User review thread

All general audio posts go here.
User avatar
Lindsayt
Posts: 4213
Joined: Fri Jul 13, 2012 9:06 pm
Has thanked: 1079 times
Been thanked: 692 times
Nauru

Re: User review thread

Unread post by Lindsayt »

...Sometimes in life you strive and strive for an ambition and when you achieve it it's a letdown. Sometimes the achievement is as good as or better than the expectation.

I would fit my LP12 - Isobarik system into the former category. Making love to Katia for the 1st time the latter.


As a spotty youth, when I wasn't dreaming of attractive women I was lusting after an LP12, Ittok LVII, Asak, Naim 32.5, NAP 250, Linn Isobarik system.

So when my system became LP12, Cirkus, Lingo 2, Ittok LVIII, Troika, EAR 834p, Avondale homebrew power amp, Linn Isobariks I figured I'd got a system that was better than my 1983 fantasy system.

The Isobariks were OK speakers, but the imaging was nebulous. Which is pretty logical when you look at the midrange unit and tweeter on the front baffle and the upward firing midrange unit and tweeter on the top panel. I think they'd have imaged better if all units had been mounted on the front. But that wasn't the main problem I had with them. The main problem was the bass in my room. If I put them close to the rear wall, the bass become indistinct. Too echoey. Too smeared. If I pulled them out into the room I got cleaner bass but the tonal balance became too thin and lean. I also felt that the dynamics weren't quite there too. I thought that the Isobariks sounded similar to the Saras, except with more extended bass and treble.


My love affair with Linn ended when I bought an EMT 930 record player and then Bozak Symphony speakers...

User avatar
Theo
Posts: 184
Joined: Thu Jul 12, 2012 9:43 am
Location: Lincs
Has thanked: 38 times
Been thanked: 31 times
Great Britain

Re: User review thread

Unread post by Theo »

My LP12 / Isobarik journey sounds quite similar to yours Lindsay :) But stepping back a bit...

First hifi was bought as a student in 1978 - Trio KD1033/NAD 3030/Wharfedale Denton II/Amstrad cassette deck. It replaced a Ferguson stereo bought for my 13th Birthday from Comet (RIP), loved because it had what looked like a pukka turntable (sadly not). The hifi was a mix of 2nd hand, Comet and Cleartone, Bolton. The speakers and cassette deck were dreadful, and were the last hifi I ever bought from Comet. Cleartone was the first proper hifi shop I frequented (and used for many years - Dave, who first served me all those years ago, still runs a hifi emporium in Cheadle I believe), and he was the first one to guide me into trusting my own ears as opposed to the advice of others. This has served me well over the years.

Strangely enough, as did early hifi shows. I realised that a Trio L-07D/Albarry/Allison system was the best I'd heard up until that point, and I used it as a future template. I realised that I much preferred the preserntation of Exposure amps to Naim, especially with Isobariks, and began a long standing relationship with them. I did eventually buy a shop dem LP12 as opposed to the Trio as it was a third of the price: little did I know then that, over the years, I would spend a bloody fortune on that LP12, and the Trio would have saved me a fortune :)

After many component changes, the LP12/Ittok/Troika with Exposure 14/9/4 and Isobariks lived with me for an age. There was no doubt that it suited modern rock/pop production, but fell apart on anything really challenging, and you never got over the t/t paranoia that, with 'better' setting up, it would sound better. In the 27 years I owned it (well, a variation of), there was only one period (when the Lingo was installed, and the Linn guy took 3 hours setting it up) that it sounded really special. Getting a second t/t for another system (Origin Live) was a real eye opener, and, after experimenting with a number of options, I ended up with a Trio L-07D (actually, the one I heard in the demo all those years ago). In an instance, I ended my need to meddle with turntables.

I've been through a few speakers and CDPs, but the Exposure range of amps have remained a constant. There is no doubt that moving from boxed speakers to my current dipoles was the most fundamental change in SQ: It became less 'impressive' and more 'real', especially with instrument tone. Plucked bass guitar and brush on snare drums sound natural, bass drum has impact that does not override other instruments. Other components have been fine tuning in comparison - cartridges, phono stages, etc. Once more, the speakers were first heard at a hifi show, then bought 2nd hand at a third of the RRP.

Over the last year, I've realised that I have absolutely no wish to tinker with the system. This is partly because it moved to a new room and I felt I needed to get used to it in the new location before changing anything, and then decided that I'm happy with it. It does the fundamentals extremely well, and the rest comes down to tonal preferences (and there is no better example on how people prefer alternative outlooks than spending a day at the Scalford show and realising how different peoples priorities are with regards to SQ).

