Breathtaking array of Mac, etc., components, 4-2-7. :thmbsp:
I'd say your stuff is very competitive to today's latest, plus it's been broken in for years now...that can be a good thing.
Breathtaking array of Mac, etc., components, 4-2-7. :thmbsp:
Contemplating a move from my Behringer DCX2496. It sounds very good with the analog outputs, but I'm thinking of a true analog crossover like the Marchand XM44.
Any one have thoughts on this? I will still use the NHT X1 for my Subwoofers.
Regards,
Jim
If I were you, and I wanted to experiment with tri-amping crossovers, I think I'd try a double-passive setup. By that I mean simple passive 6dB/octave RC filters at line-level, augmented by another 6 dB passive at speaker level, where needed. I don't think my curiosity would be satisfied until I had at least had a go at it. The line-level ones are simple to make by cutting a cheap patch cord in half, and soldering in a resistor and a capacitor of appropriate values in to reconnect the halves, with a shunt included. I did it once long ago on some corner horns, and it worked well with two GAS Grandsons - loudest system I've ever heard.
I think the "purist" 6 dB/octave passive approach has the potential to sound better than an active crossover, and each driver still has its own amp. I never had the itch to fool around with my Maggie's crossovers, but I'd sure try the double-passive if I were tri-amping...
Good luck!
There is compromises in everything. Wilson Audio gives you one set of connections for even the Alexandria XLF speakers. They have tried active bi and triamping but swear it is no better than what you get with their speakers stock.
With respect, sqlsavior, I always thought the primary benefits of biamping (or triamping) are restricting the amp to only that portion of the audio range it is reproducing and also to get the passives out from between the amp and the speaker.
I listen to more than my share of Pink Floyd, Yes, etc. but use less processed music to evaluate components.
Understood....hopefully you'll be listening to music with your Grandson someday.Unfortunately a new grandson may relegate me to the SS model.
Regards,
Jim
There are 26 preamps in Stereophile's Class A list this issue (October 2015). In alphabetical order, with prices listed, they are:
Audio Research Reference 5SE, $13,000
Audio Research SP20, $9,000
Ayre Acoustics KX-R Twenty, $27,500
Ayre Acoustics K-XE MP, $4,350
Bespoke Audio Company Passive, $12,000
Boulder 2110, $55,000
Classe CP-800, $6,000
Convergent Audio Technology SL1 Reference, $9,995
D’Agostino Momentum, $32,000
DarTZeel NHB-18S, $31,700
Lamm Industries LL1 Signature, $42,790
Luxman Classic CL-38U, $4,200
Music First Audio Baby Reference, $8,590
Nagra Jazz, $14,500
Parasound Halo JC 2 BP, $4,495
Pass Labs XP-30, $16,500
Placette Audio Active Line Stage, $6,995
Promitheus Audio Reference TVC, $890
Shindo Masseto, $13,500
Simaudio Moon Evolution 850P, $30,000
Simaudio Moon Evolution 740P, $9,500
TAD Laboratories C600, $42,000
VAC Signature SE, $19,500
VTL TL5.5 Series II Signature, $8,000
Ypsilon PST-100 Mk2, $37,000
Zesto Audio Leto, $7,500
Total $466405
Average $17,942.50
When I see the average price of "Stereophile Class A" preamp at nearly $18K, it just tickles me pink to know that I have sound that plays in that ballpark, for $580. :yes: I must live with only one volume knob, however. Just thought I'd spread the word!
http://www.audiokarma.org/forums/showthread.php?t=649914
No affiliation. YMMV. Have a banana.
The cost may represent the fact that it is completely passive, with no caps, resistors, op amps or tubes included. Just transformers (albeit very good ones) in a wooden box plus a few knobs. How can anyone compare this to the SP-20? And yes, I've heard the TVC (though not the reference) and own an ARC. Great bass, but I like it loud and full, so maybe that is what turned me off.