September 30, 2002
Subject: Polk versus Polk
First of all, I want to say thanks for this forum, as I
find it extremely educational. Anyway, I am interested in buying a new stereo pair of
speakers in the $1500-$2000 range. I listened to several speakers (Definitive, Polk,
Klipsch, to name a few), but I specially liked Polk's LSi15 and RT3000p. They seem
like good choices, and I already found a pair of RT3000p speakers for $1990 and the LSi15s
for $1500. If you had to choose between those two, which one would you pick? Or are there
any other speakers in that price range that you would buy instead of those?
Also, Polk has a model called the LSi25, which is
similar to the LSi15s, but has powered subwoofers using a 150W amp and a 12"
subwoofer. My guess is that that could give them a little more bottom-end authority but
may compromise that top-to-bottom coherence that you praised in your review. Am I off with
my guess?
I already own a Polk Audio PSW650 subwoofer (which I know
you hold in high regard), so should I even been worried about the bottom-end authority?
I haven't had a chance to listen to the LSi25s, so
I'll sincerely appreciate any help on the matter.
Thank you very much;
Felo
I haven't heard the RT3000p speakers, so I couldn't
possibly comment about them. I have, however, heard the LSi25 and it is very good
-- and very, very coherent. OTOH, you have a PSW650, so I can't imagine that a pair
of LSi15s driven by a good amp wouldn't be the cherries. I guess it all
depends on how much you value deep, authoritative bass and how you use the speakers. In an
HT system, I can imagine situations where the '25s might work better.
I got so much pleasure from the LSi15s that
I suspect everyone else will, too -- but we must never forget just how subjective speaker
preferences.
September 25, 2002
Subject: Matching a power amp
I bought a Musical Fidelty A3 preamplifier a year or two
ago, but didn't then have enough cash for a power amp. Now I do!!! My speakers are a pair
of ES 14s.
Since I don't know too much about the technical side of
things, I was wondering if I could partner any other type of power amp -- say an Arcam
P75, for example. Or should I keep with the MF and if so should it be the MF A3 power amp
or the newer version being sold in the shops now?
Regards
Chris Gallagher
Hi Chris:
The beauty of separates is that, within certain
parameters, they all work together. As a general rule, any preamplifier will work
with any power amplifier and many audiophiles fervently believe that the only way
to squeeze the last smidge of performance out of a system is to choose a preamp from one
company and match it to a power amp from another so that the two components play to one
another's strengths rather than reinforcing shared colorations.
A classic example of this mix-and-match philosophy
is the tendency of many audiophiles to mix a tube preamp with a solid-state power amp in
an attempt to marry the benefits of both technologies (also -- since the small, linear
triodes used by tube preamps are long-lived and inexpensive and the large, harder-to-find,
and frequently quite-temperamental output tubes used by power amplifiers are not -- it
keeps costs down).
Of course, manufacturers love to sell systems
rather than individual components and, these days, many companies offer well-matched,
same-brand systems. Sometimes they offer inducements -- such as Krell's proprietary CAST
connection scheme -- that add compelling reasons for assembling a single-brand system.
So, obviously, you can buy any power amplifier you
want. I still really like the Musical Fidelity amps -- and I'm currently auditioning the
new A3.2 and it's even better than the A3. But the beauty of separates is that you
get to choose the system for yourself, so go ahead and experiment and discover for
yourself what your preferences are.
September 19, 2002
Subject: Where to find a 45 adapter?
Hello Wes,
Here is a tough one for you. I need to locate a replacement
45 rpm changer/adapter for my 1950's/1960's Magnavox Micromatic record player. The 45
changer is round, gray plastic with "45 Front" on the top and the number 761 on
the bottom, and fits over the existing metal spindle. It is all part of a large Magnavox
Stereo Console that has built-in FM/AM radio. Can you help me or give me some additional
resources?