Over the past 12 months, I've spent more on music (mainly original copies on vinyl, plus a few CDs) that any previous year. Full subscription Spotify has opened my eyes to a multitude of previously-undiscovered music and genres. My only expenditure will be the ESCO retipping of two of my cartridges, and possibly the AG1500 regenerator (goes back to fundamentals). It has been very satisfying to reach this state of contentment.
T/T: Trio L-07D/Benz Glider; Dynavector DV507 MK II/Ortofon Cadenza Blue. Phono: Whest PS30R SE. CDPs: Esoteric UX-1; Micromega Classic Solo; Oppo BDP-95. Digital: Cambridge CXN V2. R2R: Technics RS-1700. Amps: Exposure MCX Pre/4 x Exposure XVI Mono Power. Speakers: Jamo R909; Audiosmile Supertweeters Mk.2. Headphones: Audio Technica ATH-1000W. Mains: NVA BMU

User avatar
applemarc
Posts: 593
Joined: Wed Jul 11, 2012 7:42 pm
Location: Gidea Park Essex
Has thanked: 0
Been thanked: 0

My Turntables

Unread post by applemarc »

My Turntables
My first TT was a sansui SR-222 with an otophone with a VM20 I think that’s what it was call. Then one xmas just after we had moved into our second house I wanted a Rega 3 so my wife and I went to Billy Vee in Blackheath and I was all ready to part with my cash, but I made the mistake of asking what was the next thing up the ladder and I was shown a LP12 with the same Rega RB200. So that’s what I bought and for many moths I was happy with the LP12 feeding my Sony amp and Leak speakers. But as you know we all want more so I bought a Linn Ittok and Asak T cartridge. I also found a dealer that I was happier with The Sound Organisation London. For many years I was happy but one day I thought that I should upgrade my arm and went to see my dealer who say NO you need a new TT and played me a Roksan Xerxes with a Rega RB 200 arm and this sounded better than my LP12 so I was one of the first to sell my Linn LP12 and bought the Roksan but dealers are a tricky bunch and I was told there was an eve better sound to be had if I added an SME V arm which of course I did as at the end of every year if I had done well at work I would treat myself so I can home without my LP12 but a new Roksan with SME V and a Koetsu Red signature. Again for many years I was happy then one day I was have a drink with Roger Macer one of the owners of The sound org and he asked me if I wanted a new Lyra Parnassus no cost just a straight swop with my Koetsu Red signature. The Parnassus was supposed to be the cartridge to have so I said yes (more of this on another thread) and the deal was done a client had bought the Lyra back it did not play well with his TT. Six months later was another end of year for me and a good year it was I had cash burning a hole in my pocket and I wanted a Roksan TMS turntable but again Roger said no you want an SME 20 instead so we compared and I agreed went hoe with the SME again selling my Roksan for a good price as the SME was new it had not been reviewed but I loved it. Now coming unto date the CD was supposed toy be king as Phillips said "The Perfect Sound Forever" I spied and ad in one of the Hafiz mags an ad for a used SME30 for only £4000 I know a lot of money but this is a SME 30 I went there the next day and bought it got a small loan from a friend and put my SME 20 up for sale it had only been in the mag for two day when a man from Scotland call saying he wanted it and would drive down the following Saturday well I don’t know what time he left but he was knocking on my door at 8.30 in the morning it was up for £2250 and I got it no discount offered.
Beresford Caiman Ipod

User avatar
Lindsayt
Posts: 4213
Joined: Fri Jul 13, 2012 9:06 pm
Has thanked: 1079 times
Been thanked: 692 times
Nauru

Re: User review thread

Unread post by Lindsayt »

That was a really good deal on the SME30.

For me the SME arms and TT's I've heard have been very much left brain devices. Great for detail. Great for analysing how the record was produced. Trouble is, they've left the right side of my brain unstimulated and frustrated. When an emotional song comes to the chorus I've found myself sitting there thinking "Go on SME! Let your hair down! Really belt out this tune!" But they never do. They're all so polite and restrained and goody two shoes. So the SME's that I've heard have not been for me, although I can understand why some people love them.

Having said that, I've not heard a SME 30. I'd like to compare one against my EMT 950 some day...

