I've been in love with the 802s for some time. I'm getting ready to splurge but will be traveling a ways to go to a dealer. That said, I can't remember for the life of me what amps were used the last time I listened and I don't know this dealer will have them (I was living back East, now I'm in the Rockies, hence a different dealer). Anyway, just wondering if any of you have ideas/recommendations for an amp to pair with these beauties?!?

The more I thought about it, the amps may have been Halcro or Classe, but those are even shots in the dark. I would appreciate any feedback. Thanks.

I've been in love with the 802s for some time. I'm getting ready to splurge but will be traveling a ways to go to a dealer. That said, I can't remember for the life of me what amps were used the last time I listened and I don't know this dealer will have them (I was living back East, now I'm in the Rockies, hence a different dealer). Anyway, just wondering if any of you have ideas/recommendations for an amp to pair with these beauties?!?

The more I thought about it, the amps may have been Halcro or Classe, but those are even shots in the dark. I would appreciate any feedback. Thanks.

I've heard the 800Ds with the top of the line Halcros and they sounded great. I've used a Bryston 9B-SST and Ayre MX-Rs with my own 802Ds (before I sold them), and would recommend either one of those companies as well, particularly the MX-Rs for the extra juice (they are solid). If I could have any one of them without price being an issue, the top of the line Halcros are a no brainer IMO...

Well, B&W owns Classe, so that would have been pretty likely. Another almost universal combo is with Krell, not that I'm a big fan of that, prefer the Classe. The good thing is that they are very easy to drive, so you don't have to go crazy. An NAD Masters M3, a YBA, a Conrad Johnson are also good contenders.

While you're at it though, I'd see what other speakers there are too. I find that the PSB Synchrony One has an extremely similar sound for a lot less money but those just came out (and, to me, a better midrange/bass). Not to mention a whole host of others. i mean, while you're shopping for amps, you never know what newer, cooler, better speaker has hit the market. Depends on whether you're in love or infatuated, I guess ;)

Parasound JC-1 monoblocks.

Peter

Jeff Rowland has some nice ICE amps or try Theta's Citadel 1.5s

I would definitely have to recommend trying to find a dealer who has the 802's with the classe ca-5xxx series. with some luck there might be one within reasonable driving distance.

I have heard the combination (802/CA-5200) multiple times at a local dealer. the combination with the classe receiver put out some extremely well balanced sound. The one thing I always notice most about them is how smooth voices sound, very clear, very full, very relaxing. I'm sure the sound tracks had much to do with it (in all cases they were the dealers and I had never heard any of them before) but still the classes setup does more than their job to make things sound great with those speakers. truly is an excellent combination and worth the extra effort to give them a shot.

The only other amp I heard with the 802's (only once) was the anthem statement P5. Now that is just a fun amp with some serious balls, amazing bang for the buck in my opinion and hopefully a sign of things to come. The 802's were in a reasonably sized HT room in a 5.1 setup. WOW, is all can say. just superb powerful sound. If I was smart I would sell what I have, buy a P5, be left with a good chunk of money left over and enjoy.

Both are worth your time to listen to if you get the chance.

Good luck

I have heard the Classe monoblocks with them and the Mcintosh MC501 monoblocks. I think both were excellent choices.

I ran my 802Ds with a Krell Evolution amp before trading them up. Also great sound. They'll pair well with many good amps, your personal preference being the final decision-maker.

Lee

I'm matching my 802D's with a Krell FPB 300cx and I like the combo.

A pair of Classe CA-M400s would be lovely with those.

the pair of Classe M400's would be pretty good with those. Having said that, my 802's have sounded like pure magic with a pair of Pass Labs X600 monoblocks...just nothing short of amazing.

http://www.stereophile.com/images/archivesart/passxa160.jpg

Niiiiiiiice, Ssabripo!

That's a wicked amp. Right now I'm looking at a 3-4 hour drive. I travel a lot for work so I'm really hoping to have a trip to NY or L.A. soon. Once my trip is booked, I may have to ask where to demo.

