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Why tubes and Klipsch are preferred?

Maxbertola

pfm Member
Since I bought my Klipsch Heresy 3s, I have been curious about what amp(s) people use with them.
Recommendations range from 3.5W, SE tubes to 200W solid state, with about anything in between.

I have used a Pass INT-25 and a PrimaLuna EVO 100 and am now using a TEAC A-H500i, so I think I have a rudimentary idea of what push-pull of EL34s, Class A SS and class AB SS, old style, sound.

Many insist on using tubes with the Heresy; what I am rather curious about, is whether this preference comes from a unique and specific electrical pairing of Klipsch with tubes (but it should be kept in mind that Heresy 3s have been made in 2006, with a considerably different crossover than the 1s), or from a diffused opinion that tubes sound 'warm' and more 'musical', this apparently implying that the Heresy 3 sound bright and must be 'compensated'. In other words if the suggestion of tubes has an objective or a subjective foundation.

Any opinions or first-hand experiences are welcome,
Thanks.
M.
 
Never used Heresy Cornwalls drove them with 1.5w SET , OTL & PP currently Biamping with a 4x1250wpc Pro Amp
 
Isn't it to do with the easy load of a horn speaker, and that horns and valves just work so very well together? As for an amp, i love my Leben 600, and there just so happens to be one available in the classifieds.
 
Many insist on using tubes with the Heresy; what I am rather curious about, is whether this preference comes from a unique and specific electrical pairing of Klipsch with tubes (but it should be kept in mind that Heresy 3s have been made in 2006, with a considerably different crossover than the 1s), or from a diffused opinion that tubes sound 'warm' and more 'musical', this apparently implying that the Heresy 3 sound bright and must be 'compensated'. In other words if the suggestion of tubes has an objective or a subjective foundation.

I suspect it is primarily down to damping factor. Classic Klipsch, like vintage Tannoys, Altecs and other similar speakers are very much valve-era. They were voiced to sound right with low-Wattage SETs and small push-pull valve amps. Modern solid state is ultra tight and designed to throw heavy plastic cones a very long way in small aggressively ported. That is an entirely different skillset and needs a different type of amp. Use a modern highly damped solid state amp with Klipsch and they sound thin, dry, small and horribly unnatural. It isn’t that the modern amp is bad, just that it is the wrong tool for the job. Use a nice high quality valve amp and they gain so much warmth, scale, slam and naturalness. They just breathe as this is the context Paul Klipsch designed them for.

I’m absolutely convinced it is a mistake to go too far away from original design context with hi-fi. Nothing arrived out of the blue, it all belongs in a context and I view matching amps and speakers very much like matching arms and cartridges. It is the equivalent of getting the mass and compliance right, and in the same way you’d not mount a low compliance SPU Royal or DL-103 in a Infinity Black Widow you shouldn’t drive La Scalas with a Naim or Linn Saras with a Leak Stereo 20. Some stuff just does not go together.
 
The Tannoy journey of the concentric driver is an excellent example of how speakers changed through the years, and became harder to drive, as amplifiers became more powerful. From blacks, to silvers, to reds, to golds and then the more rigid golds. However the philosophy of Klipsch hasn't changed, as i recall. The Klipsch technology may have changed/improved, but the approach is still the same, with an easy to drive speaker by design, being horn loaded. I rarely hear people say that they don't like tube amplifiers, but most speakers are unsuitable, unless you go valve pre and ss power amplifier. I wouldn't overthink it personally, and just enjoy the luxury of a speaker that still works well with a glorious and classic valve amp, be it Radford, Leak or even Quad, or a modern variety, of which i can only speak for the Leben.
 
I have Cornwall IVs and trialled Forte IVs before buying. Both work amazingly with my Mastersound 845 PSE monoblocks but also incredibly well with my summer amp, an A and R A60
 
Last edited:
Tubes are better?

you only tried higher power tubes. These suck. Try a el84 ;)

when you get very efficient speakers, its logical to get the best amps which are normally low powered.
 
Tony,
thanks for your reply.
I suspect it is primarily down to damping factor. Classic Klipsch, like vintage Tannoys, Altecs and other similar speakers are very much valve-era. They were voiced to sound right with low-Wattage SETs and small push-pull valve amps. Modern solid state is ultra tight and designed to throw heavy plastic cones a very long way in small aggressively ported. That is an entirely different skillset and needs a different type of amp. Use a modern highly damped solid state amp with Klipsch and they sound thin, dry, small and horribly unnatural. It isn’t that the modern amp is bad, just that it is the wrong tool for the job. Use a nice high quality valve amp and they gain so much warmth, scale, slam and naturalness. They just breathe as this is the context Paul Klipsch designed them for.

