Agree; its the variability in electrical supply, panels, switches, current. Its also the reverberation of plaster, the vagaries of wooden and or leaded windows, etc. Having lived in an old timer with these issues, then building out my own space, the consistency of flooring, walls and...
100%. Discuss the devs' background. Show us the manufacturer listening room. Decribe ancillary equipment.
Kudos for not going with reviewers in 10" x 12" rooms in old buildings no matter how lyrical they wax.
That music manufacturers need to talk more about their credentials is a loaded issue. What exactly drives their certainty in quality, comparisons, and pricing of components? So many manufacturer websites are front loaded with pitches based on either seemingly objective discussions (of algos...
Agree! Didn't mean to get too contentious but I knew this would be a can o' worms... In the pursuit of artifact reduction an ee could be removing the essential overtones which are only recognized by a pro ear. A hifi enthusiast wouldn't necessarily pick it up or indeed could be conditioned...
Exactly. More than that: one needs to hear a violin playing often, on their own shoulder or in a small space, to know the "make it ring" objective in reproduction. Most importantly, hifi needs to know the goal intimately, and - to know when to expect it -, in order to correctly reproduce it.
Another issue surrounding tonal density and the relation of fundamental to harmonics in stringed instruments is: the overtones created by: a) the body of the instrument; and b) the other strings. When a strings teacher tells you to "make it ring" they are referring to the sweet spot near the...
I love your discussion of "appropriate tonal density" defined by the relative strength of the fundamental to its harmonics. And I agree that there is a correct such proportion. The secret sauce in hifi appears to rely in large part on how manufacturers perceive this proportion and to what...
I lived with the C1/X1 for 6-12 months before adding the L1. Agree with the comments: not even close, the L1 added true harmonic depth and punch to the C1. I would encourage you not to stop at the C1.
Another CH X1 for my L1, or....trial of the Verity Monsalvat front end for synergy!
What are your thoughts regarding the benefit of a dedicated X1 for CH L1?
Interesting thread and I would add: pedal usage on piano. I find this subtle low frequency information to be a true occurance, the recording of which depends on microphone placement. But if it's recorded then I want to hear it. It adds immeasurably to my enjoyment of, for example...
Thanks for chiming in! I was afraid to post that my old school Jadis JD1 with the Philips Pro top loading transport hooked up to my CH C1/L1/X1 sounded far better than a Melco into the same CH...Correcting for volume as best as possible, driving my wife nuts on blind A/B testing etc. Cheers,
Guys, thanks for the JV visit to AA; pretty amazing that JV would go to visit a dealer, don't recall if he's done it before. Looking forward to the full Zellaton/FMA review as I'd trust that Gideon is making the best equipment combinations with the Zells.