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In Reply to: RE: No secret posted by G Squared on March 31, 2014 at 09:57:55
...you heard in the 1980s that impressed you was a Levinson HQD system.
Stacked Quad 57s, Hartley 24" subs and Decca ribbon tweeters.
I heard them at a dealers in SF who had taped the sound of different tonearms playing a recording with the same cartridge so we could hear the tonearm differences.
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They didn't sound impressive to me when I heard them back in the late 70s. It seems John Cooledge was contacted by a guy who lived south of Atlanta about his HQD system. We drove down one Saturday afternoon to take a listen.
I recall preferring JWC's Ampzilla driven Dayton-Wrights cum Earthquake subwoofer. :)
I know this is probably anathema, but I don't think it's very possible for one system to sound truly superb in rendering "small" music, i.e. jazz trios, a cappella groups, and symphonic. And rendering rock is another feat, altogether.
I would argue that the sheer power and amount of drivers (and their size) necessary for "large" music would almost need to void the laws of physics to be lithe, quiet, and appropriate (reproducing a single human voice using a surface many times its size is problematic, no?).
Room, no.
I would argue that the sheer power and amount of drivers (and their size) necessary for "large" music would almost need to void the laws of physics to be lithe, quiet, and appropriate (reproducing a single human voice using a surface many times its size is problematic, no?).
Perhaps that is the difference for me. While the amount of radiating area between double 57s and Dayton-Wright XG-8s is about the same, I found the D-Ws more coherent and natural sounding. Which has always driven my choice in speakers. I find the Sound Lab U-1s to be my ideal speaker in that they are utterly coherent, cast a realistic image size and have flat (measured in room) response to 30 hz.
w/Atma-sphere or Lamms.
"Ah, to die, to sleep, to sleep perchance to dream…"
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