Details, mobile, you want details about the Cornwalls �

[Colin]

On your post for the Cornwall feeding topic, mobile homeless, you asked for Cornwall details.

Because of your writings and the comments you made about the qualities of your vintage Eico tube amp and tuner, I am sure that you will like the musical qualities with any of Klipsch's big old horns, and probably the qualities of other horn manufacturers, such as Oris, as well.

So here are some things I have said about Klipsch's big old horns once or twice before. At a time when there is much shouting in the world, perhaps these minor points about some of the more gentle pleasures in life bear repeating.

1. The bass response is not limited. It is not as low as you might think should come out of such a big cabinet. LaScalas and Cornwalls have bass response rated as low as most full range speakers in that price range: 45 and 38 Hz. The Cornwalls however, do roll off as fast as a bell curve below 100 Hz, so you do need a subwoofer. But then, every full range speaker does need a sub these days, if they want to reach the terror inspiring depths of modern movies and the emotionally moving subterranean tones of Enya. Some high brow folks think it's impossible to mate the typical SS powered sub-woofer, with its long throw direct radiating drivers, to the efficient horn loaded woofer. Yet, the testosterone charged deep-bass woofers, such as the popular REL Storm sub, work just fine with models like the Cornwall and La Scala.

2. I do believe that the aging Cornwalls need tweaking and upgrading. But given the experiences that you describe, I think that this is more of a plus for you than a minus. I would definitely plan on upgrading with ALK's crossovers. When I can stop buying sets of tires and brake jobs, I will certainly be getting a pair.

3. The Cornwalls are so amazingly efficient that you hear everything - both good and bad - so I can't give them five stars with out qualification. Sometimes they sound awfully hard and harsh. They often sound loud, and they over whelm every room they have ever been in. Their revealing nature makes them delightfully useful toys for tweaking audiophiles, and royal pains in the necks for unsuspecting commoners.

4. Acoustic instruments such as horns, drums and pianos will never sound better on any other speaker. I take my discs to the local dealers and yes, for $10,000 there are systems that sound better; but not twice as good, and even then, only on some CDs. A certain Tony Braxton CD, for example, can sound harsh on my set-up, but warm on the dealer's Krell powered B&Ws.

5. I once thought that the "ringing" sound that people so often describe was the effect of the metal mid-range horn or the metal tweeter. I now know that it is a phenomena of the crossover. A "bounce-back" in the 6 to 9 kHz frequencies is caused by the crossover's tweeter protection. This fault is easily corrected with Al's custom crossovers. This ringing is my only real long standing complaint. Adding Paramour 2A3 tube amps was the biggest correction so far.

6. Okay, their size has been a problem too over the years, but that is one minor eccentricity I am willing to live with. I have not yet heard a practically priced speaker and amp combination, that can make some well recorded discs sound, almost as live as the classic combination of big old horns and flea powered amps.

7. They ain't too pretty now, are they? Your friends and neighbor will probably be more impressed by Bose's little white jewel cubes, that fit in their hand, than they will be with monoliths dominating the living room like misplaced church altars.

8. Some instruments simply sound better on the mid and high end metal horns than others. Brass horns have the "blat" that reviewers love. Cymbals sizzle like cold water on sauna rocks. If you want to separate the golden wheat of euphoria from the husks of pabulum, play some blaring sax or delicate cymbal brushing on a stereo system.

9. They can suspend your disbelief. Sound Advice lets me sit for hours, for which I make it up to them by buying car radios off the close out table and returning only 3/4 of the cables I buy. Their Martin Logan Prodigy electrostatics, powered with a Krell motor the size of an engine block, may have the delicious transparency of cool Perrier in the mid-range. But not even in the specialized red velour listening room at Sound Advice can the evidence of their excellence suspend my disbelief. My casual listening sessions come close, but still seem to miss some elusive element.

