or Connect
AVS › AVS Forum › Audio › Receivers, Amps, and Processors › Best Sounding Pre/Pros in Different Price Ranges (Mini Reviews and Discussion)
New Posts  All Forums:Forum Nav:

Best Sounding Pre/Pros in Different Price Ranges (Mini Reviews and Discussion) - Page 3  

post #61 of 4583
Thread Starter 
Quote:
Originally Posted by Milt99 View Post

Re: Anthem firmware update.
How could a firmware change affect the sound of an analog circuit.

I was referring to the digital SQ.
post #62 of 4583
I just wanted to point out that the Aragon Soundstage was the last product Mondial put out before the buyout....

The Stage I was the pre/pro designed/manufactured after....
post #63 of 4583
Quote:
Originally Posted by Zissou View Post

Top of my head:

Rotel 1066, 1068, 1098
nad S170i, T163
Arcam AVR 300, avp700
Bel Canto
Tag McLaren AVR132
Fosgate (Forget Model)
Anthem AVM20, 30, D1
B&K Ref 50
Krell Showcase, HTS, HTS 7.1
Sunfire TGP3 and 4
Cary Cinema 6, Cinema 8
Sherwood P-965
Audio Refinement PRE-2DSP, PRE5
Aragon Soundstage
Bryston SP1.7
Next up are Meridian and Parasound.

Hi. Thanks for the thread. A couple questions.

It seems you picked the Cinema 6 over the Cinema 8 even though they both are under the $6k. Was there something you liked better about the 6? Or was this just cost-based? Also, does the cinema 8 have any purported improvements over the 6 other than just balanced outputs? Are the DACs the same? The output stage?

Also, have you tried the meridian or parasound since this post? lol
post #64 of 4583
Quote:
Originally Posted by Zissou View Post

Top of my head:

Rotel 1066, 1068, 1098
nad S170i, T163
...
.

I am curious about the Rotel line, specifically the 1068 and 1098. What are your thoughts? How do they stack up bang for buck? Is the 1098 worth the price diff over the 1068?

Thanks!
post #65 of 4583
Quote:
Originally Posted by Brad-Man View Post

I just wanted to point out that the Aragon Soundstage was the last product Mondial put out before the buyout....

The Stage I was the pre/pro designed/manufactured after....

so for 2 channel you would prefer the soundstage vs the stage 1 ?
post #66 of 4583
Thread Starter 
Quote:
Originally Posted by Kevin_F View Post

Hi. Thanks for the thread. A couple questions.

It seems you picked the Cinema 6 over the Cinema 8 even though they both are under the $6k. Was there something you liked better about the 6? Or was this just cost-based? Also, does the cinema 8 have any purported improvements over the 6 other than just balanced outputs? Are the DACs the same? The output stage?

Also, have you tried the meridian or parasound since this post? lol


Haven't had a Meridian since the 568 and I have a C1 on order now.
post #67 of 4583
Thread Starter 
Quote:
Originally Posted by HiFiListener View Post

I am curious about the Rotel line, specifically the 1068 and 1098. What are your thoughts? How do they stack up bang for buck? Is the 1098 worth the price diff over the 1068?

Thanks!

Wasn't a big fan of either. They impart a slight electronic haze over everything that drove me crazy. As far as I know in terms of SQ basically the parts in the 98 and 68 are very similar.
post #68 of 4583
Hi Zissou!
How is the user interface & bass mgmt. in the upgraded version of Audio Refinement Pre-2DSP? Has it improved in any way? I understand that the original version(Pre DPLII version) had quirky bass management.
Thanks,
post #69 of 4583
Quote:
Originally Posted by uzun View Post

Converting SACD to PCM doesn't negate the advantages of keeping things in the digital domain. The alternative would be to convert from DSD to analog, then analog to PCM which would be worse. SACD's days are indeed numbered, but many of us have a number of titles in our library and I dont think they will explode just because the format is on the decline.

I agree that converting to analog and back to digital is not the ideal, but you don't need to do that, and you don't need HDMI to pass PCM. So for SACD the conversion to PCM can just as easily done (and better probably since less jitter) in the player as in the pre/pro. SACD was designed to be a high resolution 2 channel music format, and a replacement for CDs, on which Sony's patent had expired. The goal of SACD was to recapture lost royalties, not to invent a new high rez multichannel format (which DVD-A does, and does better).
post #70 of 4583
Yet another reminder for me to stay away from these so called high end esoteric equipment that are designed/built to audibly color the sound.
post #71 of 4583
Thread Starter 
Quote:
Originally Posted by vinodk View Post

Hi Zissou!
How is the user interface & bass mgmt. in the upgraded version of Audio Refinement Pre-2DSP? Has it improved in any way? I understand that the original version(Pre DPLII version) had quirky bass management.
Thanks,

The bass management in all of the AR with PL2 works perfectly. Actually the old one worked perfectly but the reviewer from Ultimateavmag.com didn't know how to set it up properly. Was told that by the distributor.
post #72 of 4583
I don't know what's more believable. That a company always blames the reviewer after every deservedly bad review or the fact that reviewers really generally don't know how to do anything over two channels properly.