Thank you,
Stephen
First, if you find the replacement changer, please use it
only as an adapter -- don't stack your precious singles and ruin them rubbing them against
one another, OK?
Now, first try this site, which has lots
of info and links. In fact, the Turntable
Factory's links page is a great resource for any audio buff.
Of course, if you're not going to use the changer
(and you really shouldn't), you can get by with just a 45 adapter from Recoton.
September 18, 2002
Subject: Arcam to Arcam?
Hi Wes,
I own an Arcam A85, in large part because of your review,
and I am enjoying it tremendously. In my desire to improve my system, I am now looking at
upgrading the amp. Have you heard the Arcam A32? If so, how does it compare to the A85? (I
did audition one, but it was grainy and images were tight -- it seems it hadn't been
broken in but ten hours).
The only thing I am not sure about is if the A85 is great
at isolating voices with large Broadway choruses. Sometimes the voices "spread"
and aren't individually clear. I'm pretty sure it's the amp. My system is a Vecteur L-4
CDP used as transport, LAT International Mk II digital interconnect, Audiomat Maestro DAC,
Acoustic Zen Silver Reference IIs as regular interconnects, the A85, Acoustic Zen Satori
shotgun biwires to Spendor SP1/2Es, and Polycrystal rack and isolator cones.
Any thoughts?
Tom Carter
That certainly is a fine system. I'm surprised you're not
getting that sense of a solo focus among the massed voices on those big choruses, but
there you go. If what you're looking for is better, bigger, deeper soundstaging, with a
greater sense of specificity, it's really hard to beat tubes. I'd imagine the
Conrad-Johnson CAV-50 might be just the ticket. Give it an extended audition -- preferably
in your room with your system -- and see if you don't agree.
September 16, 2002
Subject: Maintaining a Linn turntable
Hi Wes,
I'm looking to upgrade my current turntable (Michell
Gyrodec SE w/Rega RB600 tonearm, Benz Micro Glider 2 cartridge). I've recently moved to
the UK from the US and I am considering a Linn LP12/Lingo setup (buying it here makes the
pricing much much more attractive). I've found a qualified dealer here who can set it up,
then perform the yearly maintenance. I have a few questions. Given that I will eventually
move back to the US, how difficult would it be for a layman like me to move and then set
up the Linn? In your experience, how (truly) finicky is the thing? Does the suspension
really go out of whack as easily as I've read? I also like the new Rega P9/RB1000; it
seems very low maintenance by comparison, which I like.
Thanks for your time,
John
I don't know the new Rega at all, but I'm sure it's a
well-engineered product that offers a lot of performance for its price -- because that's
what Roy Gandy does.
The Linn I know and love, although it's a bit like my
father's knife at this point in time. (You know the old story, I'm sure. "This is my
father's knife," the young man said. "Of course, I've had to replace the scales
on the handle a few times and the tang once, as well as replace the blade and the bolster
and the sheath. But it's still the knife my father carried all his life.")
The rumors about the Linn going out of adjustment are in
error, in my experience. Casey McKee set mine up when I worked at Innovative Audio in
Brooklyn. I used the table for years, packed and shipped it to Santa Fe, moved twice and
shipped it back East to Connecticut and then drove it to Brooklyn -- and it was still
properly set up! John Atkinson's Linn survived its drive from Santa Fe to Bay Ridge
without going out of true, too. So, I suspect that one that just sat on its dedicated
shelf will stay properly set up for a long, long time.
As to switching it over to US AC, that's a matter of
changing two wires on the power supply, and any authorized Linn dealer can do that for
you. And yes, you should get to know a Linn dealer if you buy an LP12 -- they're handy for
little favors like that one and for free tune-ups and oil changes when you replace the
cartridge or stylus every year or so.
If you compare the Linn to the Rega and buy the Rega
because you prefer its performance, that's fair, and even Linn dealers will concede the
matter of taste. But don't eliminate the LP12 from consideration because you've heard it's
hard to maintain. That is simply not true.