One thing - although to say I'm not a B&W fan would be a glorious understatement, I would rather have the B&W 800D with an NAD Masters M3 integrated amp than the 802D with any amp/preamp combo at any price. Aside from a real overall sonic advantage from the better speakers, the M3 has adjustable stereo sub crossover capabilities and a home theater bypass if you're going to put them in your theater. Then you can hook up all your stereo directly if you like. Besides, I dare anyone to tell hear an audible advantage over the M3 from any super exotic solid state in a blind A/B test. It's that good and as quiet as a Halcro.

http://www.adnm.com/images/nad_m3inside.jpg

Besides, I dare anyone to tell hear an audible advantage over the M3 from any super exotic solid state in a blind A/B test. It's that good and as quiet as a Halcro.

http://www.adnm.com/images/nad_m3inside.jpg

That would be easy. All I would do is turn up the volume and listen for the amp that clips. That would be the NAD intergrated.

[QUOTE=ssabripo;13071827]the pair of Classe M400's would be pretty good with those. Having said that, my 802's have sounded like pure magic with a pair of Pass Labs X600 monoblocks...just nothing short of amazing.QUOTE]

i would have to agree with this one as well. i have the x350.5 which, ims, it also sounds like pure magic. having owned b&w's years ago, i think this amp mates extremely well as it has a very fast, deep and pure sound which would bring the right balance to the b&w's. i also just recently visited my pass dealer and heard the xa200.5 runninng a hovland pre. im not much for that pre, but that amp sounded sweet.

That would be easy. All I would do is turn up the volume and listen for the amp that clips. That would be the NAD intergrated.

Ha, by the time that clips, there'd be nothing left of the kevlar midrange.

erandmckay,

one thing I forgot to mention is that, although the amp will definitely be a big contributor to the acoustic signature of the B&W's, what are you using as your Preamp? You would be MUCH better off making sure you are driving them with an accurate and transparent sourcing (DAC, preamp, etc) than the amount of amplification.

for example, driving them with a Proceed AVP2 processor and a fairly decent power house would be MUCH better than driving it with, say, an outlaw preamp and the Pass Labs X600 monoblocks!

of course, you could just have the best of the best, and get yourself a Proceed AVP2 and a pair of the X600's, and call it a day! ;)

I have 800Ds since they first came out. I started with a pair of Classe CAM/350s which sounded very good. I upgraded to Lamm 1.2s Ref and will never go back. These aren't inexpesive (bought mine used) but the sound is incredible to my ears. Very realistic when combined with my ARC Ref 3.

I'd bet the Beamers would love some CARY AUDIO tube generated current hitting those +/- binding post!

McIntosh is also a good (or has been) mix with B&W as well.

What about Simaudio?

For grins try a QSC pro amp for $800...

I am currently runiing the 802Ds with Cam-350s and they sound very nice. They have good power down low, and provide very smooth and detailed mids and highs.

I agree with Ssabrino, that your Prepro choice will impact the overall sound, as much, or even more than the amp.

Darrell

After numerous amps (Rotel, Parasound and Sphinx), which were all very small steps forward, I have now settle on Chord SPM1200B.

I usually don't rave over equipment, but this amp for me is a serious step forward.

ssabripo,

Right now I'm leaning toward Halcro SSP100. I like what Classe and Anthem Statement has in terms of Pre/Pro, but Halcro has my ear (and soon my wallet).

ssabripo,

Right now I'm leaning toward Halcro SSP100. I like what Classe and Anthem Statement has in terms of Pre/Pro, but Halcro has my ear (and soon my wallet).

that's an outstanding choice! yes, that and a pair of passlabs X600's will make a beautiful combination.

if you haven't bought the Halcro yet, the upcoming CLasse SSP-800 is gonna be pretty hard to beat in terms of Audio accuracy:
http://www.htguide.com/forum/showpost.php4?p=377611&postcount=72

that's an outstanding choice! yes, that and a pair of passlabs X600's will make a beautiful combination.

if you haven't bought the Halcro yet, the upcoming Classe SSP-800 is gonna be pretty hard to beat in terms of Audio accuracy:
http://www.htguide.com/forum/showpost.php4?p=377611&postcount=72

Holy %!#*$, the SSP-800 sounds incredible. A concern on the Pre/Pro side is HDMI. Anyhow, I'm still about 3-6 months out. My plan with the new build of my house is a HT with 802s (although I'm getting tempted to go with 800s), a HTM1D for a center and I'm still undecided on rears. If I go with Classe SSP800, is there any benfit to going with Classe mono block amps?

