between the horn sections. Impedance mismatch = non-linearity = frequency response anomalies = distortion.

OK....sorry. My apologies!......when I hear the words "automatic turntable" I immediately think of "changers". Which, now that I think of it, is not what u guys are talking about. I was refering to those damn things you stack LP's on & let them fall onto & slip over each other. My mistake, never mind

oh no!....it got posted twice!

LOL another "KELLY" recommended component. get a life dude mobile's new name is "pompous azz". Quite appropriate, don't you think? Its a good first step....admitting

I ALWAYS hated automatic turntables. Quiet frankly, I can't think of a better way to destroy your vinyl other than maybe sandpapering it with some 60 grit C-weight paper electro coated garnet like our drummer used to do (at least it looked that way when you got your LP back). Or maybe the rear window of a closed car on a hot sunny day. My Grandma wants convenience................. for her 10 LP's. You want convenience? I thought that's what Cd's are for!...Even tapes!...8-track tapes! The LP was never "convenient" other than being able to manually skip from one track, to what ever track you wanted (other than flipping it over) (another INconvenience).

SuperBass. Ray Brown & John Clayton, Capri Records, 180gram virgin vinyl limited edition LP. Ron Carter Quartet, Piccolo, Milestone Records (1977) commercial LP SuperBass2, Ray Brown, John Clayton & Christian McBride, Telarc SACD Yeah, Yeah, I know, its all bass players! 5 bass players on 3 recordings. So what. (I'll give you one guess what one of my "part-time" jobs is)

It means its getting boring in here again guys. See what happens when self-appointed audio authority figure Kelly isn't around as much to start dissing everything anyone says.

PEACE BE WITH YOU now lets go F*** the bas-turds my vote goes to Insane Clown Posse "Bring It On" (Mother******)

Yeah, my Rabco arm has been in pieces for years. Actually I bought it real cheap, with the purpose of modifying it, or to use as a guideline to make my own. Then Goldmund came out with their version which seems to work very well, albeit $$$$$. But that old Rabco, what a contraption! Kjohnsonhp....by the way....that's not a "sure" (Shure) phono pickup in that B&O Beogram turntable. B&O, for the most part (if not entirely) made their turntables with integrated tonearms & pickups. That's probably a B&O SP12 phono pickup in that arm.

I agree with Tony. If you're going to go with Marantz, go with the tube stuff. It should sound splendid. Later, Marantz (the solid state years) (early 70's?) was sold to Sony/Superscope & turned to s***.

Never make multiple changes all at once. You'll never learn anything from it & you won't know what's causing/influencing what.

Laser TT's aren't new. I first recall seeing one that played regular LP's in the 80's around the time CD's came out. They had a lot of problems back then. I even recall a proposed new "LP" format from the early 70's which used "light & dark" areas on the surface of an LP sized record for the laser pickup to see. I have some technical white papers on it. I'll post it later, can't seem to find it right now.

Forget that direct drive TT crap, unless you are going to have a separate isolation plenum like the old Technics SP10, or plan on being a DJ pushing your records back & forth with greasy fried chicken fingers. The un-weighted rumble in direct drive TT's is generally very gross, & highest at the worst possible frequency ranges, where most pickup/pickup arm combo's resonances are. And speaking of high-end linear tracking TT's.....anyone remember the Goldmund?