I have heard the majestic $100K Nearfield Pipedreams, line driver arrays with 36 small speakers, with no crossover in the critical range from 60-6,000 HZ. These models were powered by Joule Electra OTL amplifiers and aided by eight 18" woofers in four cylinders the size of oil drums. The gorgeously constructed Pipedreams have the dynamic range to rival the Krell monster sub-bass woofer chest - 130 dB peaks at all frequencies. Go to http://www.nearfieldacoustics.com/

Their reproduction was excellent. Diana Krall's voice really was there - right between the tall towers. Her voice was the very best reproduction I have heard.

But there were other problems, not the least of which is the staggering price of this solution. Even with such a wonderful system, there is still no comparison to the practical solution of horns and tubes. The sound of acoustic instruments, such as pianos, drums, horns and especially cymbals on inexpensive big old horns, particularly when powered by glowing tubes, is one of immediacy and clarity.

It is hard to believe that big old horns, virtually discarded by the uniformed public due to their barely luggable size and embarrassingly reveling nature, can even compete with the modern technological advances and superb craftmanship exhibited in the impressive Pipedream towers. But indeed they do.

10. The older style horn speakers of yesterday, like Klipsch and Tannoy, need to be placed quite differently from modern style of speakers. There are two obvious differences. Generally, they use the walls to form the best image area. The seat at the sweet spot should still be away from the side and the back walls. Unlike traditional speakers, start them in the corners and inch them away from the walls, until the illusory soundstage reaches its widest and deepest proportions.

11. The sweet spot seems to be more critical with horns. Perhaps it is simply because they are so much better at creating the illusion of a 3D sonic holograph, but how they are pointed is a matter of inches and degrees. Whether you point them, as some say, at the back of your head, or directly at your ears, horns should be pointed in your direction. This is not so with other speakers. The ultimate expression in line driver arrays, for example, the Nearfield Pipedreams, seems to allow quite a bit of movement along the front horizontal plane. No matter where I moved in front of their towering majesties, Diana Krall's voice was nailed to the center of the stage. (The piano, however, was a different story.)

12. Big old horns like big rooms. The horns should be as wide apart as possible, from 6 to 12 feet, and possibly more. The long wall of the room is often a better location for horns than the shorter front wall. The resulting triangle pattern forms a triangle that is wide along the front wall. Ideally, however, the primary listening seat should be at least 50% further away than the speakers are from each other. This means that if the big old horns are 12 feet apart from each other, your listening spot should be 18 feet further back. If your speakers are properly positioned 3 feet from the front and side walls, and you are 18 feet in front of them, you are then talking about a room which is 18 feet wide and 21 feet long, or 378 square feet!

13. Big old horns have been described as "forward." I can't say that - I am not sure what "forward" in this context means. The worst thing I can say about them is that they sometimes sound like a PA system - but that is not fair to Klipsch, or to the PA system. Instead, it would be fairer to say that they sound more like amplified music or reference speakers.

14. About this time two years ago, Audio (?) magazine, now since defunct, began a very interesting series of comparison tests. The tests were completely subjective. It was not a double blind test, but a limited study group and a very biased one at that. The magazine made no attempt to match the proper amplifier with the proper speaker. The front-end electronics, so crucial to the successful electrostatic or horn sound, was left unchanged. All of the speakers were set up in the place - a large barn like studio, if I recall correctly. The magazine asked three musicians from a little known local rock band to listen to their own newly recorded music on the three different types of new speakers.

One set was Martin-Logan electrostatics, another was Paradigm radiator cones and the last set was Klipsch speakers with mid and high-range horns. No model names or numbers are available from my copy, but the issue was the October 1999. Each speaker was about the same price range, retailing for about a thousand dollars apiece. The musicians listened to each of their songs on each of the speakers.

Three musicians, three speakers and three songs mean a possible result of nine different opinions. Guess what? There were nine different conclusions. Yup. Each artist liked this or that song on this or that speaker.

They liked the Martin-Logans because they colored the sound; and disliked them because they colored the sound. Same with the Paradigms. The specialized little group said the Paradigm speakers seemed to color things better. They thought that was good. The small group liked the Klipsch because they always fill up the room with good bottom (p. 125). Interestingly, the never heard from again musicians did not like one set of speakers the most on everything.