Close call
post #73 of 4583
"so for 2 channel you would prefer the soundstage vs the stage 1?"
----------------
I had a chance to audition a Stage One locally for a few weeks...to compare it to my 7.1 Aragon Soundstage, and other than a few additional features, I prefered the sound from the Soundstage. The Soundstage was always an exceptional 2-channel preamp...built around Aragon's top-line Aurum preamp, which I don't know if the Stage One was. And unlike the Stage One, which I believe shares a common power supply, the Soundstage has three for analog, digital and control.

Another fellow AVS member (Ricky) also owned an original Soundstage before getting a new Stage One. While he was initially impressed, he eventually went back to the Soundstage, (the 7.1 model) claiming it was a little more cleaner and transparent. If you can find an upgraded Soundstage, you'll get most of the new features that came with the Stage One (minus the THX add-ons)...including the latest digital upgrade.
post #74 of 4583
Quote:
Originally Posted by Zissou View Post

Went through all those as a pre/pro and they're not competitive whatsoever. The more junk you throw into the box the more the signal is sacrificed.
Less belles and whistles equals better sound.

Then you must have loved the Bryston!
post #75 of 4583
Zissou very deep thinking in those few lines. Nice, structured, eloquent, makes a lot of sense.

Have to point out the fabulous deals (minus warranty) on ebay on the latest Aragon 220v to 120v conversion pre/pros.

Also, would like to add the Anthem D1 which can be had used for around $2500 with some haggling on Audio/Videogon.
post #76 of 4583
Zissou very deep thinking in those few lines. Nice, structured, eloquent, makes a lot of sense.

Have to point out the fabulous deals (minus warranty) on ebay on the latest Aragon 220v to 120v conversion pre/pros.

Also, would like to add the Anthem D1 which can be had used for around 2.5k with some haggling on Audio/Videogon.
post #77 of 4583
I just came upon this thread and thought it was very interesting and was wondering if the OP has tried anything else as well as any info on the new Cary Cinema 11. The Cary Cinema 11 interests me a great deal. Any info.
post #78 of 4583
Quote:
Originally Posted by VTGOLFER View Post

I just came upon this thread and thought it was very interesting and was wondering if the OP has tried anything else as well as any info on the new Cary Cinema 11. The Cary Cinema 11 interests me a great deal. Any info.

I would love to read a review of the Cary Cinema 11 also. Matched with a good VP for video it could be a killer product.
post #79 of 4583
Quote:
Originally Posted by dsmith901 View Post

I would love to read a review of the Cary Cinema 11 also. Matched with a good VP for video it could be a killer product.

I am thinking on the same lines as you. I believe the Cinema 11 is going to sell MSRP for around 3k add a nice video processor for 2k and you would have the makings of a killer pre/pro.
post #80 of 4583
Quote:
Originally Posted by Zissou View Post

After having used 26 processors in the last 15 months I feel "somewhat" qualified to list these as the best sounding. My priority is music first but all do wonders for movies as well.

Over $6000

Bel Canto PrePro

Quite simply there is nothing this doesn't do absolutely superbly. The Rolls Royce of MC pre/pros.

Just saw this "old" thread. Interesting comment, you mean the one with the video display on the front center? I believe other versions of this platform can be had for less.
post #81 of 4583
Thread Starter 
Quote:
Originally Posted by VTGOLFER View Post

I just came upon this thread and thought it was very interesting and was wondering if the OP has tried anything else as well as any info on the new Cary Cinema 11. The Cary Cinema 11 interests me a great deal. Any info.

Haven't got one in house yet but hope to.
post #82 of 4583
I was wondering if anyone listened to the primare processors.
post #83 of 4583
Quote:
Originally Posted by keepinitcool View Post

Just saw this "old" thread. Interesting comment, you mean the one with the video display on the front center? I believe other versions of this platform can be had for less.

And those others (that you surely have heard and compared) would be......?
post #84 of 4583
Quote:
Originally Posted by dsmith901 View Post

And those others (that you surely have heard and compared) would be......?

The platform appears to be the same as some other brands (Sim, Marsh, and others).
post #85 of 4583
Hello,

So if you had the opportunity to purchase a Aragon Stage one for $1500.00, would you Jump on it?


Please advise.

Thanks,

Chad
post #86 of 4583
Thread Starter 
Quote:
Originally Posted by CSlater21 View Post

Hello,

So if you had the opportunity to purchase a Aragon Stage one for $1500.00, would you Jump on it?