I’m absolutely convinced it is a mistake to go too far away from original design context with hi-fi. Nothing arrived out of the blue, it all belongs in a context and I view matching amps and speakers very much like matching arms and cartridges. It is the equivalent of getting the mass and compliance right, and in the same way you’d not mount a low compliance SPU Royal or DL-103 in a Infinity Black Widow you shouldn’t drive La Scalas with a Naim or Linn Saras with a Leak Stereo 20. Some stuff just does not go together.

Tony,
yours is an explanation, thanks. Sometime ago I tried to study damping factor, found online articles and searched for opinions and suggestions on forums - namely the Klipsch one and Audiogon - but I regularly clash with replies like: Why do you care? Just listen and choose whatever pleases you. The same when I searched for the Heresy 3's impedance and phase pattern. Technical information about audio product is very scarce. None of us here would buy not only a car, but a washing machine with so little and smoky a mystique as the one accompanying HiFi.

This is not an approach I like, I fear. Without any intentions to be an engineer, which obviously I am not, I wish to know a little more about what I set up in my home, not to be prey of the designers' preferences, the reviewers' opinions and the marketing hype. Sorry, I am for a little knowledge.

The Heresy 3's woofer is not horn loaded, is an acoustic suspension one, i.e. a sealed box. Only mid and tweeter are horn loaded. This sums up to a curious mix between a classic Klipsch and something on the lines of Acoustic Research.. A hybrid, or, in fact, a heresy. Only, the Heresy is about 97-odd dB sensitive. Its impedance pattern varies from 4.2 to a few tens Ohms, so not technically easy nor difficult to drive. The woofer can be moved by a few watts, but Roy Delgado himself - the current chief designer at Klipsch, close collaborator of Paul Klipsch for decades - is reported to have said, on the Heresy woofer: You need some volts to move that beast..

As far as I know, damping factor is a byproduct of negative feedback, and can also be expressed as output impedance. Or am I wrong? As far as I also know, there are valve amplifiers with negative feedback and others with zero feedback. Feedback is used to flatten the frequency response. I share your view on damped amplifiers; but it's a fact that valves prefer more regular, flattish impedance curves. Why McIntosh solid state amps feature output transformers..? In the end, the voice the designers give to the speaker system is the most reliable criteria. Although this brings us back to why valves sound better than - or just different from - solid state, I can have a reference point.

Unfortunately, valve amplifiers are as varied and differently designed as solid state ones, if not more. SE 300B, SE whatever, push pull of EL34, of EL84, 2A3, they range from 1W to 100W... how can we assign the idea of a sound to valves? I've heard Audio Innovations and Octave, no two amps could sound more different from each other. In the end, most valve amplifiers, especially older designs with less power and minimal damping factors, are bodily and generous and seem to present the speaker with a more immediate, full-range, less 'controlled' signal. But one may argue that a more modern solid state amp controlled the drivers better. How does this turns into sound? How do we choose?

This is what is actually preventing me from making a definitive choice. I can't obviously buy ten amplifiers and return the nine I don't like; nor can I borrow ten amps from a dealer. What do we rely on else than reading, listening, searching and filtering opinions and suggestions?

Thanks to all replies.
M.

Men often choose a wife in a light so dim they wouldn't pick a dress in.
Maurice Chevalier
 
you only tried higher power tubes. These suck. Try a el84 ;)

when you get very efficient speakers, its logical to get the best amps which are normally low powered.

The most pleasant sounding valve amp I've heard (owned too, actually) was an Audio Innovations Classic 25, a modestly powered push-pull of EL34s, 24W x 2. It was all that is thought valve amps are and should be - rolled off at the extremes, sweet, musical (god forgive me for having used the word), transparent without being forensic. I've heard a Leben CS300 once - a renown push-pull of EL84s - and it was magnificent in a sort of Grace Kelly way.. perfect and a little aseptic. I'd take an AI any moment. I'd try a Decware Zen Triode if they were not built on the other side of the planet; I have considered the Line Magnetic Mini 84i, a headphone amp with speakers' output, 3W from a push-pull of EL84s; since I am not the type who gets to like something that cannot be returned because others promote it, I am not yet taking the risk.