In the conclusion, the magazine noted that they did all agree on one thing that the Klipsch made the best reference speaker. But after listening to all these songs, ultimately the Klipsch speakers are the most consistent, one member summed up for the group, with what Ive heard the record sound like from song to song you could use the Klipsches as reference monitors.

15. So the worst that I might say about my big old horns, is that someone might liken them to a PA system. The live sound of music through concert stage amplifiers and speakers is the most flattering way to phrase that likeness. The most impartial comment that anyone can make about Klipsch speakers, in general, is that they make great reference speakers.

For many tweaking audiophiles, in search of the most accurate and realistic sound for the money, that is all they need to hear - they make a great reference point from which to establish the rest of your home theater music reproduction system.

This message has been edited by Colin on 10-12-2001 at 09:19 PM

[eq_shadimar]

Wow wow wow and bravo!!! Excellent post. I don't know the words to describe my Cornwalls but After reading your post now I do.

Thanks,

------------------

FOR SALE OR TRADE COMPLETE R*3 SYSTEM FOR 3 HERESY'S

Main System -

Cornwalls (L/R main)

RC-3

RS-3's (white)

SVS 20-39CS

Harman Kardon AVR 510

Hafler P505 (running sub)

ProMedia 4.2 v400 for PC

[Klipschguy]

Geat post Colin! I agree with most of the previous, well thought out post. However, the statement that the "Cornwalls roll off as fast as a bell curve below 100Hz", I do not agree with. The Cornwalls do have useful output at 25Hz, but do indeed begin to roll off below about 40Hz (F3 of 38Hz is pretty accurate). With one of my test recordings, in a very large room, there is excellent output at 50Hz, and decent output at 30Hz. You can definitely "feel the bass" with the Cornwalls. However, for super low bass frequency reproduction (20 to 40 Hz range), a sub is effective with the Cornwalls - especially in a huge room. Colin may have meant the LA SCALAS roll off rapidly below 100Hz (which still seems a little high roll off point from my pretty extensive listening experience with the La Scala). The La Scala definitely rolls off sooner than the Cornwall, but does have a nice, accurate folded horn quality.

Also, my Cornwalls have a first generation, simple crossover, and there is absolutely NO ringing.

I think you would really enjoy a pair.

Andy

[Colin]

Oops, checking my specs I see that I did indeed use the wrong figure. Don't know why I didn't catch it. In fact, I had trouble marrying the KSW200 sub to my Cornwalls specifically for that reason. There is a bump in fact, at 50 Hz before the curve begins to drop down.

Modest subs, like the Klipsch KSW200, are better suited to monitors and home theater set-ups. They do not have the depth to add flat response to the Cornwalls and keep up with them.

I do not know the LaScalas, but for meeting them once as they were headed out the door (damn, those things are big!), but rolling off at 100 Hz does seem high for a full range speaker these days. However, since one needs a powered sub-bass woofer for LaScalas, or Cornwalls, nowadays that is not such a liability. And the ultra-high efficiency of the LaScalas more than makes up for this minor deficiency.

My big old horns do indeed have the B2 crossover, which has the ringing problem, thanks for pointing that out.

------------------

horns & subs; lights out & tubes glowing

This message has been edited by Colin on 10-12-2001 at 09:25 PM

[mobile homeless]

My, my, Colin, you have seemingly outdone yourself here! To say I am impressed with the effort and time it took to complete this task is the understatement of the day. I read the entire preceding, and then read it again. Thank you.

You made some very interesting points and observations and answered many questions as well as brought up a few more. Indeed, I have told the gentleman selling these 1977 Cornwall I speakers (Designer Series in Factory Black with the add on grill kit), that I will take the beasts, even though as I type and look to my right, I wonder what it will do to my modest living room. You see, I live in a rather small, two story, loft-like condo that is on the beach, and because of this desirable location, and my modest income, is the size of a matchbox. I am considering posting a few shots of the listening room; I seem to have pictures of everything else...

