jtice

Web images will display at a specified size (on a standard web page--probably this bb software as well) when the intended dimensions are specified in the html image tag. Although they may be reduced in size, excess data is still downloaded--even though it does not result in higher resolution. Could be that in some instances (certain file types) the size is defined during the upload and he image displays correctly even if it started out too large. At the100% setting Photoshop displays at the image's actual pixel resolution. If it looked smaller in PS it's almost certainly because the display percentage in PS was set to something less than 100%. When preping images for screen or web, always change the resolution to 72ppi without downsampling in the first step. Set image to display at 100%. Then downsample to the actual size (pixel dimensions) at which you want the image to display. In PS use the "Save for Web" command under the file menu and it will throw away more overhead data and make a smaller file per any given number of pixels. Hope this makes sense? J.

---------------- That's what playing around with placement is for. It's like moving furniture without the wife. Good luck. I'm sure you'll find the right spot. ---------------- I was just thinking of something a little more devious, heh heh. My wife just flew out for two weeks in Europea rare opportunity to accomplish something without prior approval... like a renovation of the listening room! I have a large, square, paneled basement room. Not ideal, but it has potential. The combination of being square and the horrible acoustical properties of the paneling are the problem. Making a partition to change the shape to rectangular by the golden meanand replacing the paneling with sheetrock, and running dedicated circuits, is what I'm thinking. And new carpet... this is so tempting.

Tony, The Getz/Gilberto album is the one. The reason being that you get a whole album's worth of the cool, laid-back sound but without the Top-40 familiarity. Those are the ones that keep the album fresh. I sometimes start on track two. John

I had always assumed the photo on "Sunday at the Village Vanguard" to be that of Evans. I did a little searching and am fairly certain that it is Evans. Second photo, left to right: Lafaro, Evans, Motian. Also, another update to the Jazz List and excel file has been uploaded. We now have an even one hundred recommended jazz albums! John

Boomac, Yo-Yo is all over the maphe's unusual in that he plays in so many genres and actually pulls it off. Please don't attempt to form an impression of Bach's Cello Suites based on an unrelated Ma recording. I checked out Premiers by Ma at the library and couldn't even get through itjust not my cuppa tea. The cello suites themselves are unique whether performed by Ma, Gendron or Rostropovich. And much larger than any one individual's performance. I'd suggest sampling at Barnes & Noble with headphones. But you won't really hear them until you listen on a system that can fill the room. I saw the other thread about the Duke Pearson vinylI'll add it. There's an older jazz thread that may have more good material. I was entertaining thoughts about flagging a subset as "essential recordings." But then I realized that what we have are a few basic repertoire albums and many more that go deeper. Hmmm

Another recommendation: Dave Brubeck Quartet, "Jazz at Oberlin," Fantasy Records. Newly remastered CD and it sounds great. This album is an excellent way to experience another side of Brubeck's quartet if you've mostly identified him with timing experiments. The more I play it the better I like it. Desmond is wonderful on this as well. For those who like a bit of classical mixed with their jazz, or can savor the sound and disregard labels... I've been paying attention to bass solos latelylike John Clayton's excellent work on "Jimmie" on Diana Krall's Stepping Out. So, one night I had drifted off to jazz on NPR and at some point in the night I became aware of amazingly rich, low sounds emanating from what I assumed was a bow on acoustic bass. At times it seemed loosely structured, other times more structured and it didn't end after a few bars. There was no accompanimenta pure solo that seemed to have no ending. I drifted in and out of consciousness and awoke in the morning obsessed with something that I only vaguely recollectedin fact I even wondered if I could have dreamed it. Nahnot a chance, it was real and I had to find it. What I had heard was a cello playing Suite No. 1 in G for Unaccompanied Cello by J.S. Bach. I'm still not certain which recording, possibly Yo-Yo Ma Inspired by Bach. There are six suites, each with six movements, all wonderful, two and a half hoursyou don't have to be a blueblood to love these. I bought the complete set perfomed by Maurice Gendron. I also snagged a copy of Yo-Yo's recording from ebaynot cheap at Barnes and Noble. Now, please don't be too hard on me for taking you down this side roadif one other person discovers these and likes'em as much as me it will have been worth it. The Jazz List has been updated and now has 88 recommendations. John

I went out and bought the semi-matt paint and metal polish, unhooked the amp and put it up on the benchbut I just couldn't do it. This little amp, however ugly it may be compared to a modern, chromed out SS piece, is handsome in the way of a bull terrier. After much internal conflict and debate I decided that its appearance is part of its character and the way it looked in 1959 is essentially the way it will look for the forseeable future. Too bad the same can't be said for its owner. J.