Thanks for your reply.
M.
 
Sometime ago I tried to study damping factor, found online articles and searched for opinions and suggestions on forums - namely the Klipsch one and Audiogon - but I regularly clash with replies like: Why do you care? Just listen and choose whatever pleases you. The same when I searched for the Heresy 3's impedance and phase pattern. Technical information about audio product is very scarce. None of us here would buy, say, a car, but a washing machine with so little and smoky a mystique as the one accompanying HiFi.

As ever it is far deeper than this. Valve and solid state are fundamentally different things. In the most simple terms a valve amp can be viewed as a voltage driven, a solid state amp a current driven. I would advise googling this as you will find everything from broad generalisations through to highly detailed circuit topologies. There is a real deep-dive waiting should you wish to pursue it.

To my mind valve amps just do things differently, and it is far more than damping factor. They are just different things. I quite like over-thinking things, so have done a lot of reading (I also have a valve guitar amp too, and that’s another area with very strong viewpoints!).

Just listening is really the best way, but the selection criteria can IMHO be narrowed very considerably by looking at the original era and design concept of the speakers you wish to drive. Allow the original designer to guide you. This is especially with truly ancient designs such as Klipsch, Lowther etc which date from before the transistor was even invented. They were absolutely designed and voiced for low Wattage valve amps.

PS Tannoys are rather different as the design changed and kept up with the technology of the time, e.g. you’d choose a very different amp for say Reds and HPDs. FWIW I view Golds as the pivot-point, before that they were very much a valve-era speaker, after that a solid state-era speaker. The Golds bang in the middle and very happy with say the Stereo 20, STA15 or Quad 303 of their era. Go too modern and they sound thin, small and over-damped.
 
Just listening is really the best way, but the selection criteria can IMHO be narrowed very considerably by looking at the original era and design concept of the speakers you wish to drive. Allow the original designer to guide you.

Tony,

thanks, I totally agree on most of what you wrote. Only, the Heresy was first designed and made in 1957 - definitely a low-power, tube-amps age - and 'refurbished' in 1987 and 2006. The current crossover is rather more complex and crammed than the original, four-elements one. Am I to consider the current Heresy a modern or an old loudspeaker system? What do we do with Roy Delgado's remark?

Best
M.
 
Am I to consider the current Heresy a modern or an old loudspeaker system? What do we do with Roy Delgado's remark?

I’d personally view it as a lightly-tweaked vintage design. I’m sure I’ve seen Steve Guttenberg (Stereophile) raving about them driven with a tiny Decware Zen SET. That said that is an extreme, I’d personally choose a few more Watts. I’ve tried a few SETs here over the years, in fact I owned a Decware Zen UFO for a while, and nice though it is I just prefer my 10 Watt push-pull vintage Leaks.

I can’t interpret Roy Delgado’s remark out of context, e.g. it could be read in their preferring voltage (valves) to current (solid state). Who knows? Regardless a pair of Heresys of any era are about as easy job for an amp as it is possible to find. I’d really not worry here. If you are in a situation where valves are practical I’d just try and audition/borrow the nicest valve amp you can find or afford.
 
Thanks, having owned an Audio Innovations decades ago and a PrimaLuna EVO 100 a couple of years ago (with the Heresy 3s), I see valves favorably. I'll try to do some home demo - which unfortunately brings me back here:

I can't obviously buy ten amplifiers and return the nine I don't like; nor can I borrow ten amps from a dealer
:)

Best,
M
 
I still had a Prima Luna Prologue 2 back when I had Heresy 1.5s and that was a great match. FWIW I far preferred the PL with EL34s to KT88s.
 
I’m curious about the different generations of Heresy. I had a pair I obtained in the late 70’s that had a couple screw speaker terminals on back. Back in the late 70’s a huge Klipsch dealer near me used MacIntosh, Crown, Yamaha and B&O solid state amps with Klipsch. Looks like the newest version of Heresy is ported.
 
A dealer doing something certainly doesn’t make it right! Maybe they didn’t sell any decent valve amps?

PS Many of the worst sounds I’ve ever heard in my entire life were in hi-fi shops!
 
