Actually, transparency comes from simple crossovers and simple circuits.
There are many paths to nirvana...
Actually, transparency comes from simple crossovers and simple circuits.
Also like the line: Just because I am not on your path doesn’t mean that I’m actually lost.There are many paths to nirvana...
I'm sure every Magico owner is really chilled to hear a brand they've invested serious money into doesn't compare to Devore.
There are many paths to nirvana...
Ked when you changed your direction away from the Devores I thought later that this was good because the 0/96s did play classical in a way but I found them much better suited at smaller music (and jazz ofcourse) and given much of the music that Ked plays I didn’t find this type was their real strength (especially when things swapped up into large scale and complex).
That was also why I suggested the Harbeth 40.2s as they were working beautifully with the SET as well, but on reflection they have quite a complex crossover and definitely don’t reveal differences in recordings as much as the 20.7s... but the PAP horns however very much do and they gave a simple first order crossover with just one cap for the widebander compression driver horn (which I am about to upgrade the cap and resistors in that as well).
Sorry Marc but I was looking for the unlike button for this post. Besides I’m not sure that there will be a British word for profit post Brexit. Was going to punctuate with lol but realised there was little to laugh about in the last line of my post.Isn't capitalism predicated on as many ways to Nirvana that make a profit?
actually, we were discussing transparency to recordings and inert cabinetS. Not other stuff
Actually, do you not see the relationship between being able to reproduce what's on the recording to transparency to the recording?
Inert cabinets really matter most on complex music, so there's that too. That's part of the reason Magico and similar speakers are so fussy about cabinets. Single driver and wideband speaker cabinets don't matter quite as much as they simply can't resolve complex music to the degree Magico and other similar speakers can.
Actually, separating instruments and transparency to recordings are different things. You can put 4 LPs on and they will separate 50 instruments better on Magico. I never said no.
I don't agree with anything Ked is posting atm, today. Simple circuits and crossovers equal transparency? Might as well be a flat-earther. Just because there's a lot of evidence (anecdotal) doesn't make it so. If you have a huge swath of manufacturers that make "complicated" things poorly, that isn't causation for all "complicated" things to be bad. And for the record I've never heard a single order crossover that didn't smear some - EVER. Lots of SS gear that was meant to be simple ends up coming across as lacking resolution among other things. Tubes tend to either be "complicated" or simple and taking on plenty of extra character/coloration.
Personally I'd blame the electronics for problems first over "complicated" speakers that measure ok. Although I can say some older Magico's had crossovers that were persnickety. To me it seems like a lot of the dislikes of some speakers (like Magico) fade when you start using electronics like you would for something like the O 96's. The problem is that they often don't translate over well for bass due to lack of power. I could go on forever... I guess my real point is I don't prescribe to these little theories that haven't shown to be true anymore than to just reconfirm someone likes their stereo that isn't something else. I mean, you ever seen what the Pass phono section looks like? I don't anyone really would claim it sounds bad but simple IT IS NOT. The examples don't end.
I'll get to comment in a bit about the review, Keith.
You still don't get it. The question is Transparency to WHAT recording?
Simpler speakers may be more transparent on simpler music vs a traditional multi-way speaker, but it's the other way around with more complex music.
No not at all. Thanks for telling me what I don't get. Maybe you need to get good recordings
Another issue with this kind of evaluation is it's also hard to discern what's "transparent to the recording" from pleasant colorations and resonances, many of which can make for a sense of increased clarity or resolution, and these are often present in the type of speakers you think are more transparent. This is part of the reason these kinds of speakers don't play complex music as well.
All I'm saying is your conclusions about what's really transparent can't be stated with the kind of certainty you are stating them, and in many ways you are totally wrong.
A wilson Magico type of set up (and many other such speakers) create a constant stage and imaging (in that room, not across rooms). Constant might be a more extreme word, but I like to hear the different concert hall ambiences. The constant stage can even be impressive on the first record you play, and then gets boring by the fourth (for me, at least). And no, I am not saying I need to spend loads and loads on Pnoe or Tang's system or so to get transparency. I got this with Devore across 6 amps in two different rooms. Very easy. Just change the record and see the change that happens, each time you feel like a fresh concert. None of that constant stage, image style. It feels so much more real. Yes, there is tone color, which is another aspect. For example, tone of piano/violin might be similar across recordings in some applications. Some like audio note or kondo create a very pleasing tone that strikes us in the first recording, but then is very similar across.
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