I must admit, this is the fun part of the process, trying to demo all these components.

I use McIntosh 501's to drive my 802's.

Works for me.

I display 802Ds with the Classe CA-M400 monos in my showroom. That's a great combo, if you ask me. The CA-M400s are paired with the CP-500 preamp and CDP-102 CD player. I haven't got to hear their new CP-700 preamp yet...

Mcintosh and B&W is a common marriage. Listen to them with 501's and see what you think.

Odyssey audio extreme monoblocks special edition. You will save a lot of money too

If you want to go the cheaper route, you could go with Bryston 7B SSTs. They are excellent quality amps. I don't know if I mentioned that earlier.

I know have owned the B&W 802D and Classé CA-5200 for six months and they are getting better with time :)

I also listened to the Electrocompaniet and the nemos where amazing but too rich for my blood

I am one of the "universal" Krell (400cx) guys with 802D's. 802D's need enormous kick and control in the bass drivers to make them sound like magic.

Until the Krell arrived, I drove the 802D's with a Gryphon S100 (Denmark) and whilst this is a really sweet class-A/B amp of 100WPC, the mids and highs on the 802D's were so lusciously smooth and detailed with great soundstage but the S100 didn't have the necessary current available to kick the bass drivers into action and then control them.

The Krell's class-A design is exactly what was required. I also tried a Gryphon Antileon signature amp (also class-A) and this was also-superb but too expensive for my hi-fi budget. I picked the Krell up on secondhand market and now drive it via CAST-MMF cable using Krell KCT pre-amp. Sublime!

the pair of Classe M400's would be pretty good with those. Having said that, my 802's have sounded like pure magic with a pair of Pass Labs X600 monoblocks...just nothing short of amazing.

http://www.stereophile.com/images/archivesart/passxa160.jpg

Beautiful! :cool:

You don't need heating with three of those powering the front array in a HT. :D

While you're at it though, I'd see what other speakers there are too. I find that the PSB Synchrony One has an extremely similar sound for a lot less money but those just came out (and, to me, a better midrange/bass). Not to mention a whole host of others. i mean, while you're shopping for amps, you never know what newer, cooler, better speaker has hit the market. Depends on whether you're in love or infatuated, I guess ;)
Oh yes! By all means do check out some other speakers! I recently heard these 802Ds in the context of providing amps for the new owner of a pair. Brought my own reference CDs along and was disheartened to hear how murky these speakers made my amps and CDs sound. Not only that, but these speakers are severely limited dynamically. The fellow I was auditioning these amps for was thinking in similar terms as some of the other posters here, that they required the 90 lb., 400 watt monos I was bringing.

WOW! Turned it up but just a little, and one speaker emitted a sharp overexcursion crack which was so far down the scale of these amp's power capability that I had to think he was a little crazy for envisioning this match. I must say, I have not heard a crack like that since the days I was mucking around with mid-fi, Circuit City type speaker boxes.

Those of you who are suggesting Pass 600s or such things -- WOW! -- I must beg of you, go out and listen to some Montana speakers -- all that money for amp power to drive these B&Ws is close to insane -- best get some good speakers that benefit from power.

I would have to agree that the NAD integrated would probably fry all the drivers before tapping out, though I have no familiarity with it, I just know these 802Ds are sorely limited in what they can tolerate. Got to admit I was pretty shocked, that being my first listen to anything from this world-renowned manufacturer.

Got to get the speakers right first -- can't emphasize that enough! You just got to....

I've been in love with the 802s for some time. I'm getting ready to splurge but will be traveling a ways to go to a dealer. That said, I can't remember for the life of me what amps were used the last time I listened and I don't know this dealer will have them (I was living back East, now I'm in the Rockies, hence a different dealer). Anyway, just wondering if any of you have ideas/recommendations for an amp to pair with these beauties?!?

The more I thought about it, the amps may have been Halcro or Classe, but those are even shots in the dark. I would appreciate any feedback. Thanks.

If you ever get to see some of the Abbey Road Studios tech sheets for their various studio rooms, the common trend of amps used are Classe, Bryton, and Chord Electronics.
All three of these are used with the various B&W 800 range of speakers, varying from 802d to 800d.

I guess it depends how much you want to spend on amps for "potential gain" in performance from the control of the speakers.
But when comparing (reading and listening) different manufacturers make sure it is with similar specced amps.