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Found this post that has lots of Klipsch info:


This thread discusses "how to" (with pictures...) to refinish/ re-furbish Heresy-I's and II's: http://forums.klipsch.com/forums/t/109693.aspx

This thread discusses "how to" (with pictures...) to redo the grills: http://forums.klipsch.com/forums/t/110684.aspx

Further below is an extract from: http://forums.klipsch.com/forums/t/103886.aspx which outlines the Heritage series codes, finishes, etc and the parts still available for Heresy-I's and II's.

HERESY (and Heritage in general) MODEL & SERIAL LABEL CODES:

1. The Heritage series until 1984 were relatively simple: they were hand written, and first line was the model and wood/finish type, and the second line was the serial number (serials discussed further below).

EXAMPLE:

H-OL

15T252

This tag would be for a Heresy-I, oak, lacquer finish, serial number: 15T252 (made in 1979)

2. Starting in 1984 and continuing until approximately 1988, the labels were similar, however used a "stamped" serial number identification below the model & finish code. By 1988-1989, the labels were "computer" generated, with the model, finish and other coding in a second "line".

HERESY TYPE CODES:

H = Heresy

HD = Heresy "decorator" with flush motor board and no grill

HERESY WOOD/FINISH CODES:

Until the late 70's-early 80's (and again in 2008 on Heritage models), customers could special order a number of exotic veneers.

It should be noted that until May, 2001 there were almost 100 different finish, grill cloth, and riser 'combinations' or variants that could be ordered for the Heresy’s and up to 75 versions of the Klipschorn.

In the mid-late 90's, Klipsch generally ceased most special order veneers and raw birch was also discontinued on most models, except Heresy-II's.

Material for raw birch is/was Georgia-Pacific cabinet/furniture grade 7 ply (5 inner standard grade plies and the two outer very-fine grade plies).

Risers for the Heritage series were originally optional. Heresy risers were generally "straight" until the late 1980's, and were still an option until the late 90's. In the late 1980's the "slant" style became the general standard. Slant risers appeared in the 1970's on Heresy-Is, but are not seen often. Currently the US version Heresy is shipped with slant riser, elsewhere in the world they can be ordered with or without the riser.

"Oiled" finish refers to the factory application of a high quality furniture grade wood oil that fills the pores of the wood and seals the finish. The type of oil is similar to a Watco "danish" or "rejuvenating" oil. Oiled finishes require a routine "oiling" with a light non-buildup type of furniture grade wood oil.

"Lacquer" refers to the application of one or two thin coats of a clear semi-gloss lacquer sprayed on the cabinet and motor board prior to installation of drivers. That lacquer was obtained from various vendors and currently is a #40 sheen, semi-gloss lacquer from Valspar/OPEC. Lacquer finishes only require a routine wiping off with a clean dry cloth to maintain the finish.

For "Black Lacquer" finishes, the factory used a #40 sheen lacquer primer, then #40 sheen black lacquer, with a clear #40 sheen to protect the black finish.

Generally, most veneered Heritage products had the rear panels/ sections sprayed with black lacquer primer. Starting in late 1983 and continuing to this day, the rear panels of the Heritage models are now sprayed with a coat of primer, then a coat of "textured" semi gloss, and a top coat of clear lacquer.

An option to have raw birch stained was also used, but not often seen. The stain was applied by spraying, and the serial number stickers generally indicated this option. Example: H-WS would have been a Walnut stained Heresy made from "raw-birch". This option was more commonly seen on La Scala's.

WOOD CODES (Note: Many of these wood options are seldom, if ever seen on a Heresy)

CODE WOOD FINISH REMARKS

AL Ash Lacquer Uncommon

AO Ash Oiled Uncommon

BB Birch Black Lacquer Common

BR Birch Raw Common

BL Birch Lacquer Common

BW Birch White Lacquer Rare Spec Order

CL Cherry Lacquer Uncommon **

CO Cherry Oiled Uncommon

D-BR Birch Raw Designer (No Grill)

D-BB Birch Black Lacquer Designer (No Grill)

FL Fir Lacquer Rare

FO Fir Oiled Rare

FB Fir Black Lacquer Late Models Only

F Fir Firzite Rare - Marine Grade

HL Hickory Lacquer (reported-unconfirmed)

MEL Macassar Ebony Lacquer Rare Spec Order

MEO Macassar Ebony Oiled (unconfirmed)