User avatar
slinger
Posts: 9233
Joined: Wed Aug 22, 2012 4:30 pm
Location: The Garden of England
Has thanked: 4567 times
Been thanked: 3118 times
EUROPEAN_UNION

Re: User review thread

Unread post by slinger »

How to begin? I thought of writing a "proper" review and then realised I didn't actually know what a "proper" review consisted of as I'm neither a reader of the apparently reviled magazines, or of anything other than the occasional trip to the historical reviews on the Gramophone site and the incredibly truncated notes on the "Old Buying Guide" pages of Hi-Fi World to garner a quick "is it worth pursuing info on this..." opinion as most of my kit is second hand, courtesy of eBay, and too old to get an up-to-date review on anyway.

Ahem! So, here it goes, the Beresford Bushmaster. It sounds like something Benny Hill might have come up with but trust me, that is not the case.

And here's where I deviate, if you'll pardon the even more Hill-like double-entendre.

I could go on about how good this little black box is, but others much more experienced and sage than me have already done that. Suffice to say I've run the little bugger in for a week or so and it is now like "lifting a veil" or "removing a wet towel" from my speakers or whatever is the current cliché of the week. Basically, it improves the sound from my Marantz CD5001 and my Sony DAB, which is why I bought it.

What I really want to comment on is how useful it's become in such a short space of time. I've had an old(ish) copy of JRiver Media Center sitting around on one of my hard drives for ages now, doing pretty much bugger all. The Beresford gives JRiver a reason to live. Let me explain. I have a piece of hardware called a Line 6 UX2 attached to my computer via USB. The UX2 is the interface I use for adding "live" vocals or guitar to the music I produce with the computer. The UX2 has a digital out. So, with the addition of a 1.5 meter co-ax lead I have not only saved myself the cost of a pair of near-field monitors, which were on my shopping list but I've also added the ability to play all of the music on my computer straight (relatively speaking) into my amp.

If that sounds like I've saved myself some money I can assure you it's only short term. Originally I bought the Bushmaster for my "main" system downstairs but thought that as the system in my office, which my wife still insists on calling the spare bedroom, is getting more use at the moment due to the amount of extra curricular work I have on my plate I'd run it in up here. The problem is it's proved so useful up here I'm now going to have to buy another one for downstairs.

In a way I suppose that sums up the whole review. I bought one, and it's so good I now want another one.

Can I give it higher praise? I don't think so. Not only has it performed the task it was purchased for it has made itself invaluable to the degree that I now need to purchase another one.

Arcam A75 / Marantz CD5001 / Sony ST-SDB900 / Beresford Bushmaster
Last edited by slinger on Tue Dec 25, 2012 5:08 pm, edited 1 time in total.
Amps - NVA P50, AP30, A40, Stanislav Palo Tube Headphone Amp BB 85
Speakers - Monitor Audio Silver RX2
Cables - NVA LS1+LS3, SSC, Gotham S/PDIF, IBRA Optical
Digital - NAD C516BEE, SONY ST-SDB900 DAB TUNER, TEAC UD-H01 DAC
Analogue - Pro-Ject Debut Carbon Esprit SB, Graham Slee Gram Amp 2 Phono
Cans - Grado SR80, ATH-M50X

User avatar
Dr Bunsen Honeydew
Posts: 30758
Joined: Wed Jul 11, 2012 7:26 pm
Location: Muppet Labs
Has thanked: 0
Been thanked: 48 times

Re: User review thread

Unread post by Dr Bunsen Honeydew »

This is really good, lots of good and useful information for members, keep it up.

If we are on the subject of TT then I have posted before. I must have had about 30 TT during my time in the industry, including two versions of the same one I designed myself. There is no way I have the facilities or the finance to engineer and produce an idler or direct drive TT so they were belt. And probably the best belt drive TT I have heard, but of course I am biased. Now I wouldn't bother because for me belt will never satisfy me musically for a number of reasons already explained, I just cannot accept the speed and frequency compromises, where as I can accept the compromises of idler and DD, even the Techy 1210 at a pinch. The only one I have found to be boring and bland and grey sounding is probably one of the most praised and sought after, the Techy SP10, I would prefer a 1210 at least that had life!!!

I hate bland, and sorry to applemarc but from the times I have heard them the SME TT's are bland, but I haven't heard his one (still hoping for a bake-off :roll: ).

I have so much work already so the last thing I need is to mess around modifying a TT so the 1210 route has not been for me. My needs are for a TT that works and plays music, that I can fit different carts to easily for test purposes, and is not irritating and temperamental like most belt drives. For me my Pioneer PL71 fits that bill perfectly, I came close to replacing it with a Garrard 401, but in the end I didn't have the time for the faffing with plinths etc. The PL71 is plonk and play, and boy does it play, which is perfect for me.

