The loudspeaker system was designed to be active from the start. The loudspeaker cabinets (sealed), high excursion paper cone bass drivers, analog active crossover, and class A/B amplifiers are all designed and built in-house by SGR Audio in Melbourne, Australia. The tweeter is a modified...
I have been using a line level analog active crossover and multiple amplifier channels for over 15 years now. I could never go back to a passive crossover loudspeaker which needs to be bossed into submission by an amplifier.
A coloured speaker that requires a coloured amplifier as the antidote? As I said, from the “as you like it” school of sound reproduction. Nothing wrong with that in what is a purely subjective preoccupation, but never to be confused with high fidelity reproduction.
On the topic of the Lupe, or any of the Mola Mola electronics for that matter, has anyone experience partnering with loudspeakers from Vivid Audio, TAD, or other “engineering-first” designs?
Agreed! The DeVores can sound pleasant with certain kinds of music in a variety of listening spaces, but high fidelity to anything the designs are not. They are an “as you like it” speaker as opposed to the pursuit of truth (be it live or recorded) across multiple music genres.
Excellent points. The corollary to that is the high levels of jitter on the S/PDIF interface and the need for error correction in the case of CD transports. Yes, there are many ways to minimise these effects but not entirely.
If I was to add a CD transport to my MSB Reference DAC/Reference Digital Director combo it would be the Pro-Ject RS2 T (in black livery) via AES/EBU. How would it compare with streaming via the MSB Network Renderer module? I expect it would sound exactly the same, albeit less convenient. Happy...
I loved Maestro but that was to be expected since I also love the music of Gustav Mahler, particularly the Bernstein recordings, and Lenny’s own compositions.