MHL Mahogany Lacquer Rare Spec Order

MHO Mahogany Oiled Rare Spec Order

MHR Mahogany Raw Rare Spec Order

ML Maple Lacquer Rare"Hardrock Maple"

MO Maple Oiled Rare"Hardrock Maple"

MO* Medium Oak Oiled Late 90's Models

OL Oak Lacquer Common (Red Oak)

OO Oak Oiled Common (Red Oak)

PNL* Persian Nut Lacquer Rare Spec Order

RRL* Rambling Rose Lacquer Rare Spec Order

PL Prima Vera Lacquer Rare Spec Order

PR Prima Vera Raw Rare -Early

RL Rosewood Lacquer Brazilian species

RO Rosewood Oiled Brazilian species

TL Teak Lacquer Uncommon

TO Teak Oiled Uncommon

TWL Tigerwood Lacquer Rare Spec Order

TWO Tigerwood Oiled Rare Spec Order

WL Walnut Lacquer Common

WO Walnut Oiled Common

WS Birch (stained) Stain Walnut on Birch

ZL Zebrawood Lacquer Rare Spec Order

ZO Zebrawood Oiled Rare Spec Order

* "Persian Nut" and "Rambling Rose" are not an actual wood species; they were made from linear cut birch or walnut wood which was dyed with specific hues/colors, re-glued into alternating color layers and then rotary cut into the respective veneer types to achieve the effect.

** Lacquer finish on early production Cherry was uncommon.

*** See also the list of new veneers available from Klipsch as of March 2008:

(http://forums.klipsch.com/forums/t/102665.aspx)

Production codes that will be assigned are unknown at this time.

SERIAL NUMBERS:

Based upon additional information related to the use of letters starting in 1955, the 1962-1983 coding has been modified to reflect that information.

The serial number was written on the paper serial tags and die stamped on the back edge of the top panel (inside top portion in LS). This practice was not used on later "MDF" cabinets for Heresy's, etc. Serial numbers can often be found written in pencil on the inside of some of the Heritage series, most notably Klipschorn's and Belle's.

While the 1946-1961 manufacturing dates can only be found in the Engineering Library in Indianapolis, accurate specific dates for the day of manufacture may also be found by close examination of the interior of the speaker cabinets. As an example there were often small inspection tags stapled inside the cabinets and penciled notations with dates inside the cabinets. An example of the production inspection stickers was the use of "PRIDE" stickers inside some models. These were used in the early through mid-1980's.

Additional letters stamped in the edges of Heritage series made from birch plywood, and on the poplar and ash "lumber core" as the substrate, were "USA" and/or the cabinet builder's and final sander's initial(s). For reasons of protecting their right to privacy, I have not identified the names of those superb craftsmen (and women).

DATES DESCRIPTION EXAMPLE

1955-1983 ##letter#### 20Y1234

Letters that look like numbers (e.g. I, O, Q, V) were not used. "S" is frequently misread as a "5" and Y has been confused with an X on occasion.

July 29, 1955 was the last day for the four digit serials (i.e. 1811). After that the "number- letter-serial" system went into effect (2 August 1955). The first "number-letter-serial" speaker was produced on the 2nd of August 1955; that serial number was 1A812.

In the 1955-1983 serial method the first, or prefix "digit(s)" before the year letter represents the sequence of production for each 1000 units. The suffix digits after the letter code will always be three digits - 001 through 999. For example 1C999 would be the 999th unit built, and 2C999 would be the 1999th built in 1965 C = 1965).

These digits before & after the year code apply only to that type of speaker.

The year code letter only identifies the year in which that number occurred.

As an example, if you have a pair of Klipschorn's and one of the serial numbers is 15T252, then by 1979 there had been 14,151 Klipschorn's made (Klipschorn's made in 1946-1947 were serial numbered from 1 to 20, and in 1948 started with #121, skipping #21 through #120).

For a pair of 1979 La Scala's, with serial number 22T403, it means there were 21,403 La Scala's made to that point.

Another example: A pair of Belles from 1979 has the serial number 3T242 and 243. This means that in 1979 these Klipsch Belles, the 2,242nd & 2,243rd, were made.