There are other unsung Jap direct drives that are very good especially Sony, and it would be fun finding them if I had time. Rule of thumb - if it is heavy you have a good chance of it being good. If it is light and plasticy then forget it - it will be crap.

User avatar
applemarc
Posts: 593
Joined: Wed Jul 11, 2012 7:42 pm
Location: Gidea Park Essex
Has thanked: 0
Been thanked: 0

Re: User review thread

Unread post by applemarc »

OK I get that the SME is not to everyone taste so once I have sorted out my amps which I hope to have done by the end of the year. Then I will consider comparing some TT's so I may buy a TT to try I may have to start a new thread and look at the good doctors answers on other threads if I prefer a different TT then I should get lot of cash for mine.
Beresford Caiman Ipod

User avatar
Gromit
Posts: 432
Joined: Wed Jul 11, 2012 10:25 pm
Has thanked: 0
Been thanked: 1 time

Re: User review thread

Unread post by Gromit »

Lorks - where to start? Dare say this is more of a hifi autobiography then a review but here goes...

All I've ever wanted is a system which is enjoyable - yeah, that's obvious, don't we all? However, how we enjoy that system (ie what we listen for and prioritise) can be vastly different. I don't do 'hifi' things - for one, stereo imagery means nothing to me as it doesn't exist in live music. Tonality is an interesting one, and something quite interesting as when someone goes on about an instrument's sound, where is their point of reference? One of my favourites for this is the Tenor Saxophone - an instrument notoriously difficult to record/reproduce as it is closest to a male human voice. Sure, a TS's tone can change (either by players with different make of instrument/mouthpiece/acoustic etc) but what it does to the air remains a constant - few instruments energise the air in the way a TS can, and for me a system which can get this across is doing really well. Get this right, and funnily enough most things follow and we're cookin' :)

Fundamentally then, what really does matter to me is the buiding blocks of music ie rhythm, pitch, interaction between (not separation - I must stress that) between sounds, and tempo - and the subtle changes that exist with all of these to make things interesting. Why not instrumental separation? Well, one instrument played solo has a certain sound, an energy. Add a second one to it and the first one's sound and energy will change because of lots of lovely harmonics floating around in the air. Then you have an ensemble. Add more and more, and each instrument will take on a slightly different sound and the sonic picture will build. That's why I've found that when a system is said to have 'great instrumental separation' my alarm bells start ringing. Integration/interaction is where it's at for me.

Ok, on to my stuff...

At the moment, my system sounds pretty mediocre - it's doing some good hifi things, but ye gods it's boring. I occasionally go through these phases, and whilst it's bloody frustrating at the time, it feels magical when things start to click again. In my 40+ or so years of interest in hifi (I started getting into it when my dad had his first rig; I was around 5 yrs old) there have been a few really great times - times when I should really have hung onto what I had - but hey ho that's this daft hobby for you. :)

Each time the system's been great, I've had very simple 2-way speakers on the end of it. First real bulls-eye was back in the early-mid 80's after my first paycheque: Planar 3/Sugden A21 (my dad's old wooden 12 watter)/Mission 70 Mk2's. Nothing fancy, but it would make sense of music which I'd previously thought of as noise. As an example, Shostakovich's symphonies snapped into musical focus because phrases would appear from the mix - the musical punctuation marks had been applied. Freddie Hubbard's trumpet playing made sense 'of course that's what he's meaning to play' rather than 'it sounds nice but what the hell planet is he on?' :D

A few 'upgrades' later and I had an LP12/Basik Plus/Nytech CA252/JPW P1's. I was happy, and despite a moment of weakness in buying a Philips CD player (which got sold on as the ol' fruitbox was so much better) things were good. The system kept my interest, and playing records was a fun thing to do. However, it was around 1990 that my frustration started to bubble to the surface - I'd always kept what I was hearing as a professional musician as a separate entity to the hifi. It began to bug me because I really wanted to draw parallels between them, not have them follow a different and varying path. My ear was maturing more, and I really yearned for something closer to the feeling live music gave me (as a listener to and player of). At this time my system had gone to LP12 (my second one)/Akito/Roksan Corus Black/Nait 2/Boston A40's...