Bryston in terms of a lot of the manus mentioned seem reasonably priced and good bang for you bucks, Pass Labs and Chord Electronics are at the upper end.

If you do not mind the size factor then another worth considering in terms of bang for you buck are Musical Fidelity KW series (go with pre and pwr amp) as it might be possible to get deals on them while MF push the Supercharger amp design instead of the KW.

Just curious, which preamp are you looking to use or will you be replacing this as well?

Edit:
One possible benefit of the tank amp manufacturers over say most integrated is that the 802D has not just a challenging impedance, but also a mean phase as well.
At time the phase hits 45degree and higher.
A 45degree phase will put stress on any amp as it must dissipate double the watts and delivers only half the power, add the relationship to impedance swings and this can be aggravated even more, then add dynamic headroom and your clipping before you even know it (or may not know it if the amp has a soft clipping design).

It is rather subjective, but I just feel IMO that the sturdier amps designed with high peak-to-peak voltage such as most of those mentioned handle the stress of the dissipation better than others, and have enough voltage to deal with the phase/impedance swings.

Cheers
DT

Ah I forgot to show this amp that seems to be a new favourite with some, and apart from looking really nice has the specs and facts that can make you feel a bit more confident with them:

http://www.spectronav.com/musicianIII.htm

The reviews from those who have this amp on this forum is impressive, especially when you consider the cost.
Serious bang for your bucks and one I would love to hear in the future myself.

Cheers
DT

If you ever get to see some of the Abbey Road Studios tech sheets for their various studio rooms, the common trend of amps used are Classe, Bryton, and Chord Electronics.
All three of these are used with the various B&W 800 range of speakers, varying from 802d to 800d.

I guess it depends how much you want to spend on amps for "potential gain" in performance from the control of the speakers.
But when comparing (reading and listening) different manufacturers make sure it is with similar specced amps.

Bryston in terms of a lot of the manus mentioned seem reasonably priced and good bang for you bucks, Pass Labs and Chord Electronics are at the upper end.

If you do not mind the size factor then another worth considering in terms of bang for you buck are Musical Fidelity KW series (go with pre and pwr amp) as it might be possible to get deals on them while MF push the Supercharger amp design instead of the KW.

Just curious, which preamp are you looking to use or will you be replacing this as well?

Edit:
One possible benefit of the tank amp manufacturers over say most integrated is that the 802D has not just a challenging impedance, but also a mean phase as well.
At time the phase hits 45degree and higher.
A 45degree phase will put stress on any amp as it must dissipate double the watts and delivers only half the power, add the relationship to impedance swings and this can be aggravated even more, then add dynamic headroom and your clipping before you even know it (or may not know it if the amp has a soft clipping design).

It is rather subjective, but I just feel IMO that the sturdier amps designed with high peak-to-peak voltage such as most of those mentioned handle the stress of the dissipation better than others, and have enough voltage to deal with the phase/impedance swings.

Cheers
DT

This is somewhat misleading....Abbey Roads has also used Wilsons, L3/L5s and other gear in the past. its more who gives them the equipment at this point and marketing. Since B&W owns Classe (and Chord now too right?), no surprise why they are in there.

KeithR
I did not say they use them in every room but those 3 manufacturers stand out a serious amount, it is accurate because it is in Abbey Road's own tech sheets for the studio rooms that details all the equipment and not from any marketing literature.

You also saying B&W now own Chord Electronics?
Cheers
DT

KeithR is right. EMI Abbey Road Studios is prominent enough that they rarely need to buy anything, aside primarily from big-ticket stuff like mixing desks.

Oh yes! By all means do check out some other speakers! I recently heard these 802Ds in the context of providing amps for the new owner of a pair. Brought my own reference CDs along and was disheartened to hear how murky these speakers made my amps and CDs sound.

I am not sure if you had defective speakers but I have 5 802 (three 802D and two 802S in a 5.1 surround system) and they sound fantastic I drive them with a Classé CA-5200 and yes it get warm but the sound is extremely good. Symphonies on SACD multichannels are unbelievable.

Not only that, but these speakers are severely limited dynamically. The fellow I was auditioning these amps for was thinking in similar terms as some of the other posters here, that they required the 90 lb., 400 watt monos I was bringing.