YEAR OF MANUFACTURE (1955 THROUGH 1983 ONLY)

A = 1955-63* F = 1968 L = 1973 S = 1978

B = 1963-64* G = 1969 M = 1974 T = 1979

C = 1965 H = 1970 N = 1975 U = 1980

D = 1966 J = 1971 P = 1976 W = 1981

E = 1967 K = 1972 R = 1977 X = 1982

Y = 1983

DATES DESCRIPTION EXAMPLE

1984-1989 YYWW#### 89261234

1. YY = year (e.g. 89 = 1989)

2. WW = week of the year (e.g. 26= last week in June)

3. The WW can also be a single digit for weeks 01 through 09; e.g. 877#### (mid February 1987)

DATES DESCRIPTION EXAMPLE

1990-1997 DOYY2Y1#### 135791234

1. DOY = day of the year (e.g. 135 = 14 May)

2. Y2Y1 = 2nd digit of year, 1st digit of year (e.g. 79 =1997)

DATES DESCRIPTION EXAMPLE

1998- 2000 YY WW #### 00281234

1. YY = year (e.g. 00 = 2000)

2. WW = week of the year (e.g. 28 = 2nd week in June)

DRIVER CODES:

Driver Manufacturing Date Codes: Example: 9429 = 1994, 29th week of the year (1994).

This numbering system is derived from the Electronics Industry Association (EIA) coding. The EIA did not issue Klipsch with an EIA prefix.

For further information on the EIA system, see: http://www.provide.net/~cfh/pots.html

Note: This site has additional manufacturers (including non-Klipsch components and an excellent resource for dating non-Klipsch equipment by the EIA "manufacturer & date-code" system.

Driver Manufacturer Codes:

Example: K-33-E would be the "Klipsch", part type 33 (15") woofer from Eminence. The suffix letter code generally referred to the Klipsch assigned origin/ manufacturer of the driver.

B = CTS (Chicago Telephone Supply), Brownsville TX

P = CTS in Paducah KY (woofers only)

R = Rola (an additional "R" either stamped or handwritten also indicated replacement (often seen on K22's and K- 24's)

D = K-77-D; From 2006 to the present. Essentially a K-77-F (see below) with an integral recessed mounting flange. Permits flush mounting of the tweeter from the rear, per the "Z" brackets for pre Feb 1983 Klipschorns (KH Update kit: part # 1006969)

F = Philippines supplier that purchased the EV tooling (e.g. K-77-F)

EV = Electro Voice (early K-33's e.g. "EV-15WK", also EV 1828 was used as the K-56 for Cornwall in 1974)

G = Atlas (for K-55-G for Cornwall 1981-1983)

J = Jensen (Also used for University drivers in mid- 1950s; e.g. K-5-J - University model 5A HF, and SAHF)

H = Heppner (K-52-H in Cornwall-II’s)

K = Klipsch (Pyle - Klipsch purchased Pyle and drivers were assembled in Hope Arkansas and at Pyle in Huntington, Indiana)

E = Eminence (Primarily woofers)

V = Atlas (see also notes below)

M = Electro Voice (also for the Eminence K-33-M in 1967)

X = Atlas (e.g. K-55-X)

Ti = Titanium series (new design with titanium diaphragms)

The V on the midrange & tweeters can also indicate 'video shielded'.

A significant number of "replacement" drivers, e.g. late model K-53's, K-76's will have no manufacturing code or date code, e.g. "blank" as in nothing at all.

On Heresy drivers, the number K53 indicates the driver/horn combo part number, which is a K52 driver and K701 horn.

Electro Voice also produced the "round magnet" T-35 tweeter, but later versions were simply labeled K-77. The first shipment of Electrovoice T-35 tweeters designated as the K-77 were received on 26 August 1959. The K-77 is first used in a Klipschorn with the serial number 1445 on 15 October, 1959.

Atlas produced the K-55X's (PD-5VH); and the PD-5VH is the K-55V (still available from Atlas and other vendors)

HERESY DRIVER TYPES BY APPLICATION (PREFIX IDENTIFIER):

1. Tweeter types:

K-76 Heresy-II

K-77 Heresy-I, Cornwall-I, Belle, La Scala, Klipschorn

K-79 Cornwall-II, Chorus-I

K-107 Heresy-III, Cornwall-III

2. Midrange types:

K-52 Cornwall-I (CW 1.5;a hybrid of the Cornwall-I and the Cornwall-II)

