Not yet. I think the combo of small size and high efficiency and current constitute a match made in heaven with the OHMs though.
My next amp someday will likely be a Class D, possibly mono-blocks. I figure the longer I wait, the better and more refined the Class Ds will get. Many get high praise from many already.
My only concern would be potential for RF noise with other components, especially my phono stage. |
Marty,
Are you saying you preferred the 100s with Bel Canto Class D to 100s with tube amp, but not to 100s + tube amp + sub?
That sounds reasonable to me. ANy findings though with 100s with Bel CAnto Class D versus other non tube/SS amps? Have you heard any ss amps that work better with the 100s alone than the Bel Canto Class D? If so, I'd appreciate if you could elaborate on what the differences are? |
MBL lovers (Pedrillo, this means you!) take note!
Marty, thanks for sharing your findings.
"There are tracks on Lindsey Buckingham's "Under The Skin" on which this combo "lights up" the front of the room in a way I've never before experienced in my home. (I have heard MBLs manage this trick at a dealer's showroom.)"
MBL lovers (Pedrillo, this means you!) take note! |
Martykl,
You have some nice stuff to experiment with.
How many different amps + stuff do you own?
I agree with the "Quads with more bass" analogy for the newer OHM Walshes. "Quads with more meat on the bones for less" is specifically what I was shooting for when I decided to go with the newer OHMs. |
Marty,
Take consolation in the fact that many of us on this sight share in your mindset and I personally would love to be able to play with all those nice toys!
In defense of your sanity though, better to try lots of different things at reasonable price points in order to achieve the "ultimate sound" rather than put all your eggs in a single basket, so to me there is a method to your madness.
Cheers! |
The Pathos is one hot looking little number (that is as integrated amps go). |
Jmelvin,
I've found only larger and much more expensive speakers can deliver all the goods as effortlessly as the OHMs when fed lots of good clean power and current.
Cheers + enjoy! |
"yet the Trio's ability to deliver more current seems a likely reason for achieving that effortless sound I'm hearing .. yes?!"
Absolutely yes. |
Came across this old thread.
I am now running OHm 100 S3s and 5 S3s with a pair of Bel Canto ref1000 mkii Class D IcePower monoblocks and can offer up some actual observations on this topic now.
CondoCondor nailed it. "grip" is the right term to describe the main difference between the new Class D versus the old Musical Fidelity A3CR, other than the jump to 500 versus 120 watts/channel into 8 OHM, which helps out nicely at louder volumes with the 5s in particular.
The Bels do seem to deliver a vice like grip in controlling the drivers, especially the big 5s, which is just what the doctor ordered. Bass comes across as leaner at first but in fact is delivering the goods in a fast and most rock solid manner, like an MMA fighter in peak condition!
Using the sound from from excellently produced live concerts I have attended recently in smaller venues and some very high end systems I have heard as a reference, this is a big step in that direction. They really do not sound like speakers hardly at all any more at this point.
I have to say that the MF A3CR amp was an incredible piece as well with many similar attributes, but it did not quite have the vice like control of the Walsh drivers that the Class Ds do, but then again the MF amp cost me less than 1/5 what the Ref 1000 mkiis did used.
One thing unique to the ref1000 mkiis which probably contributes to this somewhat is the 100K I believe input impedance for unbalanced input (200K for balanced I believe) which helpss it mate well with a tube pre-amp. That was the thing that helped convince me to go with this particular model. That is a small bump up from the 72K ohm input impedance of the MF A3CR prior, which was also very good compared to most SS amps. The Wyred amps have 62K or so input impedance as well, which is good. Stock Icepower modules have only 10K input impedance I believe, so that is something to consider for those considering using Icepower with tube pre-amps. |
Condo,
I use Bel Canto Ref1000m monoblocks, 500 w/ch into 8 ohms.
I have two pair of OHM Walsh speakers in use:
- smaller 100 Series 3 in OHM Walsh 2 cabinets in smaller room
-larger 5 series 3 in OHM F cabinets in larger room
Amps drive both pair to the max loud and clear with no sign of clipping or strain in either. With the smaller OHMS, the 500w/ch might be a bit of overkill, but they do not object to the extra power at all. |
Bond,
Specs are only guidelines and alone do not determine level of performance. The only way to determine that is to listen and compare.
In my case, if after listening carefully for a while to a particular configuration I identify an area that I feel could improve based on listening to reference systems, live events, or whatever I can identify as a meaningful reference for comparison, then specs are a useful research tool to help weed through options and identify choices that based on specs might perform better in my system specifically compared to other highly regarded pieces.
Even then, the only way to know for sure is to experiment.
In the case of my amp upgrade, I moved from a 360w/ch Carver to a 120w/ch Musical Fidelity and knew eventually I wanted to get back to a high power amp without losing the benefits the MF brought to the table.
The power rating of the amp and its importance in being able to drive the OHMs optimally was the main factor that drove me to look at an upgrade eventually. The power differential was cut and dry. The MF amp sounded better than the Carver in every way, but there was less power now available for fairly power hungry speakers.
Based on power and current alone, there were many choices to pick from, so I looked for other factors on paper that might make a difference. Its still always something of a risk changing though until you actually try something different and hear the results, which may be better or worse or more commonly better in some ways but not as good in others.
I have heard some claim that they can always hear an improvement in sound quality with an amp with higher input impedance compared to lower. Technically this makes sense. Practically, how much difference is there and is it enough to matter to most? I don't know. Also other factors contribute to sound so it is risky to base a choice perhaps on any one specification alone.
Fun stuff (and potentially EXPENSIVE)! Seldom ever cut and dry however. |
I am these days. An extremely good match I would say. |
I heard this system last weekend featuring a custom horn design at the capital Audiofest in Rockville, MD http://picasaweb.google.com/ctbarker32/CapitalAudiofest2010June1113?feat=embedwebsite#5481902138095060482It set one of the highest benchmarks for overall dynamics and clarity I have heard to date, at least with the vintage classical and jazz material sourced from vinyl that I heard. It was SOTA all around and cost a small fortune (6 figures easily I would guess). My preliminary assessment is my OHM Walsh/Class D amp combo is at least in the same league as this setup. Kind of like the Yankees and the Orioles are as well. Well, I think I rig would fair better against this setup that the Orioles do against the Yankees lately on any given day, but you get the drift. I'd have to hear the two side by side, so at least its close. To give an idea of teh differences, the Audio Note tube amp used in this system was said to put out perhaps 20 watts and cost over $60000. My Bel Canto Ref100m2 lists for 1/10th of that (still not cheap by any stretch) and puts out 500w/ch or 20X the power, which is needed for a 87db or so efficient design like the OHM 5s, whereas the Audio Note amp did not have to break a sweat it seemed driving those 109db efficient horns. |
Selah, yes. I did not stay long and really had no impression to relate.
I recall seeing Salk also but same deal, sorry. I only had a few hours and a lot of ground to cover.
The systems that caught my ear that I spent time listening to were the one pictured above, the Cathedfral speakers, the room demoing Magico V3 and comparable YG aCOUSTICS, AND United Audio with their mbl and RTR setup (which was good but not set up as well as their showroom), and the little Jolida integrated running the Nola monitors, which was the best sound value of the show that I could see.
The Polk audio room was the only one that did not sound good to me in some way. They were going for the overpowering bass deal which turned me right off. |
"Anybody listen to Ohm Walsh speaker w/digital amp?"
Yes, for over two years now + still lovin it....
Match made in heaven..... |