Not at all I tried them first with Classé CA-2100 and they still sing, I am not sure what you call limited dynamically but I suggest you ask your dealer to give you a demo

WOW! Turned it up but just a little, and one speaker emitted a sharp overexcursion crack which was so far down the scale of these amp's power capability that I had to think he was a little crazy for envisioning this match. I must say, I have not heard a crack like that since the days I was mucking around with mid-fi, Circuit City type speaker boxes.

Sounds like your speakers were defective, I have never in the past seven years heard any crack with my 802N and some time I play at very high volume 90 - 95db

Those of you who are suggesting Pass 600s or such things -- WOW! -- I must beg of you, go out and listen to some Montana speakers -- all that money for amp power to drive these B&Ws is close to insane -- best get some good speakers that benefit from power.


So sorry that you had bad experience with these speakers but you should go and get a proper audition at a dealer that carry Classé and B&W and then let me know what you think. Don't be afraid to spend a few hours like I did before buying. I never looked back just up next step is 800D with Classé CAM-400

May you should also do some reading :)

http://www.stereophile.com/floorloudspeakers/1205bw/

http://www.ultraaudio.com/equipment/bw_802d.htm

http://www.audioemporium.com/802D.htm

http://www.bowers-wilkins.com/display.aspx?infid=1157&terid=1344

http://www.electronichouse.com/slideshow/category/274/50

KeithR is right. EMI Abbey Road Studios is prominent enough that they rarely need to buy anything, aside primarily from big-ticket stuff like mixing desks.

So with all these given amps.
Have you ever seen Chord Electronics or Bryston market this information?

Not disagreeing but I have not really seen anything from either manufacturer to point to the fact they gave hardware to Abbey Road studios for the distinct purpose of marketing.

I can tell you that Bryston and Chord Electronics are still used in their various studios with B&W800 to 802d speakers.
It would not appear on their current tech sheets otherwise.

If we cant find any information supporting the giving of hardware for marketing (lets ignore Classe and B&W for the moment), then I would have to say it is a bit unfair to say Abbey Road is given hardware for free and ignore better equipment from other manufacturers
Just done a search on the Chord Electronics website, no findings for Abbey or Abbey Road.

Edit:
Bob, do you think Abbey Road would use free equipment if it is inferior to other manufacturers?
As a prominent studio, I would had thought they must protect their image by ensuring they do use hardware that meets a level of expectation/criteria with performance to match.

Double Edit:
OK further checking has shown Chord Electronics do have an extensive client list displayed on their website :)
Still, I would find it very hard to believe Abbey Road would take mediocre freebies over equipment that provided the quality they want and must deliver (it costs a serious amount to hire one of the rooms).
I agree if 2 products had equal abilities then it makes sense for them to take the cheaper solution (as long as the engineering support/etc is still up to the criteria).

Cheers
DT

I am not sure if you had defective speakers but I have 5 802 (three 802D and two 802S in a 5.1 surround system) and they sound fantastic I drive them with a Classé CA-5200 and yes it get warm but the sound is extremely good. Symphonies on SACD multichannels are unbelievable.

Not at all I tried them first with Classé CA-2100 and they still sing, I am not sure what you call limited dynamically but I suggest you ask your dealer to give you a demo

Sounds like your speakers were defective, I have never in the past seven years heard any crack with my 802N and some time I play at very high volume 90 - 95db

So sorry that you had bad experience with these speakers but you should go and get a proper audition at a dealer that carry Classé and B&W and then let me know what you think. Don't be afraid to spend a few hours like I did before buying. I never looked back just up next step is 800D with Classé CAM-400

May you should also do some reading :)

In truth, I am not sure if the speakers were defective either. I doubt it. Both of us listened carefully and up close after hearing the crack to see if we could detect lasting or perhaps pre-existing damage. There were no signs of that and the sound I heard (the crack) was that of a speaker reaching its excursion limits -- a sound I had not heard in many long years.

This has little to do with loud playing -- it was not all that loud. True, I turned it up some to get an idea of the capability of the speaker, but more so the amps I was auditioning. The material I brought was of a single bass player doing snap funk -- extremely dynamic and will test dynamics. On one of those little $100 class D aluminum box amps, this dynamism caused the amp to cut out on the peaks even at fairly low volume, so there is no doubt it is a dynamic challenge, that is why I brought it along, but these speakers were shockingly limited in what they could handle in terms of DYNAMICS.