K-53 Forte-I, Heresy-I (late models), Heresy-II

K-53 Ti – Heresy-III, Cornwall-III

K-55 Klipschorn, La Scala, Belle, Cornwall, Heresy-I

3. Woofer types:

K-22 (types E, EF, K, and R) Heresy-I

K-24 Heresy-I (late models), Heresy-II

K-28 Heresy-III

3. Crossover types (Heritage only, there are others pre-1964):

C - Early Heresy

E - Heresy (E2 for 1983-1984 Heresy-Is with K-24 & K53/701's)

4. Klipsch Autotransformer types and values:

T2A(3110A) -3, -6, -9, -12db

T3A(3465-M) -6db

T4A(3485) -4db

T5A(3496) -6db

T7A(3504) -10db

T8A(3507) -8db

T9A(3540) -3db

T10A(3542) -9db

T11A -12db

5. Horn Types

K-700/701 – Heresy (all models), Cornwall-III

K-76 (Tweeter Horn) - Heresy II, Forte-I, early Cornwall-II (1.5)

K-79 Tractrix Horn - Heresy-III, Cornwall-III

K-1000 Heresy type "H", Cornwall-I (early models)

GRILLS & CLOTH CODES:

#03 = Cane

#13 = Heritage brown

#15 = White/black coarse weave

#17 = Duracrest, black, poly-olefin, stranded, coarse weave (Heritage only)

#18 = Duracrest, brown, poly-olefin, stranded, coarse weave (Heritage only)

Heritage grill frames for the Cornwall, La Scala, and Heresy were made from (a) "Masonite" fiberboard, or ( a resin impregnated board (late model Cornwall & Heresy). The backings for the Klipschorn & Belle bass bins are 3/8" or ½" plywood, with a 'cut out' frame, with the cloth glued and stapled.

The new Reference series and all new Heritage series grills (except Klipschorn's) are retained by magnets. 60th Anniversary Klipschorns are also retained by magnets.

Grill "Velcro" varies between either 3/4" round or ½" x 3/4" rectangles. On Cornwall's (and seen on several Heresy's), the "motor board" Velcro pieces are sometimes stapled to the motor board.

LOGO DESIGNS

1. There were four basic designs:

(a) "Pie slice" in black/silver, clear/copper, clear/white (early pies), and copper/black: Sizes and fonts vary slightly as manufacturer/ contractors changed. The most recent (current for the Heritage series) is the copper/black pie slice, sometimes referred to as the small "Jubilee" pie.

( Copper with PWK logo and black lettering: This design varied slightly with the font & etching varying in distance and size.

© Copper/bronze with subdued lettering, and no "PWK" emblem on a background of horizontal stripes: These were generally seen in the mid-70s.

(d) In early production years, there was a clear plastic strip with "Klipschorn", and also "Rebel" in white script lettering.

4. The Heritage logos were/are secured to the grills, centered usually within ½" to 3/4" from the top edge of the grill with types b & c, and either on the upper left or upper right for type a (pie slices). The glue used is contact cement. The "d" type for the Klipschorn on the type "B" (collared), was held on the collar with two small pin nails. Current Heritage "pie slice" logos are secured with PSA (pressure sensitive adhesive).

HERESY PRODUCTION NOTES & TIME LINES:

1957: The Heresy is introduced as a center channel for the Klipschorn. It is the first Klipsch speaker that does not require corner placement. This model utilized the K-1000 midrange horn. These are rare, and one example in the Museum in Hope is the rarest of all the Klipsch Heritage speakers.

1957 - 1959: Both 8" and 12" woofer versions were produced during this period.

1967 - The H-700 is introduced in the now familiar format using a 12" K-22 woofer (There were several variants used E, EF, K) K-700 horn; K-55-V mid-range and the K-77 (T-35 type Alnico magnet) tweeter. From this date through the end of the model run in 1985, various networks were used: Type C, Type E and Type E-2. All were variations on the same design.

1972-1973: The Heresy's name is changed from H-700 to Heresy.

1983-1984: The K-24 woofer is substituted for the K-22, and during the last production of the Heresy-I, the midrange K-53/701 is substituted for the K-55/700.

1985: The Heresy II is introduced using a mid-range and tweeter driver set that, for the first time since the introduction of the H-700 differed from that of the Klipschorn. Component designations were: Woofer K-24-K, Midrange K-701 horn and K-52 driver (the mid range assembly was also stamped K-53 on the driver). The tweeter is K-75-K horn and K-76 driver. This was the first Heresy model to discontinue the use the traditional alpha numeric network designations (Type E-2). All of the drivers in the Heresy II were front mounted to reduce the diffraction effects caused by rear mounting and firing through the motor board.

