Most teens were oblivious to components that set the bar in that day like the the Audio Research SP-3a, D76, Mark Levinson JC-2 (John Curl), ML-1, Threshold 800A (Nelson Pass) - the companies (or designers) of which continue to build exceptional sounding gear.
That and we didn't have the money for it anyway.Most teens were oblivious to components that set the bar in that day like the the Audio Research SP-3a, D76, Mark Levinson JC-2 (John Curl), ML-1, Threshold 800A (Nelson Pass) - the companies (or designers) of which continue to build exceptional sounding gear.
Good job!!
I was first exposed to that world at age 17 when I befriended the owner of a new hifi shop in town. He sold Harman Kardon receivers and ADS speakers, but it was the upstairs systems that interested me. Hearing Magnepan Tympani IIIs tri-amped with Audio Research electronics was quite a revelation. I later worked for him part time in college which enabled me to purchase gear at salesman accommodation. Bought a pair of Acoustat X electrostats in '77.
You will hear detail in your music you didn't know was there. I aver that even my Advent based garage system will do the same, if not to the same degree. Is that good or bad?
I was first exposed to that world at age 17 when I befriended the owner of a new hifi shop in town. He sold Harman Kardon receivers and ADS speakers, but it was the upstairs systems that interested me. Hearing Magnepan Tympani IIIs tri-amped with Audio Research electronics was quite a revelation. I later worked for him part time in college which enabled me to purchase gear at salesman accommodation. Bought a pair of Acoustat X electrostats in '77.
Through the shop, I met a TAS writer named Dr. Cooledge who in turn introduced me to the editor, Harry Pearson, and both became life long mentors in music and audio. It was hearing the good doctor's Dayton-Wright XG-8 MKI electrostats that set my preference while still a teen. The shop owner also used a later version driven by a JC-2 and 800A in his own system. Another pivotal moment came in 1980 when I first visited HP at Sea Cliff and heard the Infinity IRS. Subsequent trips over the years were always a special treat to hear the latest stuff he had for review. My final visit was just a couple of years before his death in 2014.
It was those fabulous experiences which continually re-calibrated how realistic an audio system could sound that shaped my obsession. My invitation for you to hear something close remains.
Yes, they do just that. After meeting designer James Strickland in '76 at chez JWC, I was mesmerized by their siren song. Used 2+2s for almost twenty years (first with Threshold Stasis 3) before moving to Sound Lab.
I use 1+1s today in family room HT. While not optimally placed in terms of distance from front wall, they still work peachy keen and still possess their uncanny full range coherence.
Yes, they do just that. After meeting designer James Strickland in '76 at chez JWC, I was mesmerized by their siren song. Drove 2+2s with a Threshold Stasis 3 for twenty years before moving to Sound Lab.
I use 1+1s in family room HT. While not optimally placed in terms of distance from front wall, they still work peachy keen and still possess their uncanny coherence.
Well I wasn't going to say it but at this point I might as well. I'm way more than just satisfied with what I have at the moment and I don't see that changing. It sounds absolutely marvelous. Anyone with a lot of experience can see many reasons why it might not. But this doesn't change that it does, flaws and all. When I move it to a bigger room it may not. We'll see.You will hear detail in your music you didn't know was there. I aver that even my Advent based garage system will do the same, if not to the same degree. Is that good or bad?
As for me, I've always been a resolution junkie. Always seeking better. While I never duplicated HP's phenomenal system clarity, I always enjoyed the experience. The Nordost Odin cables in his system alone ran about $100k. Even my wife wonders why I spend as much time (perhaps more) listening to the lesser garage system. I'm happy with less, but always enjoy sampling more.
It might, however, alter your perspective. What's more important? A wall of diffuse, non-aligned speakers breaking every rule about optimum directivity driven by redundant lower end amplification or a more focused system for the same investment that takes you deeper into your music?
Dunno.
Current production models of planar line sources include the Magneplanar .7 which like the 1+1s benefit from subwoofers.
To each his own. If hearing all that's on the recording isn't important to you then so be it. I was in Chicago last week tagging along with my wife's university conference. I took in an all Ravel program at the CSO. Full chorus for Daphnis and Chloe. The program notes said that Ravel conduced the content himself here in 1924.
I've not been to Orchestra Hall in Chicago, but would love to. I here it's an excellent hall. But all is not lost. I spent 30 tears in D.C. with the Kennedy Center, Constitution Hall, Warner Theater and M ST jazz clubs available to me among others and was fortunate to experience a lot of shoe box halls in Europe . Season tickets were the hot setup. It left me with a pretty good idea of what live music sounds like. I don't think much is getting away from me here. Although I understand you do. Also did sound for a pop/rock band that worked small rooms every weekend. I don't remember that ever sounding good, not my fault I say.To each his own. If hearing all that's on the recording isn't important to you then so be it. I was in Chicago last week tagging along with my wife's university conference. I took in an all Ravel program at the CSO. Full chorus for Daphnis and Chloe. I was in heaven.
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Enjoy your toys.
Boy, there's far more to your recordings than you are hearing today.
Only from the perspective of listening to virtually any receiver.