Everything else we played sounded OK vis a vis this restriction, but was nowhere near the transparency and level of revelation in the midrange. The A Capella vocal choir I brought on my speakers sounds like the hall -- like you are there -- individual voices are as clear and real and in space as if you were standing in front of them. With the B&Ws, they were indistinct and nowhere near the presence as with my speakers.

He had just paid $7500 for his pair, and knowing what he could obtain for his dollar in the used MONTANA line, it broke my heart what he got for his money. The good news of course is that they are highly thought of, as you point out, and as I pointed out to the speaker's new owner, when he gets a chance to listen to MONTANA, then I think he should be able to move the B&Ws fairly easily, so not all is lost, just a detour.

I am pretty sure I heard a pretty good context for the speakers, and the amps and player I already knew because I brought them along with. It just surprised me because I know my speakers very very well. They don't make those cracking sounds. The bass is deep and dense and tangible and has foundation, vs. ephemerally atmospheric and tenuous.

I'm not at all trying to gore someone's ox -- I certainly wasn't offended by the sound of the B&Ws, it was pleasant enough, and if you like what you hear, that is all that should matter, but if you are looking for value and building a system where you know the speakers need never be addressed again, please listen around. That is all.

Just another few issues of note on the recommended reading list. I scanned some of the articles which mosly praise these speakers that I found lacking. Was the point of the list to have me read then be converted or perhaps experience epiphany? Reading is reading, listening is listening. I don't expect anyone to be converted by what I write either mind you, far from it -- I would only implore folks to listen for their own conclusions.

Also I might point out that when a STEREOPHILE reviewer reviewed the MONTANAs, he actually BOUGHT the penultimate model ($30K), which stands as a rather more legitimate commitment than penning words. Also, as with anything, I have found these matters to be inextricably relative to what is familiar, the last thing heard, the best thing heard to date, the best thing in my environment I've heard, etc.

If you own the 802Ds, go listen to some MONTANAs and get back to us -- if they are not for you, praise your days that you are satisfied. I consider myself extremely lucky that I found the MONTANA line early -- never had one reason to doubt that substantial commitment -- this allows me to play with other components all I like, but never have to worry about backtracking to the system foundation for fear of lacking something there.

Interestingly, just now saw a new offering of a used pair of these 802Ds appear for $13,500 USD. For that kind of price range, I mean, you could have the speaker of a lifetime... that is to say a real-life speaker for adults...

KeithR
I did not say they use them in every room but those 3 manufacturers stand out a serious amount, it is accurate because it is in Abbey Road's own tech sheets for the studio rooms that details all the equipment and not from any marketing literature.

You also saying B&W now own Chord Electronics?
Cheers
DT


I thought i remembered that they were considering buying them, or did buy them. That's why i put a "?" after as i'm not 100%

btw, here is one of the biggest mastering studios in LA (check out the client list):

http://www.chalicerecording.com/index1000.html

i have a friend who is the recording engineer for Mary J Blige and some others and he's gonna take in sometime :)

I thought i remembered that they were considering buying them, or did buy them. That's why i put a "?" after as i'm not 100%

btw, here is one of the biggest mastering studios in LA (check out the client list):

http://www.chalicerecording.com/index1000.html

i have a friend who is the recording engineer for Mary J Blige and some others and he's gonna take in sometime :)

Bah all you had to do instead of your original post was to suggest (as you do now) some makes used in a reputable studio you know (like myself), without insinuating Abbey Road are using freebie equipment at the expense of using what is best.

Not sure why you need to tell us a friend of yours is in the industry, unless he is going to take you in which I bet will be fun :)

Enjoy your time there :)
Cheers
DT

So with all these given amps.
Have you ever seen Chord Electronics or Bryston market this information?

Not disagreeing but I have not really seen anything from either manufacturer to point to the fact they gave hardware to Abbey Road studios for the distinct purpose of marketing.

I can tell you that Bryston and Chord Electronics are still used in their various studios with B&W800 to 802d speakers.
It would not appear on their current tech sheets otherwise.