May 2001: Finish, grill and riser variant options are reduced from nearly 100 to 10.

Sept 29, 2005: The Heresy III is introduced featuring increased sensitivity (3dB), Titanium mid-range and tweeter diaphragms, Tractrix tweeter horn and bi-wire inputs. Component designations are: Woofer K-28-E, Midrange K-53-Ti (K-701 horn and K-53-Ti driver), Tweeter K-107-Ti (K-79-T horn and K-100-Ti driver). Finish, grille and riser variations are further reduced from 10 to 3.

May 2006: The Heresy III midrange compression driver is sourced to a new supplier and the network is revised to compensate for the change.

HERESY-I & II - PARTS & RESOURCES:

Heresy-I; General:

Klipsch Factory Parts: There are no complete parts assemblies remaining for any pre-1983 Heresy-I's.

K-77 Tweeters - Bob Crites CT-125's, or replace diaphragms; some diaphragms were still available from Klipsch, but may no longer be available.

K-55 Midrange (Through 1983 only) - Atlas PD5VH's, or replace diaphragms; No factory parts available; contact Bob Crites for diaphragm replacement or new PD5VH's. The Selenium D250X can also be substituted, but requires attenuation either with a resistor or on the crossover. Contact Bob Crites for details. The Selenium can only be used with the K-700 metal horn.

K-700 midrange horn (Through 1983 only) - No longer available. Forum members often have spares.

K-53/701 midrange/ horn assembly (1983 through early 1985 only); There are a few 701 horns still available from Klipsch. There are no K-52 drivers available. Forum members often have spares. contact Bob Crites for diaphragm replacement. NOTE: You cannot substitute the K53/701 combo on a pre-83 motorboard. It will not fit due to the driver slot locations. You will have to replace the motor board. You can use the K-55/700 however on the late 83 through early 85 Heresy-I's.

K-22 woofer No longer available. Forum members often have spares. The K-24 can be substituted. Klipsch still has a few available. The better replacement is the either the K-28 from Klipsch, or the Bob Crites CW-1228 specifically designed as the replacement for the old K-22's and K-24's.

Type E/E2 Crossovers; No longer available. Forum members often have spares. Can be recapped, upgraded, modified (e.g. E/4500), etc. Numerous Forum members can either provide the service, or assist and advise you regarding capacitors and modificatons, etc.

Grills: No longer avilable; Forum members may have spares, or they can be made as per: http://forums.klipsch.com/forums/t/110684.aspx. Heresy II and Heresy-II grills cannot be exchanged as the driver "holes" are not in the same place.

Heresy-II: General:

The recommended "upgrade" is for the Klipsch Heresy-III driver & crossover "kit". It is designed for use only on the "square cup" (late 1986 and later) Heresy-II's. It can be used to upgrade the "round cup", but the owner will have to modify the rear panel to accept the new "cup".

Factory Parts: There are very few complete driver assemblies remaining. See further below.

K-76 Tweeters - There are a few driver only assemblies remaining at Klipsch parts, and some replacement diaphragms; but may no longer be available. Bob Crites has replacement diaphragms.

K-53/701 midrange/ horn assembly; There are a few plastic 701 horns still available from Klipsch. There are no K-52 drivers available. Forum members often have spares. contact Bob Crites for diaphragm replacement.

K-24 woofer; There are a very few still available from Klipsch parts. Forum members often have spares. The better replacement is the either the K-28 from Klipsch, or the Bob Crites CW-1228 specifically designed as the replacement for the old K-22's and K-24's.

Type Heresy-II Crossovers; Not available. Forum members often have spares. Can be recapped, upgraded, modified, etc. Numerous Forum members can either provide the service, or assist and advise regarding capacitors, etc.

Grills: No longer avilable; Forum members may have spares, or they can be made as per: http://forums.klipsch.com/forums/t/110684.aspx. Heresy II and Heresy-II grills cannot be exchanged as the driver "holes" are not in the same place. The Heresy-III grill can be subsituted for the Heresy-II as the driver "holes" are in the correct location. Contact Klipsch Parts for information, and/or pricing.
 


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