My single driver, fully loaded horn cohorts who love their Lamhorns, Hedlund Horn, and Medallion II cabinets with AER Mk I and Lowther drivers scoff at the Klipsch brigade saying the addition of the crossover and multiple drivers introduces a whole bunch of problems. In addition, most just think the horn driver is inherently a harsh device that, while semi-appealing for PA use, becomes a rather coarse and crude vehicle in the living room. It really appears to be a matter of taste as well as exposure to options and the right amplification. Of course, one must also mention money as those speakers you see flanking the homely Cornwall below are an order of magnitude more expensive than the vintage Klipsch. The beautiful Hedlund you see at left comes in around $4,600 with AER Mk I drivers. The Lamhorn is about $6500 including the same drivers. The beloved Cornwall can be found from $600 to $1200 depending on what side of the bed the owner gets out of (as well as the strange winds of eBay). To be frank, I was really wanting a pair of the Lamhorns to mate with my 2A3 SET amps as the simplicity of the design and single source driver sans crossover really appealed to me. To those unfamiliar with the AER drivers, they have most of the efficiency and speed of the Lowther, without the added brightness that is prevalent with some of their models.

One thing is also very certain with these single source speakers; they definitely require top notch amplification, most relying on the purity of single-ended triodes given the matching simplicity of circuit and the inherent linearity of a single output tube without the waveform corrupted. There is nothing quite like listening to one of these amps. I have tried to describe it within other posts. I know many on here dont invest as much in their amps; indeed, Tom Brennan seems to feel that the amps are quite secondary in relation to the importance of the horn. He has been saying this for quite some time on other forums, including the High Efficiency Asylum. I have, however, come to a much different conclusion based on listening to the gamut of amp types. I just included some of the above for others to get a handhold as to where I am coming from.

As for more specific points in Colin's post that caught my attention, namely numbers 11, 12, 13, and 15, these are things that I have been worrying about in general. My apartment is, as I said, rather small and I can no more get 50% further from the speakers (than their combined width apart) than knock out my rear wall with a baby sledge (although this thought does sound appealing). I have been wondering if the drivers will integrate at 8-9ft and if these beasts will overpower the conditions.

This brings up the troubling aspect of Colin's descriptive comparison between the Cornwall and a PA system. His notion that the Cornwalls sound more like "amplified music" is meant to be a positive, but comes across as a negative within my poor skull. I have done my best the last 20 years to make my system disappear, thus making me FORGET this is amplified music, especially if the source is acoustic jazz. Indeed, there is nothing worse than going to hear a quartet in an intimate club and having the swine mike the instruments through the mediocre PA. This one thought really did a number on my decision. The difference between an unmiked, live performance, where the sound of the sax/bass/drums meet you in the air, verses the corrupted miked PA reproduction is almost night and day to me. It actually comes near to removing the reason why one attends a live show of this nature to begin with. That being said, perhaps I understand what he was trying to say. It's just it brings in a whole new can of worms. I am not sure how this idea can be likened to great reference speakers. Ironically, it is the very aspect of horns of the PA variety that I find unappealing. Then again, the use if HIGH QUALITY tube amplification evidently does a whole lot more to help this situation.

Based on the preceding comments, you might ascertain that I am an acoustic loon, and only a lover of jazz such as Coltrane, Rollins, Davis, Dolphy etc. Yes, I do love that .... but my soul does belong to electrified racket as I was in many bands as a drummer since preteen years, moving from 60s style rock, through punk, on to independent label recordings (which some might call "indie rock" which has lost all meaning in this MTV Alternative prefab sonic barge). I generally am not a fan of the "audiophile recordings" featuring the likes of Sarah K, Diana Krall, Patricia Barber, or the sonic drivel of Kenny G and that ilk. While some of these recordings might bring about lovely sonics(disregarding Kenny G), the music has about as much soul as a trip to the 7-Eleven for a Slurpee. There are so many great recordings out there that one need not hawk the sterile Audiophile productions. Does anyone on this list listen to Cornwalls with tubes and rock?

