wilderfay
Posts: 464
I love YaBB 1 Gold!
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Wts speaker price reduced (nego)
« on: October 13th, 2017, 4:18pm »
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Musical Fidelity KT3 Kelly transducer light/biege (floorstander)
6ohm/95db
$ 650 now reduced to $620 nego
whatsapp 91824312
Specs:
Type two-way, three-driver, twin-vented bass reflex
Drive units two 170mm bass/midrange; 25mm tweeter
Sensitivity 95dB for watt at 1 metre
Nominal impedance 6 ohms
Recommended amplifier power 120 watts
Dimensions (H x W x D) 970 x 250 x 367mm
Weight 30kg
Stanley Kelly founded Kelly Transducers in the early 1950s, a company best known for what became the Decca-Kelly ribbon. It continued to trade until Stanley Kelly's retirement in the late 1960s, after which it led only a 'paper' existence until it was purchased recently by Antony Michaelson of Musical Fidelity as a vehicle for expressing his own thoughts on loudspeakers.
The KT3 is the fruit of ideas that Michaelson has been pursuing for some time on the subject of loudspeaker efficiency (sensitivity). His contention is that many amplifier/loudspeaker systems have what amounts to a poor power-toweight ratio due to the use of heavy plastics loudspeaker cones, while lightweight paper cones, which improve matters, are inherently coloured because of cone resonances. There exist well-behaved, lightweight diaphragm materials which can help redress the powerto-weight problem without incurring excessive coloration, but until now loudspeaker manufacturers have shown little interest in using them for this purpose.
Michaelson identifies the disadvantages of low sensitivity as a failure to reproduce fine detail properly, and the inability to generate sufficient sound pressure level to cope with peak loudness demands using practicable amplifiers. He cites 112dB at one metre as a reasonable requirement for a piece of music whose mean level is 82dB — i.e. a 30dB peak-to-mean ratio (crest factor), which is probably not excessive with piano, chamber and some orchestral music. This figure is simply impractical with low-sensitivity loudspeakers without using enormous amplifiers, and even then there is no guarantee that the loudspeaker will be able to dissipate the heat generated within its voicecoils without severe compression or perhaps damage. As an example, a 200 watt per channel amplifier would be required to drive an 89dB sensitivity loudspeaker to 112dBA, whereas a 95dB sensitivity loudspeaker is much more abstemious, generating the same level from 50 watts input.
There are practical disadvantages to using high-sensitivity loudspeakers, but these are relatively minor. Residual hum and noise in the power amplifier will be elevated in line with the sensitivity increase, which may be of concern to some valve amplifier users in particular. Additionally many volume controls will have to be used in their least linear region of operation, between 8 and 10 o'clock.
A full-bandwidth loudspeaker with a claimed 95dB for 1 watt at 1 metre sensitivity, the KT3 is an all-out attempt to break the mould. My informal comparisons with other known loudspeakers using pink noise and a sound pressure meter suggest the sensitivity specification may be 0.5-0.7dB optimistic, but it is worth noting that this degree of agreement is closer than many loudspeak ers routinely manage. Whatever the exact figure, the sensitivity is very high.
The KT3 is a substantial floorstanding column design constructed from 25mm MDF throughout. Three horizontal internal braces add stiffness to the cabinet, which is fully lined with acoustic foam to suppress resonances within the enclosed air space. The base is tapped to accept carpet-piercing spikes, and the terminal block is equipped with two pairs of gold-plated brass 4mm binding posts, with removable links for bi-wiring.
"These are one of the best kept secrets of the audio world. I have a pair of these, and they are awesome.
Perfect for low wattage valve amps. Huge bass and fantastic imaging for a short floorstander.
You hear so much more detail.... Beautifully voiced. Superb value. GLWTS."
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