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In Reply to: RE: Danley installation at the new Mercedes Benz stadium in Atlanta posted by email@example.com on April 11, 2017 at 12:59:18
It's good to hear from someone else who has actually heard Tom's designs and who can testify that that horns can perform well in the home.
It started with Klipschorns when I was 14. Took a while to be able to afford a pair, but I've been a horn guy for over 40 years. Even spent a day with Paul Klipsch back in '85 when I was still a "kid." He made my wife and I feel like we were his long lost grand kids that day. He was the same age as my grandmother who out lived him by 7 years.
The bigger the horn, the better the horn.
PWK was a character indeed, and everyone who ever met him had a story to tell. I met him back in the 90's and I still have an autographed pic of him he gave me hung near my speakers. His magnum opus Modulation Distortion In Loudspeakers clearly proved the advantage horns have over direct radiators in that horns are capable of producing much lower amplitude modulation and frequency modulation distortion. Anti-horn attitudes in the hi-end magazines started appearing about the same time as high Watt/low THD transistor amps appeared with lots of negative feedback used to get the better numbers. What a coincidence!
When I went to his house, he was running a BGW 100 watt amp and half of a crown D60 on his center channel.
He only played his own recordings, all from only 2 spaced omni mikes. Heard several and they sounded great.
His own Klipshorns were just regular ones from the factory floor, but he used 4x4x4 ft. false corners behind them.
He referred to commercial recordings as "dilute stereo."
I could go on.
Apparently you met him after he sold the company to Fred Klipsch, who built up the company to about 8x the size it was in 1989.
Someone asked him what he thought about tubes and he just said "You have to change the tubes too much". I wonder if the output transistors for those BGW and Crown amps are still available, many from that era are not. Another question was 'What do you think about wires?". He answered "I use 16 gauge lamp cord", but the questioner persisted with "Have you tried different wires?", but the answer was again "I use 16 gauge lamp cord". I think any question involving wires would have gotten this answer. He was not involved in all the details of the company at that point, and someone asked him whether one of the new Klipsch box speaker models on display was sealed or vented. He said "That's a good question" and he got up and walked over to one of the big boxes and hefted it up to see, to the amusement of all. He was a brilliant engineer who could also be a standup comic at the same time.
My day with him was early August, 1985. He was not very involved with the daily running of the company then. Jim Hunter didn't have gray hair yet, and Roy Delgado (future Chief Engineer) had not been hired out of college yet, to become their most prolific speaker designer, including the legendary/Amazing Jubilee bass and the K402 mid horns.
I met Gary Gillum that day, who was chief engineer and co-designer of the MWM bass bin (which I had in my house for a while.
My switching from Klipschorns, to Klipsch Pro (big stack), now down to mostly Danley stuff is because of how SMALL Danley's multi driver horns are for their amazing bandwidth. Unmatched by anything these discerning ears have heard.
The best impressive sound heard at Axpona in Chicago a few years were Sadurni Horns, but the dollar and space cost, I leave to others, with a fatter wallet than mine.
Best bang for buck had to be the Spatial OB speakers at less than $2,000 for a new pair. Otherwise EVERYTHING there is overpriced and underperforming.
That's very cool that you were at Paul Klipsch's home, and must be a very memorable experience.
It's also something of a verification that "time alignment" isn't as critical as some people would like us to believe.
The most aurally excellent recordings I have are ones which were made with just two microphones, whether widely-spaced omni's (A-B), ORTF, or X-Y, with high quality equipment. The biggest problem with achieving excellent results when doing this is THE ROOM, followed by dealing with whatever sound reinforcement system might also be in the equation. Most public venues and performances aren't well-suited to "minimalist" miking, and so, there are flaws, and people making noises (especially with A-B!). But when you have a good room, and have control over the mic placement and extraneous sounds, it can be awesome.
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