These Cornwall I speakers are serial numbers 13R-268, 13R-269, and are inspected by Bob Hamilton and tested by N. W. Bradford. I assume the "R" stands for 1977. As I said, they are the "Designer Series" which I believe is factory painted black birch. Too bad about this....

Again, I would really like to thank Colin for the great post he left - I'm sure it will help many more potential Cornwall owners as well. Please also accept my apologies for this epic post; it was late and I evidently need some sleep.

khf>s>

http://12.16.160.65/system/set.htm

s>

This message has been edited by mobile homeless on 10-13-2001 at 03:56 AM

[TBrennan]

Mobile--I'm glad you like good tube amps, so do I, I'm not against them you know, I even own a few. I've listened to Lowthers in Medallions and Hedlunds (which are, by the way, not fully horn-loaded but are direct-radiators with horn-loading of the lower bass, a case of horn-loading in self-defense one might say) and they are very good speakers but IMO not as robust sounding as a speaker like a Cornwall. The biggest Lowther fanatic I know in Chicago went back to Altec A5s. :-) I too was a drummer in rock bands and I play bass too, wanting to hear a reasonable reproduction of Dual Showmen and my Rogers kit was what drove me to horns many years ago. So if you're looking for another guy who listens to Rock, Soul and Blues with horns and tubes I'm one. I agree with you wholeheartedly on the vapid music many audiophiles listen to, Patricia Barber puts me to sleep, I'd rather listen to Clarence Carter or Social Distortion, the rig has to make the music you like sound good not the music make your rig sound good. As for PA systems, well the Altec and JBL horn stuff was developed for the much more demanding job of motion picture theater sound. These drivers were designed by scientists and engineers with the resources of Ma Bell, RCA and MGM behind them and are precision devices of the highest quality. These same drivers were also put to use in studio monitors, home hi-fi and for sound reinforcement, they were used for PA because they did the job and were available not because they were designed for PA. Tell your friends there's a world of difference between an Altec A7 and a cheap Peavey PA speaker. :-) I think you'll enjoy the Cornwalls, if not good horns are also available in other flavors--Altec, JBL, Tannoy, EV etc.

[edster00]

One of the things I found most amazing about the Cornwall was how good they sound in a small room at low volume. All the detail and finesse of the material is there and palpable, it just keeps getting better and better, bigger and bigger as you turn up the volume.

------------------

Ed W

[Klipschguy]

Great pictures, Mobile. Cornwalls are musical speakers, but of course, you need to listen for yourself. Why don't you buy a pair, give 'em 30 days, and then turn around and sell them if you do not like them - they should be quite easy to unload. By the way, I had an extended listening session to some horn loaded PA speakers last night - the Cornwalls are much, much, much, much, much, much more musical and refined in their sound.

Oh by the way Colin, I have the B network in my '77 Cornwalls. I wonder if you could hear mine ringing? Maybe I just need to clean the wax out of my ears (just kidding). Also, I think the F3 of the La Scalas is 45 cycles per second. You know, a pure 50Hz tone really sounds like low bass. A 30Hz tone, to me, sounds like a real low rumble, more akin to an "air disturbance."

Hope you guys are doing great,

Andy

[eq_shadimar]

Mobile -

I think most of your concerns have been answered by much more qualified folks than myself but I will try to address you concern about being blown out of your room. The short answer is yes. With 75 watts of quality SS power behind them my neighbors get to hear the quality Klipsch sound quite often (they make great HT mains BTW). The flip side is that late at night when I pop in some Stan Getz turn down the lights and volume very very low I am transported to another place. That is just too damm cool to me. I can hear everything that was recorded with clarity.

As far as spacing my speakers are about 9' apart and I sit about 12' back from them.

Here is an interesting site http://www.wendycarlos.com/

For what it is worth Wendy used Cornwalls for her reference speakers.

