Zu loudspeakers
- Thread starter spiritofmusic
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Thanks for confirmation of this, Justin. I did wonder how it was possible to have that amount of power with SET 211s lol - think someone changed the rules of physics.
So Marc your realisation “that SETs, when synergistically chosen correctly w the right spkrs and amp/spkrs/room interface, just maintain an extra level of magic and illumination I'm not hearing elsewhere” appears utterly unfounded.
And also, I adored Liszts on SS Class AB Bakoon, hated on Tron 211s. So, take me out and shoot me LOL.
You practice the figures of speech of alliteration, repetition, and hyperbole
Justin should be prepared to kill to get Thrax hybrids over to try on his Duettas. I've just heard them in a fascinating all-Thrax system, and the amount of grip and resolution they displayed in controlling the difficult load of Thrax Lyra standmount spkrs was hugely impressive.
I think these Thrax monos could do a bang up job on Apogees.
I think these Thrax monos could do a bang up job on Apogees.
If you are on an SS amp journey, try an amp called Symphonic Line Kraft. It may be the "tubiest" SS amp ever made. I know someone who had the $60K top of the line Luxman monoblocks in his house and preferred the Symphonic Line - by a HUGE MARGIN. Those amps drive anything, including Apogee and MBL. They sound like SETs with MBL and have tremendous bass wallop to boot.
I know Ked really rates this amp w Apogees, that would be a go-to destination had ribbons been on the horizon.
Caesar, if Phil really is right, and the deeper reach of the Druids 6 truly points twds SS being the best option, these Kraft amps could be just the ticket.
I also think he ought to look at the "beefier" SETs out there, like my Nats, and also Ares Cerat and KR.
Hybrids also, maybe the muscular and colourful Thrax Heros.
Ares Cerat also releasing a 200W hybrid soon as well.
I would abs love to hear the 170W Nat Magmas on Zu.
I also think he ought to look at the "beefier" SETs out there, like my Nats, and also Ares Cerat and KR.
Hybrids also, maybe the muscular and colourful Thrax Heros.
Ares Cerat also releasing a 200W hybrid soon as well.
I would abs love to hear the 170W Nat Magmas on Zu.
Caesar, I remain totally amazed at how the Zus are sounding at the moment. The efforts I've put into getting my system, and esp the Zus, to synergise w my room, is paying off big time. At 18x48, with a highly challenging floor of 35x48 that my room is central on, it's been a "fun" journey.
Now the Zus are nailing it as they always have w less than stellar productions and mixes. I have a lot of cds that on other systems have sounded cold and grainy. Here, I'm able to enjoy these so much more, fatigue only apparent on the very worst.
On my standard fare of adequate to good recordings like my Yes and Genesis library, I'm hearing so much further into mixes, warmth, tone density, heft, are better than ever.
The big bonus is the stuff I got along with, but never excelled, ie my classical and jazz. Now the Zus are demonstrating attributes never heard before. Most critical is hugely realistic tone and timbre. My jazz w twin horns front lines like Coltrane/Saunders and Miles/Shorter are startlingly differentiated while losing no holistic togetherness. I'll freely admit timbre was never a big deal for me, but having it in spades now means I can honestly say the Zus are right up there on classical as they are on my pulp collection. I'm getting a ton of joy listening to a bunch of classical lps I bought for not much recently.
Now the Zus are nailing it as they always have w less than stellar productions and mixes. I have a lot of cds that on other systems have sounded cold and grainy. Here, I'm able to enjoy these so much more, fatigue only apparent on the very worst.
On my standard fare of adequate to good recordings like my Yes and Genesis library, I'm hearing so much further into mixes, warmth, tone density, heft, are better than ever.
The big bonus is the stuff I got along with, but never excelled, ie my classical and jazz. Now the Zus are demonstrating attributes never heard before. Most critical is hugely realistic tone and timbre. My jazz w twin horns front lines like Coltrane/Saunders and Miles/Shorter are startlingly differentiated while losing no holistic togetherness. I'll freely admit timbre was never a big deal for me, but having it in spades now means I can honestly say the Zus are right up there on classical as they are on my pulp collection. I'm getting a ton of joy listening to a bunch of classical lps I bought for not much recently.