If we cant find any information supporting the giving of hardware for marketing (lets ignore Classe and B&W for the moment), then I would have to say it is a bit unfair to say Abbey Road is given hardware for free and ignore better equipment from other manufacturers
Just done a search on the Chord Electronics website, no findings for Abbey or Abbey Road.

Edit:
Bob, do you think Abbey Road would use free equipment if it is inferior to other manufacturers?
As a prominent studio, I would had thought they must protect their image by ensuring they do use hardware that meets a level of expectation/criteria with performance to match.

Double Edit:
OK further checking has shown Chord Electronics do have an extensive client list displayed on their website :)
Still, I would find it very hard to believe Abbey Road would take mediocre freebies over equipment that provided the quality they want and must deliver (it costs a serious amount to hire one of the rooms).
I agree if 2 products had equal abilities then it makes sense for them to take the cheaper solution (as long as the engineering support/etc is still up to the criteria).

Cheers
DT

Why are you calling Abbey Road's equipment "mediocre" or "inferior"?

Ehhhhh, they use B&Ws, don't they? Hardly the kind of revealing speaker you'd want for mixing. Good for replicating a typical, mass market 'high-end' system, but hardly the last word in accuracy or resolution. There's as much marketing in the pro industry as anywhere else.

Bob I am not, but when you agree with someone who clearly states:
its more who gives them the equipment at this point and marketing.

Then this insinuates the priority for Abbey Road is who gives them equipment, rather than actually implementing hardware that meets a certain criteria.
Basically Keith was disputing the importance of Abbey Road using the three manufacturers I mentioned, by saying I was misleading and then coming out with the above quote.

In reality NONE of us know how much a studio paid for their equipment so it is wrong to state things like they are given it for free, unless you know for a fact.

Lets let this drop please because all that is happening now is arguing about context, on a subject where an assumption is being made whether Abbey Road pays for their equipment that then in some minds lessens the fact we can state what they use.

Edit:
It is worth noticing what busy studios use because the equipment has a potential to affect results and hence revenue.
It is not just about sound/performance but build quality, technical assistance, etc.
Those in the industry will not pay a high price to use studios unless it can provide certain benefits, after all an artist does not market their album by saying "made in Abbey Road" :)

John, yeah they do use a fair amount of B&W speakers, ironically though not all with Classe but also Chord Electronics and Bryston.
I mention these because they seem rather common in the many studios at Abbey Road.

Maybe studios mostly focus on engineered products that somehow tie in with their country when considering US and UK.

Cheers
DT

Abbey has been using B&Ws for decades since the first 801s came out. They served their purpose, but there are far better speakers now. They use B&Ws, partly for marketing, partly because that's what the engineers are used to hearing. Better the devil you know for an engineer. They like being in their comfort zones. One studio engineer I know in town has his speakers modified to what HE likes and has no interest in hearing accuracy. I remember listening to his $30K+ modified Genelecs and they made Al Di Meola's frenetic Kiss My Axe sound like elevator music, but that's what he liked to hear. Anything brighter or more accurate than muffled was annoying to him.

I think your logic is faulty. Prominent studios often get offers of free equipment, as who wouldn't want their stuff to be used by the likes of Abbey Road? It is not necessarily mediocre or inferior stuff. I'm sure the engineers at Abbey Road know that a power amp in a studio is not meant to sound sweet or magnificent, but highly accurate.

I think your logic is faulty. Prominent studios often get offers of free equipment, as who wouldn't want their stuff to be used by the likes of Abbey Road? It is not necessarily mediocre or inferior stuff. I'm sure the engineers at Abbey Road know that a power amp in a studio is not meant to sound sweet or magnificent, but highly accurate.

OK I will take it that you and Keith do not mean mediocre or inferior equipment when stating it is offered for free.

You lost me though when talking about amps, because the amps they are using are the same ones sold to audio homes, such as Bryston 7B.

I guess if your stating that they get offers of free equipment, then it is fair to say all manufacturers have an equal footing for getting amps into Abbey Road (all same cost due to being free)

So the conclusion is Abbey Road will choose one that meets their criteria the best as cost is no longer a factor; build (do not want product that can fail), quality in terms of performance that does include accuracy of course with component integration/matching, and technical engineering support.
So pointing out what amps are used by busy studios to me still stands.

