How do I smooth out violins?


I have a decent system (bit of a mixed bag) but know that I can achieve a smoother, more integrated, and more relaxed massed violin sound. I listen to a ton of orchestral music and notice that massed violins in their upper registers (1500-3500 Hz) often jump out from the mix and sound a bit harsh, unlike what one hears live. Right now, I have the following:

Spendor SP1/2E
McCormick DNA-125 (original)
NAD 1600 (pre/tuner)
Marantz CD3000
Audioquest Sidewinder ICs
Audioquest Type 4

Would a tube pre help (maybe a AA M3A)? I'm thinking that the NAD may be the culprit. Any advice from those of you who have quested for "real" violin sound is very much appreciated.
bojack
As I'd mentioned, I was experiencing the same issues with high massed strings in the 1kHz-3kHz region, with my two systems, which have very different component classes and room environments. The only thing they shared is a redbook D source and now passive preamps.

I mentioned getting an Empirical Audio Synchro Mesh reclocker (SPDIF in) and am very pleased with this excellent product, which helped. What has also been interesting is that I hooked up a cheap ($25) linear power supply to the SynchroMesh, taking the place of a switching supply wallwart, and that has really also been positive. Based on that experience, I am currently working on the theory that PART of the problem with higher frequency massed strings is the drawbacks of switched power supplies (SMPS). They s***. I'm now looking at a variety of power improvement products, testing the hypothesis that ac problems are a big issue. In the past, I had noticed positive improvements in this area from shielded power cables, by the way.

So my current assessment of the high strings issue in digital playback is that it has a complex set of origins:

1) Faulty recordings;
2) Redbook CD is either the cause or is particularly sensitive in this sound area to system problems.
3) Jitter - no doubt that this is a contributing factor;
4) Dirty power. I'm continuing to work on this. New fuses are ordered and I'm going to get audiophile receptacles. I am almost convinced this is another major contributing factor.

Re-reading this thread, one thing that struck me about Bojack's system is his patently inferior pre-amp. My personal suggestion for you Bojack is to try out a passive preamp. Very good units (Goldpoint, the Lightspeed Attenuator, etc) are well within your budget.

I'll update this as I learn more about the ac issues.
Bo...violin (string) sounds are actually "sawtoothe" waves.....extremely difficult to reproduce electronically. Its a rising pulse followed by a sharp drop....you need fast equipment to cope. ..here's some info that might be interesting. The hair on a bow has microscopic "thorns" along its length. When the performer draws the bow on the string, these thorns actually pluck the string, but then the pressure of the string on the bow immediately stops the string from vibrating....thus...the sawtoothe waveform.
Stringreen - That's actually a very interesting post and it taught me something, BUT the problem in my system is only apparent in orchestral music. Solo violin in that higher frequency range actually sounds exceptionally good in that range, massed violins exceptionally bad.
I see the weak points in your system as the Marantz CD player and the NAD preamp/tuner. As a Spendor SP1/2E user, let me attest to their ability to render classical music very well indeed. By the way, I became even happier with the Spendors after adding a good subwoofer to supplement the low end. Classical music is much enhanced with Spendors combined with a sub (same with other music). Bottom line: No free lunch. Your loudspeakers deserve much better electronics.
You know, distortion affects all signals passing through your system.
The nasties you describe are always present, even on the solo violin you think sounds good.
On some of the signals it is more obvious, that's all.
I read a post where someone suggested that the more diverse your system sounds with different source material the more likely that it is neutral.
I think that he is on to something.
All of the distortions in a given system color the sound. Many together make mush.
I have found that the closer I get toward neutrality (non-distorted sound), the larger difference small changes make.
It is like peeling an onion. I keep chipping away and all of a sudden things really start to come into focus. At first it's a leap of faith and then the closer I get the clearer it becomes.
An analogy is color mixing. Too many and you get muddy brown. Narrow the blend and it becomes clearer and brighter. Distortions are like those colors. The more of them you have the muddier the situation becomes. Peel them away one at a time and only after most are tamed does the picture become clear.
-Mike