I think there are some modern speakers based on vintage concepts that can sound very realistic.
Modern speakers vs Vintage speakers
- Thread starter thomask
- Start date
These perhaps ?
KLH Model Five Floorstanding Speaker with Acoustic Suspension
The Model Five Floorstanding acoustic suspension speaker with its legendary performance, is one of finest and most sought-after speakers for audiophiles.
klhaudio.com
I once wrote an enthusiastic report about modern horn speakers:
An AXPONA 2017 highlight: BorderPatrol/Triode Wire Labs/Volti Audio
A belated report, since right after the AXPONA show I went on vacation to Europe, but now I'm back. Among other great sounds at AXPONA 2017 (for a good part experienced together with WBF member Madfloyd [Ian] and his wife Linda), for me personally the highlight was the room with BorderPatrol...
www.whatsbestforum.com
Bonzo doesn't like Volti speakers, if I'm not mistaken.
My speakers should qualify as “vintage” by most standards. The midrange horns are Western Electric from the 1940s, the compression drivers are YL Acoustic from the 1960s, and the tweeters are EV-350s from the late 1970s I believe. The woofers are 15” Jensens from the 60s. Even the crossover caps date from the 50s or 60s. I chose these old horns and drivers over current production models because to my ears they sound more real. But I do use modern parts where they sound better. I have Audio Note copper Litz wiring on the woofer and midrange and Audio Note SPx silver Litz on the tweeter, plus WBT binding posts. And of course the OB cabinets they are mounted in are only a few years old.
The bottom line is a speaker that to my ears sounds more like real musicians performing in front of me than any modern speakers I have heard to date. It’s true they don’t go down to 20 Hz flat or probably to 20 KHz flat either but they do deliver what’s important to me which is musical realism in the 50-15K range.
No absolutes here. I am just relating one person’s experiences.
The bottom line is a speaker that to my ears sounds more like real musicians performing in front of me than any modern speakers I have heard to date. It’s true they don’t go down to 20 Hz flat or probably to 20 KHz flat either but they do deliver what’s important to me which is musical realism in the 50-15K range.
No absolutes here. I am just relating one person’s experiences.
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I have always wanted to like Volti speakers. Greg Roberts is such a nice guy and he clearly puts a lot of work into his speakers; plus the veneers on his speakers are spectacular. Unfortunately each time I hear Volti speakers I am bothered by what I call a "pro speaker" coloration. To my ears they sound like good PA drivers---they get very loud with low distortion but the overall resolution is limited. It's like there is a floor below which I can't hear subtleties and nuances that I hear at home.
And I don't think the Border Patrol amps help the presentation. I heard the Volti Vittoras was when Greg brought them to the Capital Audio Fest for the first time. Initially he was demonstrating the Vittoras with his personal set of 2A3 amps and I was very impressed with the sound (this was before I bought my current speakers). The next day, however, Greg was demonstrating them with Border Patrol amps and they didn't sound nearly as good. Perhaps Greg felt the 2A3 amps just didn't have enough power to drive his speakers under show conditions, or perhaps he wanted to use a commercial amp rather than his one-off DIY amps. Whatever his reason may be, I think it's unfortunate because I haven't heard the Vittoras sound as good any other time as they did the first day with the 2A3 amps.
And I don't think the Border Patrol amps help the presentation. I heard the Volti Vittoras was when Greg brought them to the Capital Audio Fest for the first time. Initially he was demonstrating the Vittoras with his personal set of 2A3 amps and I was very impressed with the sound (this was before I bought my current speakers). The next day, however, Greg was demonstrating them with Border Patrol amps and they didn't sound nearly as good. Perhaps Greg felt the 2A3 amps just didn't have enough power to drive his speakers under show conditions, or perhaps he wanted to use a commercial amp rather than his one-off DIY amps. Whatever his reason may be, I think it's unfortunate because I haven't heard the Vittoras sound as good any other time as they did the first day with the 2A3 amps.
Sure someone can an have a preference that deviates from what another things that live, unamplified, music sounds like. People perceive real music differently and the objectives of sound reproduction are multifaceted.
IMHO we can't separate the audiophile sound preference from the recording. If someone mainly wants to listen to selected vintage recordings probably he will prefer a different type of speaker than those who listen to modern recordings.
Edit - just saw that Al M. said it all in a post above I have just read now https://www.whatsbestforum.com/threads/modern-speakers-vs-vintage-speakers.33488/post-742366
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Do you expect capacitors from the 50's or 60's to sound like they sounded 60 years ago?
The name of shop is "Sharone Stone".
I am kidding
"Sharone Audio".
They also do work on network if needed.
I can’t say how the caps sounded 60 years ago. I can say they sound great today. I have tried all sorts of modern caps including Duelund CAST, Jupiter copper foil and V-Caps and the old caps always come out on top.
It may even extend beyond simple preference and involve more immediately what we are also specifically listening for as well (I think). If we are listening for only the parts it’s possible we could listen past what can also be listened to in the whole. It’s possible to skip either the awareness of the parts or an appreciation of the whole in any evaluation.
Either of these perceptions can make some happy and then that listening pattern can then set the pattern of preference. I do see evidence of this in what people more usually tend to describe in what they most appreciate when listening to a component.
I’d also believe that some setups simply more easily lead us to the parts and others more often to the whole… there is a pattern that vintage isn’t just simply more rolled off or lacking extension at either end but rather more possibly that the best of it can strike a better balance in the act of revealing the parts without breaking the illusion of the whole. Being in ways better at being more synthetic but still appearing in ways less artificial.
If we’re going for simply sonic tick boxes then current tech might have some advantage in some parts but then if there are involved overly complex processes then possibly pulling it together back into the whole may not then necessarily also be a strong suit.
Maybe it is just that we are listening as others have said to gear that has passed all the tests and we’re not talking about all vintage at any rate, just the best of it and only the gear that has proven its true worth and managed to pass the test of time.
I figure much vaunted more recent gear will also fail to hold charm over time… and some of it will pass the test and that the true test is not so much what impresses us in this short term but perhaps which gear serves better the function of connecting us to the music and brings greater meaning to the value of that gear in reality. A greater depth in function and truer meaning and so more wholeness in purpose perhaps.
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Have you posted pictures of your system? It looks quite intriguing.
I don’t have any current photos but I will take some and post a link.
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