Laters, (trademark smiley left off :-)

------------------

FOR SALE OR TRADE COMPLETE R*3 SYSTEM FOR 3 HERESY'S

Main System -

Cornwalls (L/R main)

RC-3

RS-3's (white)

SVS 20-39CS

Harman Kardon AVR 510

Hafler P505 (running sub)

ProMedia 4.2 v400 for PC

[Jim Cornell]

Ok guys, now im not to sure ill want to part with a pair of cornwalls for K-horns, think ill just sell my van, if it comes down to it!!

Then ill have 4 cornwalls and k-horns, im still waiting to hear from the owner in Denver!

My cornwalls are all original, the only thing that isnt is the hotwire, and im very undecided about a subwoofer, with these!

I might be getting an 8inch sub, im thinking of taking the powered amp out, and build a subwoofer with this K-33-E i have here!

Then the whole system would be 15inch, with the same drivers!

The post with the speakers here, id take the cornwalls, before the others anyday!

Why is it, that belgaudio only has the cornwall test report? That i never did figure out!

Why the cornwalls and not the K-horns?

I would think, it would be the top speaker, they tested on!

That didnt make sence, i guess these speakers are really that good!

Of coarse, ill need to listen to the K-horn before i decide anything, ive never heard them, as of this day!

Sure love the sweet mellow characteristics of my cornwalls!

I caint put in a superman post, (colin) i have kids around me here LOL!

Excellent post,

took a while to read!

Regards Jim

[mobile homeless]

More interesting replies here. Tom, seems we have a bit in common regarding past exploits. I used to have a Rogers set for a brief while but basically stayed with a 1968 set of mother of pearl Ludwigs with a bevy of Zildjian cymbals from the 50s(these sounds oh so good). These beasts took a beating to say the least. I still have them at a friend's studio and try to sit in a few times a month. No room in my current abode but I do have a few guitars lying around (1965 Fender Mustang, Mexican Fender Precision Bass, Framus-Werke Hollow body electric, and a beatup Washburn acoustic). Believe it or not, I use a bridged, 28watt EL-84 EICO HF-81 (I have two of these classics). This amp sounds GREAT with excellent tone and when turned up to 11, some damn fine sounding distortion. I see what you are saying concening the difference between vintage horns designed for theater use and the average Peavey hell box (I hate SS Peavey as well). If only I had the room to even BEGIN to experiment with cabinets of this nature. You still never answered me; have you ever had a high quality SET mated with your horns? Not talking Antique Sound here, which is designed to meet a price point.

Andy, Ed, and Jeff, you all made some valid points. Andy's suggestion about trying the Cornwalls out and unloading if not pleased sounds logical. Unfortunately, these Cornwalls necessitate a 12.5 hour round trip to pick them up; add to that the fact that they are over 100lbs a piece and I live on the third level .... and you see the horror. Obviously, I want to make a good choice here. It's not like they are some monitors to taste. Still, the point is valid to a degree.

I was particularly interested in the points concerning low volume listening. Stan Getz or Ben Webster breathing a sax at low levels after 3am (I time I am doing work) with great life is a very welcome advantage.

Jeff, I happened to visit Wendy Carlos' site and was dumbfounded at her mixing studio! What an insane setup.

After listening to some of Wendy's creations, I can only imagine her immersed within that soundfield! Although not my taste, it is an interesting site and worth a read. I personally am very biased towards 2-channel audio.

