Archived from groups: rec.audio.high-end (More info?)
Hello,
I'm looking for speakers for my daughter (so I can get mine back!),
and the local shop has a pair of these monitors for a reasonable
price--they were supposedly $900 new, now $140. I'm auditioning them
with her tomorrow, but I was wondering if anyone knew anything about
them; I know about RH Lab subs, which had a good reputation, but can't
find any info on the speakers. They're trapezoidal, very solid
cabinets, with a small foam-surround woofer and what looks like an ADS
tweeter (large black square plate, small convex plastic dome) from the
early 80s. Hearing them is the main thing, but I'm curious about their
provenance, and whether there are likely to be good quality parts in
the crossover. Thanks for any info! Best, Kevin
Archived from groups: rec.audio.high-end (More info?)
"kevingan" <kevin.egan@yale.edu> wrote in message
news1d89j0d37@news2.newsguy.com...
> Hello,
>
> I'm looking for speakers for my daughter (so I can get mine back!),
> and the local shop has a pair of these monitors for a reasonable
> price--they were supposedly $900 new, now $140. I'm auditioning them
> with her tomorrow, but I was wondering if anyone knew anything about
> them; I know about RH Lab subs, which had a good reputation, but can't
> find any info on the speakers. They're trapezoidal, very solid
> cabinets, with a small foam-surround woofer and what looks like an ADS
> tweeter (large black square plate, small convex plastic dome) from the
> early 80s. Hearing them is the main thing, but I'm curious about their
> provenance, and whether there are likely to be good quality parts in
> the crossover. Thanks for any info! Best, Kevin
Listen, but be wary. KRK's are a fairly inexpensive brand of near-field
studion monitor, about on par with Peavy, Behringer, and Event monitors. In
quality, well below the Tannoys and JBL's and others. The most expensive of
the KRK's, those with built in active amps, probably sell around $350 each.
If they are passives that require an amp, as most home audio does, they
probably never sold for more than $200 each. In pro gear, the retail
suggested selling price is truly fictictious.
Also, be aware that these speakers are designed to sit out in the open, only
a few feet from the mixer or musicians ears in the so called "direct field".
They are not designed for a normal home environment with its usuall array of
nearby walls.
Having said that, give a listen. They may well be worth the $140. But also
be aware that there are Paradigms and Epos speakers in that same price
range, specifically designed for home audio use, and with superb
reputations. Perhaps you should check them out as well before deciding.
Good luck with the audition. I'm also a dad who has outfitted my three
kids with decent systems as they have reached their twenties, so I
empathize.
Archived from groups: rec.audio.high-end (More info?)
I just notice that your heading said KRH, not KRK (which are well known
studio monitors). If they truly are KRH, then I do not know of them and you
can safely ignore my comments.
Harry
"Harry Lavo" <hlavo@comcast.net> wrote in message
news1fs9o0164c@news1.newsguy.com...
> "kevingan" <kevin.egan@yale.edu> wrote in message
> news1d89j0d37@news2.newsguy.com...
> > Hello,
> >
> > I'm looking for speakers for my daughter (so I can get mine back!),
> > and the local shop has a pair of these monitors for a reasonable
> > price--they were supposedly $900 new, now $140. I'm auditioning them
> > with her tomorrow, but I was wondering if anyone knew anything about
> > them; I know about RH Lab subs, which had a good reputation, but can't
> > find any info on the speakers. They're trapezoidal, very solid
> > cabinets, with a small foam-surround woofer and what looks like an ADS
> > tweeter (large black square plate, small convex plastic dome) from the
> > early 80s. Hearing them is the main thing, but I'm curious about their
> > provenance, and whether there are likely to be good quality parts in
> > the crossover. Thanks for any info! Best, Kevin
>
> Listen, but be wary. KRK's are a fairly inexpensive brand of near-field
> studion monitor, about on par with Peavy, Behringer, and Event monitors.
In
> quality, well below the Tannoys and JBL's and others. The most expensive
of
> the KRK's, those with built in active amps, probably sell around $350
each.
> If they are passives that require an amp, as most home audio does, they
> probably never sold for more than $200 each. In pro gear, the retail
> suggested selling price is truly fictictious.
>
> Also, be aware that these speakers are designed to sit out in the open,
only
> a few feet from the mixer or musicians ears in the so called "direct
field".
> They are not designed for a normal home environment with its usuall array
of
> nearby walls.
>
> Having said that, give a listen. They may well be worth the $140. But
also
> be aware that there are Paradigms and Epos speakers in that same price
> range, specifically designed for home audio use, and with superb
> reputations. Perhaps you should check them out as well before deciding.
>
> Good luck with the audition. I'm also a dad who has outfitted my three
> kids with decent systems as they have reached their twenties, so I
> empathize.
>
>
I ownded a pair of RH Labs KRH model bookshelf speakers, along with a stereo pair if some passive subs made by the same guys. I personally knew the builder, Dale Satterberg, working out of a shop on his property in SE Portland, OR, musta been in the 1980 era. I ended up replacing all the drivers for the sats, as they deteriorated over time from ozone, temperature fluctuations, etc. The tweets were a liquid ferrous filled magnet affair (Wharfdale?), not very efficient, and prone to popping at extended, moderately loud passages. I replaced them with some Polk Audio branded tweets with good success. I Have no idea if they were truly a match for the cabinets and crossovers, but played with more gusto, and were a bit rolled off (smoother?) than the British made originals. The mid-woofers were replaced with Pyle drivers, with a noticable improvement of upper mid range (vocals) realism, and seemd like the system as a whole had less of a beaming effect from the different point sources. There was no attempt at "time alignment" of the drivers- that was a newish idea being introduced by Thiel, among others, but these were meant to be near field moniters for acoustic musicians, as well as recording engineering purposes.
The 12" down firing drivers in the subs were modded by Dale- we had a lot of rainy Saturday afternoons to play when he was off the clock. We inverted the cone cap, and doped the entire paper driver rather heavilly, with several layers of goo, trying to apply as evenly as possible. We modified the baskets that hold the drivers for increased stiffness, and added internal bracing for both the subs and sats. Also filled the large vents with soft closed cel foam to adjust the resonances to match my room. I still have em- nice looking, walnut veneer end tables for the time being.
The external crossover (sats to subs) I used was a Furman Sound Labs active electronic tunable 6 way/ 5 way/3 way device, made for professional PA systems and small recording studio work. They looked high tech for the day, a black component rack sized box, bristling with red knobs. Amplification at the time was a matched pair of bridged Hafler 220 amps for each of the four speaker enclosures, with Hafler preamp doing the control duties. Early Kimber cabling was used, and a classic (still in my collection) Yamaha YP-D8 direct drive turntable (extremely solid, heavily constructed plinth, and a modern tone arm with VTA and adjustable anti skate) and a Grado G+ cartridge. In those days, one needed a cassette recorder/ playback machine, and I chose the best I could afford; Nakamichi BX-3, discreet head unit. Nice, when it worked.
The system seemd pretty sweet and forward thinking to me, a 23 year old bicycle racer with limited means. All my friends thought it was fetchin, too!
Ahh.....those were the days......Ed Hood River OR 541-490-1299