September 12, 2002
Subject: Arcam and Dynaudio
Dear Wes,
I would like to match the Arcam Diva A85 integrated amp
with Dynaudio Contour 1.1 speakers. According to your
review, the A85 could drive Contour 1.3 easily, but John Atkinson suggested avoiding
matching the A85 with speakers whose impedance could dropped below 4 ohms. Could I
therefore match the Diva A85 with the Contour 1.1? Thank you.
Apipol
Yes, I think so. John is correct -- the A85 would do best
if not challenged too severely. But the Contour 1.1 doesn't dip all that far below 4 ohms
and its phase angle is not so severe as to pose a well-built amp such as the Arcam any
serious challenge.
September 9, 2002
Subject: Upgrade dilemma
Hi Wes,
First, I'd like to say I really enjoy your informative
reviews, which are always a delight to read. I know you must be deluged with e-mail asking
for advice, but I'm hoping (praying) you can lend some expertise with the following
predicament.
My system currently is comprised of the Rega Planet 2000
mated to an Audio Refinement Complete and Linn Keleidh speakers. I'm generally pleased
with the overall sound, although I can't help but feel it could be better. Without
spending a fortune, what would you recommend as a reasonable upgrade? I was thinking of
upgrading the source to perhaps a Musical Fidelity A3 or even selling the whole system and
getting a Linn Classik. How about the Arcam CD72 paired with the A85 integrated? Any help
you can shed would be greatly appreciated.
Thanks!!!
Al
As I see it, you've got a problem, albeit not the worst one
to have. You see, you've got taste -- you've put together a system that sounds as if it is
almost perfectly synergistic. I'm sure you've gotten a lot of listening pleasure out of
it. So, how is that a problem?
Well, actually there are two problems. The first is that
you're going to have to spend a fair amount of money before you make a really big
difference in the system; the second, that changing any single element to a noticeably
superior component may do more to reveal shortcomings in the rest of the system than it
does to increase your musical enjoyment.
That said, I think there are two things you can do. The
first is to try as many cables as you can. I don't wish to exaggerate the importance of
cables to a good audio system, but I certainly don't wish to imply they can't make a
difference. They certainly can -- and do.
Start by trying Rega's own cables. When I used to sell
hi-fi, we salesmen would sometimes joke that it ought to be called amplifier wire
rather than speaker wire, since a major component of the sound is how the wire interacts
with the amp -- so start by trying to find a speaker cable that suits.
When auditioning cables, remember that hearing more
isn't always better. Certain vinyl enthusiasts used to wax poetic about line contact
styli, claiming they rode in parts of the groove that had never been played before, which
meant those portions of the groove were in mint condition. It didn't really work that way
-- my experiences auditioning record stampers -- which are played wet with a saddle-shaped
"stylus" -- told me that the bottom of the groove was a nasty, noisy place to
be.
Wires that transmit into RF territory may not necessarily
be doing you any favors, either. Sometimes (not always, mind) wide-bandwidth cables simply
do a better job of letting you hear field interactions within the circuit.
The most important component to consider changing in your
system is the CD player. If you can buy one that extracts a lot more information, you
should get better sound than you have now. But finding one that gets you there without
costing you an arm and a leg -- ah, there's the rub.
Good luck!
September 4, 2002
Subject: Speakers with VTL
Dear Wes,
Do you have an updated list of speakers that you would
suggest for the VTL TT-25 Tiny Triodes and a Audio Aero Capitole CD front-end (no
preamp!)? Your review of the TT-25s was great.
Bruce
If you don't have a large room, I think you should check
out the MartinLogan Aerius Mk II with that combo. That was the first loudspeaker I heard
on the Tiny Triodes, and the sound was good enough for Gayle Sanders.
I've been using mine lately to drive a 12" vintage
Celestion in a closed-back cabinet (driven by a Mesa V-Twin) and my Tele has never sounded
better!
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