After the thrill is gone
I think we all understand there is no “perfect” speaker. Strengths, weaknesses, compromises all driven by the designer’s objectives and decisions.
Whenever we make a new (to us) speaker purchase there is a honeymoon period with the perfect-to-us speaker. But as time wears on, we either become accustomed to the faults and don’t really hear or hear past them, or become amplified and perhaps more annoying or create minor buyers remorse or wanderlust.
I am guessing the latter would be more prevalent when transitioning to a very different design topology, eg cones vs horns vs planars etc.
While I’ve experimented with horns, single drivers, subwoofer augmentation … I’ve always returned to full range dynamic multi-driver designs. About to do so with planars but on a scale I’ve not done before, and heading toward end game system in retirement.
So I just wonder what your experiences have been once the initial thrill is gone? (Especially if you moved from boxes to planars)
op maybe you should share more details about your system, how you have your maggies set up (and which models are they) - i looked at your profile/system, it is not up to date it seems can take some effort to the get the very best out of maggies, but once they are dialed in, few will think the magic is lacking... even on extended term listening |
@jjss49 ya know, tried to update the other day and didn’t see how without creating a new one. Will have to look again. [edit: just updated] Two equipment updates … set up my VPI Classic 1 w/SoundSmith Zephyr MIMC Star through Lehmann Black Cube SE (that’s probably next on list, leaning to SoundSmith MCP-2 MkII) and Marantz SA-KI Ruby. The Plinius was completely refreshed and power supply boosted a bit by Ralph Abramo (Vince Galbo successor).
Have not yet done anything to the room. Been preoccupied with health issues and getting my work/woodshop set up. |
I've had my Walsh 4's since 1986. They've been re-foamed twice, internal batting has been re-tuned by yours truly, and lastly, since they are bottom vented, I've experimented with placement on carpet vs. 16X16 acrylic plinth. The acrylic plinth wins out for 80% of my listening because it's more dynamic and involving, the big exception being male a cappella choirs. |
A long time ago I was at Singer Sound listening to “stuff” and kibitzing with the sales guy. Might have been the estimable Mr Guttenberg. I listened to the very expensive, at the time, ML (CLS model). A solo piano record was played and I was stunned. It sounded like the piano was in that room with us. A musician myself, I know from piano sound. This was followed by my request for some rock. I believe it was a Stones record and what immediately struck me was how not so good it sounded. The speaker just couldn’t deliver the immediacy and clarity I was expecting. I also lived through what I call the “boom and sizzle” period where many speakers were voiced to deliver earth shaking bass and “sparkly” highs. Little mid range. If it was there it was obscured by the high low emphasis. These could be very impressive at first listen. Wow listen to those cymbals that bass! I settled in with a pair of Snell Type D’s. Due to room changes I moved onto Revel M20’s (Stereophile class A …lol) on stands. I still listen to them. Classical, Jazz to Rock to EDM. I sit pretty near field. They “handle” every musical style. Getting the timbre the rhythm and pacing, the palpable force of the instruments/music. I firmly believe that amplifier/speaker/room are critical. There are trade offs. I can’t expect the same volume and sound pressure delivery of the Philharmonic, A jazz trio, a Stones concert or a rave. I get the basics of good sound/music reproduction.
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