kjohnsonhp, I can't quantify in terms of SPL just how loud that comfort level is. All I know is that I can be listening at what I think is moderate but have to turn it way down to have even a brief a conversationthis is more kosher on good hair days, if you know what I mean. Once I reach that level that Chris describeswhere any more volume would be more distracting than enjoyableI still have quite a bit left before I would actually percieve distortion. But since I don't have the SPL references all I can say is that, for my preferences and with these speakers, headroom is just not an issue, as it may have been in previous decades. J.

I have been quite pleased with the HF-81. It's clear, transparent, dead silent and just has a tonal quality that is way beyond what I expected. It has good bass paired with Chorus IIs and plenty of headroom for my type of listening. The sound is so smooth that I don't perceive how loud I have it turned up until someone comes into the room and tries to speak. One reason we don't hear as much about the HF-81 is that its most vocal proponent is no longer vocal. Meanwhile, there are happy eico owners rediscovering the music and not thinking too much about hardwarea good place to be. JT. (who evenually wants to own one of each)

Here's the list. Boomac sent me the info he compiled from everyone's recommendations on this thread and I put up a web page. It should be easy to print it from the browser. I also made an Excel file and linked to it (right click-save to disc). Thanks to Boomac for pulling this together! Jazz List

Speaking of drummers, add this one to the list. Art Blakey's Moanin.' It's rhythmic but it's not just about drums. An all round hard bop classic. The Jazz Messengers were very productive... maybe Allan can put us onto the best of the best. What about Night in Tunisia? My 7 year old daughter walked in while I was playing Moanin' and immediately connected. She went to school for a week with that song in her head, tapping out the rhythm, quizzing her teachers if they knew Art Blakey. She's being trained on classical but something tells me there's jazz inside her. Boomac, I can put that list on a server and post a linkcheck your mail.

In case anyone's interested, here's a link I found a few days ago... an Excel file (or word or text) containing the 2213 four star CD's in the 6th edition (latest-recent) of the Penguin Guide to Jazz. Makes a handy file to carry in yo Palm. Penguin Guide Four Star List John PS: my reaction to the Gerry Mulligan Quartet with Chet Baker is way positive. Picked up a best of compilation CD and plan to look for some original (re)releases. Recommendations?

My impression of Chorus II's is similar to that of Audio Flynn. I've owned a pair for a couple of months now. I have some familiarity with Cornwalls, but not on the same equipment or in the same room. My general impression is that Chorus II bass is somewhat more defined and less dominant than that of Cornwalls. I recall little difference in the character of mids and highs. In fact, the original Chorus (with ported cabinets) had the same mid driver and tweeter as the Corns that they replaced. Cornwalls are more appealing to traditionalists and the prices often reflect that. I feel Chorus are often underappreciated and a good value. I picked up a nearly perfect set for six; Corns in the same condition would probably have been considerably more. But for similar money I'd almost surely have gone for Cornwalls.

I'd like to hear someone address how the McIntosh tubes (say MC240 for example) compare with the other popular vintage tubes such as Scott 299, Eico HF-81? Is the big demand and price tag justified by greatly superior sound quality or is it more of a cult status/collectable thing driving the prices? J.

I second "My Favorite Things" as a way to get acquainted with Coltrane if you're not used to the abstract stuff. But the original recording of that on CD lacks sparkle. Not sure if there's a later remaster. "A Love Supreme" in the deluxe two disc set (remaster) sounds fantastic. I was surprised how abstract this album is given that it's often said to be the epitome. The second disc (live recording) is a looser and more listenable version to my ears. There is a long, wonderful bass solo. This album is so full of substance that any new jazz fan (such as myself) should spend time with it even it you haven't fully acquired the taste. Coltrane's story is integral and essential to fully appreciating the album. J.

I picked up a CD two weeks ago without knowing anything about it other than the artist's names... Paul Desmond & Gerry Mulligan, "Two Of A Mind." Desmond on alto sax and Mulligan on baritone sax. Bass, drums & no piano. What a treat! These two legends of sax play off each other and its just magical. It's a 20 bit remaster by Victor Jazz and just sounds like it was made for tubes and horns.