By the way, Jeff, did you realize that is YOUR black Cornwall posted above between the two single driver horns??? Surprised you didnt mention it.

khf>s>

ps- Does anyone have any other info relating to my models I am interested in? Anyone familiar with the 77 "Designer Series" and the quality of wood? Drivers?s>

[mobile homeless]

Jim, I can understand you not reading my painfully long post, but what I dont understand it that I dont think you have even heard the single source, horn loaded, speakers in question. Although I am sure the Cornwall is an amazing speaker, these single source speakers with absolutely NO crossover induced distortions or corruption are amazing speakers. One of the main, though slight, criticisms of this forum is the fact that it appears that a large portion of the inhabitants have not really experimented with many differnet types of quality speakers and amps. It is really hard to make educated statements given this aspect. I am the first to admit, I have not even HEARD the Cornwalls or even a vintage Klipsch in the last 25 years. Still, I am completely open minded about them as others should be to the excellent designs elsewhere. Dont let the fact that you own a Klipsch cloud you from other, perhaps better, devices.

kh

f>s>

[Klipschguy]

KH,

Even though we talk about Klipsch on this bulletin board, it usually not due to lack of experience with other equipment/speakers. In fact, quite the contrary. Many, many of the guys here (myself included) have been around the block with all kinds of equipment/speakers and end up at Klipsch with the general feeling of "now that's the sound I've been looking for." We also get excited about other people who are searching (some for many years) to get plugged into a mighty pair of Klipsch. I appreciate all kinds of speaker designs and like to experiment, but I always find my way back to my Klipsch because of one huge factor: most speakers out there sound like speakers, Klipsch sounds like music. IMHO, "musical sounding" is the highest honor any piece of equipment can hold.

What do you think guys? You guys been around the block?

Happy Klipsch regards,

Andy

[Jim Cornell]

Andy

Your talking to a guy who has owned approx, 20 thousand speakers, and has at last ended his search with Klipsch!

Around the block, up the hill , down the other side,

Wow ive owned some serious equipment since i was 11!

About the only cool speakers ive seen, other than Klipsch, is JBL and B-W!

cerwin vegas take to much amp, to run!

Martin Logans are neat looking, havent owned or heard them, YET!

Next time im in a audiophile store ill listen!

And bring the cornwalls with me ha ha!

I have brought home numerous speakers since ive had these cornwalls, and i caint even hear them, its unreal!

I doubt, i would not hear these cornwalls with K-horns!

Andy, you should take time to rewire the cornwalls, its easy, and the sound is better!

Without getting the ALKs for now, that is!

Well, i think im off topic, so im going !!

Regards Jim

PS after looking at that studio, i was looking at my ceiling, go figure!

I love that studio, WOW!

[eq_shadimar]

KH -

Well I'll be. I didn't look close enough to notice the extra "sonically enhancing" velcro strips the first time around. Now about those royalities....

------------------

FOR SALE OR TRADE COMPLETE R*3 SYSTEM FOR 3 HERESY'S

Main System -

Cornwalls (L/R main)

RC-3

RS-3's (white)

SVS 20-39CS

Harman Kardon AVR 510

Hafler P505 (running sub)

HT Room now X10 Controlled

ProMedia 4.2 v400 for PC

[fini]

kh, You know, to some of us, a trip to 7-11 for a Slurpie is extremely soulful. Add a corn(wall)dog and you're in heaven. Where IS the love?

By the way, Wendy Carlos should post on this site. Boy, does SHE have some odds and mods...Ooops!

Love always, fini

[TBrennan]

Mobile---Yes, I've heard a couple of high quality SETs over my horns. At the horn club meeting at my house a fella brought a very nice, custom made, no-holds-barred 45 amp and matching preamp over and we drove my Altec 605s with it. It sounded very nice but not so much better that I had to runout and buy another amp. However hearing the Bean Counter's Edgar Saladbowls mated with my Altec 515-JBL 4560s did make me get some Saladbowls. :-) Mother of Pearl Ludwigs eh? Buddy Rich drums. I owned Gretsch, Rogers and Sonor but I'm drumless now, now I'm thinking of getting some old Rogers, Ludwigs or Slingerlands, unfortunatly what was simply old a few years ago is now "vintage" and prices are going up, even on the Vistalites. I'm also gonna get one of those big old Kustom rolled and pleated jobs for my bass (MIM Jazz, I use an Ampeg B-100R amp), they were SS so many guitarists aren't interested in them but they're good bass amps and prices are still low. And they're great furniture. :-)