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Posts: 7548
Location: Bay Area
Joined: December 11, 2000
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Oooo, I wonder how those Cary 45 monoblocks would perform, with some of the smaller speakers I've lived with (with or without powered subs).
In the late-90s, I had the EL-34 based AudioPrism Debut, and started working for property management companies. Once colleagues discovered that I liked music and audio, they brought me in, and funneled products my way.
Like me, my few guy friends were subpar-to-mediocre college students. So almost by default, our girlfriends were smarter. In the early-2000s, friends reached that point, where the couple either breaks up of gets married.
So when we started to have kids, exposed vacuum tubes had to go.
It wasn't exactly "righting a wrong," but at my parents' place, we did finally get the original Sonus Faber Concertino. Back in the 90s, we should have gotten these stand-mounts, over the Thiel CS.5 and CS1.5.
For both audio and for my friends, Gwen Stefani's 2005 hit, "Cool" brought closure.
Here, the Concertino was on Billy Bags stands for the Totem M1S and ProAc Response One SC. Because the Concertino did not go deep, and had a nimble and energetic upper-bass, it was a terrific match with several tube amps, including the flea-powered Decware Tahoo and Wright Sound WPA3.5.
The Concertino, now on Sumiko's dedicated Franklin & Lowell stands, is blocking our view of the WPA3.5. Holy cow, this combo made you feel like news anchors and sports announcers were broadcasting from your living room! The combo did such a sublime job, on cool synthesizers, lightly-amplified Fender guitars, and vocal timbre and nuance.
The Decware Taboo and Wright Sound WPA3.5 were auto-bias, and didn't really give off that much heat. But with curious toddlers, vacuum tubes were at risk :-)
For me, the Thiel CS2.4 was at is best, when it made me feel like I was in the front row of the balcony. From that vantage point, you get to see the entire stage. Yet, by not being in the pit, you don't have to deal with the crowds.
Although our CS2.4 came with its own spikes, Sound Anchors bases, especially on carpeted floors, often brought about small but meaningful sonic improvements.
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