A friend let me have a lengthy listen to his Gyrodec and from this point on I realised that the LP12 was the weak link in the musical chain. It was making music by its own rules - it had a sonic signature that whilst addictive (and fun in many ways) it wasn't realistic. It was controlling the music, rather than the other way round. I sold the LP12 to a friend (he still has it) and sat down to my new Gyro - my record collection went from being about 50 albums big, to around 400 without another record...if you get what I mean? I could play anything on the Michell, it let music breathe, find its own space, let rip or calm the listener. I LOVED this thing. Shortly after I discovered Exposure amps when Northwood Audio had a nigh-on mint condition X integrated. This was a big step up on the Nait, firstly it had proper speaker-driving power (and did dynamics too hurrah!) along with an utterly superb phonostage. I kept this amp for something like 8 years, when I happened upon a very clean Exposure VI/Dual VII/IVDR set-up.

All was well with the world until I got itchy feet for a new turntable. Yes I really enjoyed the Gyro - I'd considered the DC motor 'upgrade' for it but having done a comparison preferred my old AC-powered one. The DC sounded lazy, more mechanical, more 'belt drive' if that makes sense? Anyway, the bug had bitten so I went off turntable auditioning. Result - a NAS Spacedeck with OL-modded RB250. Not too dissimilar in sound to the Gyro, but this thing was so addictive - in many ways not unlike the LP12 - but with no colour of its own. Also, the first turntable I'd owned on which acoustic piano sounded right. The LP12 just couldn't do it - now, we can quote W&F figures etc until blue in the face but the fact is; a piano note, especially when struck hard, wavers in pitch. If you don't believe your ears (which you should!) stick a digital tuning meter on it. You'll see the guage move as the note is struck, then it settles quickly. It only takes a second or less. The LP12 and the Gyro did something slightly odd with it - sure there was the waver, but it wasn't what a piano really does. The NAS on the other hand did this naturally - and at the time it was a small epiphany for my turntable journey.

I then found that this stability which the Spacedeck brought to the party had an effect (or rather didn't effect) on all types of music. Stuff which didn't make sense before really snapped into focus. Michael Brecker's first album is an absolute bitch to play back with any kind of convincing musicality. Never mind his Tenor Saxophone, the interplay, the sheer energy and fizz which the music puts into the air had never happened for me on any of my previous turntables. It all started to make sense - it became interesting, I could play it louder (without it sounding loud) and the goosebumps started to rise.

At was at this stage that NVA amplification reared its head. At the time I had the NAS/Spacearm/Puresound P10 phonostage/Puresound A30 amp/Audio Note AX2 speakers. I really nice rig - the speakers especially, a bit of an unsung hero in fact. I wanted to try NVA from having heard them back in the early 90's so went for a P50sa/A70 monos. They sounded really good - that was a given. However I didn't really gel with them, and RD graciously took the 50/70's back and no harm was done. I later realised that I should have gone for an NVA phonostage too. The P10 was making the amps sound flat, un-dynamic, and since have learnt that the P10 really does prefer a different amp. Others' experience seems to ring true - with the right amp it's magic, with the wrong it's well a tad dull. Not its fault, nor the NVA's.

Anyway, some time later a chap on one of the forums was flogging a used NVA A60 stereo power amp, and a P50 pre and as it was going so cheap I thought 'let's do this again'. I had a Dynavector P75 phonostage at the time and along with the NVA amp it was bloody marvellous. I'd also got my beloved Royd Merlins by now which the Puresound A30 really didn't like (they're not hard to drive, but they like a few more watts up'em) but with the NVA's it was 'oh yes'. With the NAS/Dyna/NVA/Royd combo music just poured out - I had a brief play with a Naim 72/HC/180 but the NVA set up was so superior it wasn't even funny. This blossomed into a Phono2/P90sa/A80/A40 bi-amped rig and with the addition of my very own PL71 all was wonderful at Gromit Towers. Oh...and with an Ortofon SPU in place I don't think I've owned a system which played music with such heart, such resolution, such rhythmic dexterity and sheer joy. It took a lot of work to get there - and my listening room was bloody terrible - but I got there in the end.

The system I have now though is in a real state of flux. On several occasions I've almost started from scratch again, only to be lucky enough to happen upon one bit of gear which has worked and got the musical juices flowing again. I had a brief flirt with a Sony PS6750 turntable earlier this year but had to sell it on, along with my beloved Royds, to raise some cash. The Sony was excellent - I'd even say in standard form it was slightly better than a PL71, even if its arm possibly not quite as good with the mass-hungry MC's of this world (103's/SPU etc). I bought the SL1210 as a stopgap to last until next spring when I hope to get back to something more rewarding. A little-used Jelco SA750D came up for sale so have had a quick play with that, but it's so frustrating. It does the hifi stuff better, but the turntable's still dull as ditchwater. My CD player is more musically convincing. The little ProAcs used to be mine (I had them 1993-2004) but my dad has very kindly passed them back to me now. They're great little speakers but a. need an amp with lots of current and b. are ruthlessly revealing, tearing the front end/amp apart and laughing at the resulting damage.