John, one day you may be shocked and like the 800d and 802d :)

Cheers
DT

DT, I think they're much better than the previous model, but WAY too colored and slow sounding for that kind of price. I can get that much color for much less money. PSB Synchrony, for example. Before, they faked being 'fast' or 'dynamic'. Now that they softened the sound, they just plod. NHT's Xd (RIP) just flat out killed them side by side and a Revel Studio or Salon is a far better true studio monitor for hearing what is exactly on a recording. I am shocked that ANY studio would use them for actual mixing or mastering, but maybe that's why there are so many off sounding recordings.

Yo John,
well its a love/hate relationship and is one of those products you get people arguing on both side of the fence, whether it be subjective listening or even the technical aspects such as shock...horror... Kevlar :)
No need to say your feelings on Kevlar this thread as I think it is pretty clear hehe.

Coming back to the studios and suggesting amps, etc.
Maybe this is different for some manufacturers and small companies, but if looking to create a high profile implementation-solution based on diverse hardware or technology most companies would create a technical Request For Proposal.
This defines many of the implementation criterias.

Although I guess they may do implementation changes adhoc, I would still had thought the considerations defined by an RFP would still stand and be used.

Cheers
DT

Yo John,
well its a love/hate relationship and is one of those products you get people arguing on both side of the fence, whether it be subjective listening or even the technical aspects such as shock...horror... Kevlar :)
No need to say your feelings on Kevlar this thread as I think it is pretty clear hehe.

Coming back to the studios and suggesting amps, etc.
Maybe this is different for some manufacturers and small companies, but if looking to create a high profile implementation-solution based on diverse hardware or technology most companies would create a technical Request For Proposal.
This defines many of the implementation criterias.

Although I guess they may do implementation changes adhoc, I would still had thought the considerations defined by an RFP would still stand and be used.

Cheers
DT

DulcetTones-- i am not trying to be negative at all. Just recognize that marketing is a big part of it, and yes Abbey Roads does not have to pay for gear like you and I. i didn't put down any of the three manufacturers at all or say they had "bad" gear.

what i am implying is don't buy B&W just because Abbey Roads uses it....that's salespitch/marketing.

btw, the #1 all time studio nearfield monitor is probably the lowly Yamaha NS10. many engineers put kleenex over the tweeter!

i posted another studio to let you know what other pros do---and did specifically state that my recording engineer friend is going to take me in! a music producer friend is finalizing an album to be released hopefully later this year. i am very excited as that mixing board in Studio A costs a million bucks or something.

as far as 802-800Ds...a good friend just replaced his with Avalon Eidolons and finds the B&Ws extremely coloured now. that's is one opinion i've heard. i have thought that the B&Ws new Nautilus series is much better than its previous iteration (1st order crossover helps a lot) and actually almost purchased a pair of 804s/803D.

anyways, peace---and enjoy the music!

KR

btw, check out pugetsoundstudios.com, gatewaymastering.com, stevehoffman.tv for other pro audio types/equipment

The new Krell evo series works great with B&W
Pass labs is already mentioned, also a great match.
Never heard the combo but, since Krell works well with B&W, Mark Levinson should be good too.
Classè and B&W does not sound good to me, but another Canadian company - Sim Audio works very well.
I have always found Bryston to be good value for money, but the high frequencies are a bit dull, something that becomes very aparent with the B&W 800D series.

You lost me though when talking about amps, because the amps they are using are the same ones sold to audio homes, such as Bryston 7B.

I'm sorry if I was unclear, but that doesn't seem to have anything to do with what I said about power amps.

I guess if your stating that they get offers of free equipment, then it is fair to say all manufacturers have an equal footing for getting amps into Abbey Road (all same cost due to being free)

I don't think that all companies have the same priorities for offering free gear.

So the conclusion is Abbey Road will choose one that meets their criteria the best as cost is no longer a factor; build (do not want product that can fail), quality in terms of performance that does include accuracy of course with component integration/matching, and technical engineering support.

Yes, and in the power amp market that could be a very crowded market of products that meet that description. I would assume that by "component integration/matching" you mean the amps are rack mountable and have line-level XLR inputs?

So pointing out what amps are used by busy studios to me still stands.

Soft of, just keep the caveats that KeithR pointed out, and take a few grains of salt along for the ride. If those "and the only battery XXXX trusts … is Duracell!" commercials on TV make you want to run out and buy Duracells, then those caveats might not mean much. ;)