Aiming at a two-way system, but I'm not religious about it - thus tomorrow a pair of B&C DCX464's are arriving with those giant horns they designed for them. I'm going through my 3rd iteration at the moment on the KH tops. So good I turn it up louder than live - still crystal clear - all with the tiny AHB2. It scared me the first time I heard them. The bass is equal to concert sound - even close to the drum kit - it's all there. NOW is a pair of '74 Klipschorns I drove to South FL to purchase and have restored. So the AHB2 is right down my alley but way too small in output for my needs (thus the 532H) until NOW. I cry during Stravinsky's Rite of Spring or Shostakovich's 5th Symphony or Holst's Planets or Yes's Fragile or anything Emerson Lake & Palmer. My hat's off to all you guys that match all this stuff together to get the most euphoric result, but I'm about the math - I want the modifications (technically called distortion) removed to the greatest extent possible.īut I'm human. Tubes are lovely - I could live with them alone quite happily, but they just don't have the "straight wire with gain" thing going on. You can hear the reverb of the room in good recordings, subtle stuff is all there IF the loudspeakers are up to the task. Yet I'm still hesitant and my answer may not be very helpful:Īmps I have and am familiar with are McIntosh MC275 CE (restored with the best stuff I could find, noise is lower, power higher than specs), Mark Levinson 532H, Benchmark AHB2, and a bunch of professional stuff left over from the business, the only one that sounds really good is a German Camco Vortex 6, second best was the Yamaha TXn series, then all the class D stuff that I've yet to find acceptable from anyone for any other purpose than subs. That four year old inside me actually pulled it off. And Chris would say something like "a bit more from the winds", or more often "timpani! more!" and I'd do that and he'd smile to the moon. I had an iPad that was connected to my CL5 (Yamaha) console that allowed me as much control as I wanted for up to 64 channels. So Chris Brubeck and I would sit at a center location a few rows back from the stage and mix the event. Other events were more like his Dad's stuff, but still orchestra was involved - jazz band in the middle of the pit that I'd shield with plexiglass and absorbers that had to stay low so everyone could see the muso's - yet it had to work. Chris writes symphonies that are usually thematic, such as an Ansel Adams piece with full orchestra and a huge screen fading in and out of different pictures of that amazing black and white photographer while the music did interpretations. The icing on the cake was the oldest and most talented of Dave Brubeck's kids, Chris, used me when he did stuff in the area I covered. I'd achieved what I wanted - a clientele that would pay for my very best effort. Unfortunately it succeeded and I kept at it until a couple of years ago. So just after the year 2k I decided that I had enough loot to do something stupid, so I started a concert production company from scratch with the goal to provide the highest possible sound quality even if I lost money in the process. It stunned me and though my career was mostly in finance, science and teaching - Brubeck haunted me. On the latter I'm all about Galileo's scientific method - but I also fell in love with Dave Brubeck's Take Five album when my Dad played the record on our living room entertainment system in 1963 when I was four. I'm hesitant about subjective impressions of stuff because humans are all over the map on this kind of thing depending on background and disposition. Could you share your system and some listening impressions and comparisons to some other amps you've tried?
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