The sound is thin, harsh, lacking dynamic impact and really does give the impression that music is wandering around in the dark. The Supertabs worked really well on the end of my old Exposure VI/VII/IVDR and with the Gyro at the front but now, I really feel they're a step too far for what's in front of them. I'm not having fun, and it's starting to get me down - seriously - as music is such a huge part of my life, occupying almost every waking hour. Trying 2 other cartridges (a Dyna 10X5 and a Denon 103R) didn't help, and with the Jelco I think they were just uncovering further cracks in the otherwise standard Technics turntable unit.

Where to go though? I'm really not sure. My room is another difficult one (20'x10' so an acoustic nightmare) so difficult to find speakers which don't boom or at least set off bad bass resonance. I do have a muso work mate who can lend me a couple of interesting bits of kit - namely a Brio R amplifier (he loves it as part of a full-Rega system, and he goes nowhere near the forums I should add) which might add a bit of musical zip. My dad now has the pair of tiny Q Acoustics 2010i's I bought to swap for his ProAcs and I'm giving thought to swapping back (he's really not fussed either way tbh) which were a lot of fun. Hopefully 2013 will be an 'up' year as 2012 certainly hasn't been entirely that.
Sources: Macbook/Sony CDP-X303ES/TEAC UD-H01 dac & Sony PS-6570/Benz Micro ACE SL
Making it louder: Sonneteer Sedley/Sonneteer Campion
Speakers: Royd Sapphire
Hooking it all up: NVA Soundcord & NVA LS6

jammy395
Has thanked: 0
Been thanked: 0

Re: User review thread

Unread post by jammy395 »

Wow Gromit....War & Peace spring's to mind.............. :lol: :clap: :clap: :clap:
Great Review... Gimme a wee while to digest it all and will get back too you...... :dance:

Daniel Quinn
Posts: 8586
Joined: Thu Jul 12, 2012 7:16 am
Has thanked: 24 times
Been thanked: 399 times

Re: User review thread

Unread post by Daniel Quinn »

As stated earlier I am now disappointed in my system because of a change of room and the complete absence of stereo image and space , so ive pondered Gromits wise words and this is definitetly a case of differing preferences , but it may slso be one of semantics so I will elaborate .

Tis true , there is no sound stage in live music , i see a gig a week and the sound changes from room to room but never as there ever been a discernible soundstage . But this is not true of my records , it seems they must have been engineered to place certain sounds in a stereo arch of a soundstage and the better my hifi as become the better each part of the mix is defined in a space between and beyond my speakers and the placing of the instruments definitely in space without them bobbing all over the mix adds to my enjoyment , it aids the illusion of listening to a band playing instruments . It also adds to the ability to follow each element of the mix distinctly and separately and also for each instrument to have its own minor dynamics and inflections This is not at the expense of tone , rhythm , dynamics ,[ though you can not have rock band dynamics in your living room ] but i find it essential to the enjoyment of my hifi . I note gromits comments about space and perhaps this is a semantic issue , but the improvement i have made did add perceived space . On Genesis mama there is a organ riff before the chorus which used to come at me from both speakers , post improvements it is distinctively on the right hand side of the mix and now seems to come from a good 2 meters to the right of the right hand speaker . Similarly on Mellancamps between a laugh and a tear , the male and female voices in the chorus used to be intermingled now they are two distinct voices whose words can be followed separately and they are perceived by me to be coming from separate parts of a central soundstage. As for peter Gabriel , most of his records create aural atmosphere and tension by adding musical texture on top of musical texture, producing a very dense mix , previously all i heared was a wall of sound now its glorious musical craftsmanship, just listen to Secret World,Come talk to me, intruder , i have the touch , lay your hands on me . All of these records rely on instrumental mix placement to add tension and atmosphere . So for soundstage , perhaps it more accurate to see it as placing each instrument or sound within the mix within its own intended place so they are not swamped by other instruments and placing them as intended within the mix on my rock records adds to percived sense of instruments being played in a distinct space and thus the enjoyment . of course in reality it is all bollocks because most instruments on rock records are amplified anyway and thus the sound comes from speakers not the instrument itself , but im sure its what the engineers intended .

Post Reply