In 1985, I auditioned four speakers:Acoustat2+2s,Maggie IIIas, ML Monoliths, and Apogee Scintillas. The MLs came
in dead last. The final two were Acoustats and Maggies
mainly due to pricing and their timbre/tonality/transparency
for piano and cello. I chose the Acoustats, the golden ear
of the family chose the Maggies. In 2001, I have looked
at three speaker systems: Maggie 3.6s, ML Prodigies, and
Avalon Eidolons. ML Prodigies were dead last with the
Maggies slightly less tonally correct/holographic soundstage than the Avalons Eidolons, but at 5 times the price. I have not auditioned the Sound Labs pure electrostats(being a pure electrostat means that they surely will be perfect). All
dipoles need gobs of clean power, I prefer my Spectral
DMA 200 or my pair of DMA 50s, to practically all others
including my ARC equipment. However, I have not heard
OTLs or Wolcotts. All 2001 auditions were with Spectral
gear. Tubes add warmth and the big debate is whether
warmth is natural or artificial enrichment of the music
being produced. If you have ever heard a live string quartet, and the cello is on, and the cellist is trying to chop wood, boy can it get steely and hard. Why add some
warmth to what is naturally harsh sounding to your audio
system.
in dead last. The final two were Acoustats and Maggies
mainly due to pricing and their timbre/tonality/transparency
for piano and cello. I chose the Acoustats, the golden ear
of the family chose the Maggies. In 2001, I have looked
at three speaker systems: Maggie 3.6s, ML Prodigies, and
Avalon Eidolons. ML Prodigies were dead last with the
Maggies slightly less tonally correct/holographic soundstage than the Avalons Eidolons, but at 5 times the price. I have not auditioned the Sound Labs pure electrostats(being a pure electrostat means that they surely will be perfect). All
dipoles need gobs of clean power, I prefer my Spectral
DMA 200 or my pair of DMA 50s, to practically all others
including my ARC equipment. However, I have not heard
OTLs or Wolcotts. All 2001 auditions were with Spectral
gear. Tubes add warmth and the big debate is whether
warmth is natural or artificial enrichment of the music
being produced. If you have ever heard a live string quartet, and the cello is on, and the cellist is trying to chop wood, boy can it get steely and hard. Why add some
warmth to what is naturally harsh sounding to your audio
system.