---------------- On 5/17/2003 12:49:20 PM paul cbc wrote: Would the Chorus be a big step up from the Heresy? I saw another pair of Heresy on ebay- #3024051307. ---------------- Paul, I recently bought Chorus IIs to use with my vintage Eico HF-81, replacing Heresys IIs (which I still have). They're in different classes altogether. It's not that the Heresys aren't good, but the Chorus just have this huge, full-bodied, chest-thumping presence that fills up a room. Heresy's are noticeably deficient in bass and tend to be stringent in the mids and highs whereas the Chorus have ample bass, are smooth and well balanced. The Chorus (original) has the same tweeter and mid driver as the Cornwall II, same size woofer and same ported design. By comparison, Heresys seem like an entry level product that make compormises to meet a price point and fit in a small box, but are still Klipsch horns and still sound great compared to a lot of other stuff you could spend that much money on. J.

Hey Paul, Heads-up! There is a nice looking pair of oak Chorus' on ebay--ending tomorrow. They're at $255 (way low) and reserve is met. They're in WA and you're in Oregon. I think they have your name on themhint, hint. Item #3024022877. John

paul cbc, I've noticed that Forte, Chorus and Cornwall (I's and II's) are selling for hundreds less than they did earlier in the year on ebay. Presumably because folks are orienting themselves to outdoor hobbies now. With prices down, if you can find either Forte or Chorus close enough to avoid shipping you might stay around $500. With Forte you might even be able to buy and ship for that amount as they're small enough to go via UPS. But be careful about packing. I recently bought a pair of Chorus IIs and I'm very pleased. Luckily I received them in good condition, no thanks to the seller who totally ignored our understanding as to how they would be packed. Insurance would not have paid a claim. I'd drive a long way to avoid shipping large speakers again. John

Has anyone else noticed that most Klipsch models are not seeing the demand they did a just few months ago. Especially the Chorus, Forte and Cornwall (I's and II's) are selling for hundreds less than they did earlier in the year. Anybody care to speculate as to why? John

Craig, In the HF-81 preamp section, do I need to match the12AX7's to each other AND the 12AU7's or only to each other? IOW, am I looking for two matched pairs or do all four tubes need to match? John

Craig, understood, but then that begs the questionwhat cable is neutral and doesn't color sound? I figured that by rigging up a set of these I could a) experiment to see if it even made a difference at all end up with something a little better than lampcord for less than it would cost to buy monster products at an audio boutique. It worked out nicely and I'm done. Not an overwhelming difference, but noticable without straining. Slightly tighter bass, cleaner highs, a little more detail. So these will now be my default cables, probably for the next few decades. John

Craig-O, I've been reading about the MKIII's and and your great expectations. Of course we'll be anxiously awaiting the report. I've been trying to figure out which amp to try next as well. C-6519, you see what I meanyou can't just buy a tube amp. That's only the first step. My latest indulgence is a pair of Chorus II'sawesome presence. And just finished building a 12' pair of Beldon 89259 cables and shielded twisted pair interconnects from 89259 core. Craig, I know you don 't believe in cable, but I'm telling you that the interconnects and cables together (not sure if one made more difference than the other because I did both as once) are a marked improvement. Still don't have serious moola in the cablesjust over a hundred for both. Also trying JJs for the output now and they're fine. John

---------------- On 5/7/2003 8:05:05 PM Craig6519 wrote: We'll I'll hopefully soon be in tube bliss -snip- Any tips you guys want to give me? Craig ---------------- Tube Tips: 1. Plan for productivity to go to zero, then recover to approx 50% after a few weeks. I'm still at 50% after 3 months so can't really say if you'll ever be fully productive again. 2. Prepare to upgrade the other components, build interconnects, cables etc. because you'll be hearing stuff you haven't heard before. 3. Call the carpenter. You may need to move a wall or two or adjust ceiling height. 3. Get a larger CD rackmuch larger. 4. Reinforce the cushion in the sweet spot chair with Kevlar. 5. Install carpet runner between the sweet spot chair and CD player. 6. Find a neighborhood kid to mow the lawn--you ain't gonna want to have to deal with such trivia. 7. Take your wife out to dinner, buy flowers and really lay it on thickshe's going to need some nice memories of you.

So, how much is soundstage affected by room layout, speaker placement and more to the point, objects behind and between the speakers? My listening room is 24x20 and also serves as an office and pool room. Rather than describe it at length I'll link a diagram I made while trying to figure out placement. This arrangement is the best I can achieve without removing the table and I don't know if/how much I'm compromising the soundstage. An audition without the table would be an undertaking. I'd appreciate opinions and suggestions. John Room