>> I find your characterizations of why horns aren't more popular in America based more on a bunch of tropes than real information. <<
Hmm. And I find your defense of horns propagandic. Yes, I've listened to 604s in proper closures. And most of the other classic domestic and cinema horns. As well as modern horns ala Avantegarde Acoustics. Yes, in the grand scheme of things they can "sound good." Would I take any of them over Zu today? No, they aren't as integrating and most use crossovers. That's a first-order loudspeaker sin for me.
The magazines didn't explicitly kill the horn in America. But they trumpeted an alternative. With stereo requiring two speakers, the acoustic suspension speaker killed the horn by vastly expanding the constituency for domestic hifi in the late '50s through the late '70s by making audio space requirements practical and mitigating the spousal objective factors. And then horn loading and other ported techniques emulated the suspension design's form factor. But most of those compact "horns" weren't very convincing. At any time in the US, the percentage of consumers who are oriented to and receptive of high end audio is miniscule, and the SET subset of that is a more diminutive still. Horn loudspeakers will never be a significant trend in hifi here because the enabling factors (small, musical amps, spousal acceptance, willing space allocation to hifi, etc.), have scant presence, and the inhibiting factors (finicky placement, solid state / substantial power market, spousal objection, trend to large houses reversing) are pervasive.
A speaker from Zu's upper line has more coherence, most of the efficiency and dynamic life, better dynamic unity and is much more accommodating wrt placement and more flexible wrt compatible amplification. Notwithstanding the crossovers dependency in most horns, horn speaker systems can sound admirable. It just doesn't work out that way in the domestic interiors most people have to work with.
Are Voxativ's Arpeggio Due and Avantgarde Acoustic's Duo XD the same because they both use horn principles? Not exactly. The one that can achieve coherence in nearly any room is the Voxativ, but it's not the one that shouts horn.
Phil
Hmm. And I find your defense of horns propagandic. Yes, I've listened to 604s in proper closures. And most of the other classic domestic and cinema horns. As well as modern horns ala Avantegarde Acoustics. Yes, in the grand scheme of things they can "sound good." Would I take any of them over Zu today? No, they aren't as integrating and most use crossovers. That's a first-order loudspeaker sin for me.
The magazines didn't explicitly kill the horn in America. But they trumpeted an alternative. With stereo requiring two speakers, the acoustic suspension speaker killed the horn by vastly expanding the constituency for domestic hifi in the late '50s through the late '70s by making audio space requirements practical and mitigating the spousal objective factors. And then horn loading and other ported techniques emulated the suspension design's form factor. But most of those compact "horns" weren't very convincing. At any time in the US, the percentage of consumers who are oriented to and receptive of high end audio is miniscule, and the SET subset of that is a more diminutive still. Horn loudspeakers will never be a significant trend in hifi here because the enabling factors (small, musical amps, spousal acceptance, willing space allocation to hifi, etc.), have scant presence, and the inhibiting factors (finicky placement, solid state / substantial power market, spousal objection, trend to large houses reversing) are pervasive.
A speaker from Zu's upper line has more coherence, most of the efficiency and dynamic life, better dynamic unity and is much more accommodating wrt placement and more flexible wrt compatible amplification. Notwithstanding the crossovers dependency in most horns, horn speaker systems can sound admirable. It just doesn't work out that way in the domestic interiors most people have to work with.
Are Voxativ's Arpeggio Due and Avantgarde Acoustic's Duo XD the same because they both use horn principles? Not exactly. The one that can achieve coherence in nearly any room is the Voxativ, but it's not the one that shouts horn.
Phil
>> Caesar, if Phil really is right, and the deeper reach of the Druids 6 truly points twds SS being the best option, these Kraft amps could be just the ticket. <<
What I wrote is that the deeper reach of Druid 6 makes SET no longer the right default amp type for them, but single-ended pentode or low-hash push-pull tube amps over solid state generally, though the M2Tech Crosby is an effective Class D.
Phil
What I wrote is that the deeper reach of Druid 6 makes SET no longer the right default amp type for them, but single-ended pentode or low-hash push-pull tube amps over solid state generally, though the M2Tech Crosby is an effective Class D.
Phil
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