Please advise.

Thanks,

Chad

The Cary is better and should be the same price.
post #87 of 4583
I really prefer musical accuracy in a pre-pro also. I have the B&K Ref 50 and agree with your comments. Not so good for music.

I moved out a Chello pre-amp that I found a bit grainy in the treble. So I wanted to ressurrect my music reproduction.


My strategy was to buy a 2 ch pre-amp that I could reference with other pre-pros. A stereo pre-amp that was well regarded. I thought of a SAS 10A but worried about tube warmth, even if minimal. So I went with Sonic Euphoria. Both SAS 10A and the Sonic Euphoria Passive Line Controller compare favorably in the press, with the SE described a little dry vs the SAS's warmth. Both very accurate. I have never head the SAS.

The sonic Euphoria is wonderfully abscent. Accurate and and allowing the other components to do their work. I spent some time with my CD player and turntable hooked directly to my amp. Recording was Bolero. Watch out for amp matching with source, of course. Impedence, I think. Only use this musical piece since it starts quiet. The SE was as if I had no pre-amp in the chain.

I also put back the Chello in the chain and heard some exaggerated soundstage presentations. Dang pre-amp not being faithful to the musical recording scenario.

OK, here is where my quest turned. I stopped and kept the SE passive pre-amp in my music chain. Sources kept hooked up to the SE and left the B&K in for movies. Now I just turn off the amp and switch cables to the amp. Small inconvience. Much less inconvient than cycling thru a few pre-pros. I just felt I was there.

This is not a novel concept, having two pres in a system. However, I felt I should find a well regarded pre-amp for accuracy as a starting place. And a good passive pre-amp should only attenuate the volume so you don't blow your speakers, vs no pre-amp. No coloration or exaggeration of soundstage, etc. It does switching. The SAS was tempting as a trial tho.

I can see how some posters opinions differer re- pre-pros due to system matching of other components and speakers.

Don't hook your CD player directly to your amp unless you research the technique in detail.

So this is one strategy to use when demoing pre-pros for musical accuracy, the purpose of this post.

Daveoo
post #88 of 4583
Not to take anything away from Zissou's fun. More power to you.

daveoo
post #89 of 4583
Do you have a B&K Ref 50 or B&K Ref 50 S2? I heard that the S2 model had improved a lot.

I am also thinking to go the 2ch pre-amp route. What is passive line controller? I checked out sonic Euphoria's website and found it does not have treble/bass control. Can you recommend a normal pre-amp? Thanks.

David


Quote:
Originally Posted by daveoo View Post

I really prefer musical accuracy in a pre-pro also. I have the B&K Ref 50 and agree with your comments. Not so good for music.

I moved out a Chello pre-amp that I found a bit grainy in the treble. So I wanted to ressurrect my music reproduction.


My strategy was to buy a 2 ch pre-amp that I could reference with other pre-pros. A stereo pre-amp that was well regarded. I thought of a SAS 10A but worried about tube warmth, even if minimal. So I went with Sonic Euphoria. Both SAS 10A and the Sonic Euphoria Passive Line Controller compare favorably in the press, with the SE described a little dry vs the SAS's warmth. Both very accurate. I have never head the SAS.

The sonic Euphoria is wonderfully abscent. Accurate and and allowing the other components to do their work. I spent some time with my CD player and turntable hooked directly to my amp. Recording was Bolero. Watch out for amp matching with source, of course. Impedence, I think. Only use this musical piece since it starts quiet. The SE was as if I had no pre-amp in the chain.

I also put back the Chello in the chain and heard some exaggerated soundstage presentations. Dang pre-amp not being faithful to the musical recording scenario.

OK, here is where my quest turned. I stopped and kept the SE passive pre-amp in my music chain. Sources kept hooked up to the SE and left the B&K in for movies. Now I just turn off the amp and switch cables to the amp. Small inconvience. Much less inconvient than cycling thru a few pre-pros. I just felt I was there.

This is not a novel concept, having two pres in a system. However, I felt I should find a well regarded pre-amp for accuracy as a starting place. And a good passive pre-amp should only attenuate the volume so you don't blow your speakers, vs no pre-amp. No coloration or exaggeration of soundstage, etc. It does switching. The SAS was tempting as a trial tho.

I can see how some posters opinions differer re- pre-pros due to system matching of other components and speakers.

Don't hook your CD player directly to your amp unless you research the technique in detail.

So this is one strategy to use when demoing pre-pros for musical accuracy, the purpose of this post.

Daveoo
post #90 of 4583
For tone control I would just reference the info in this thread and go pre/pro. Or a seperate EQ if major correction needed. I don't know of any stereo pre-amps with tone control that I would reommend. There might be some musial sounding choices, none-the-less, I just don't go there.
New Posts  All Forums:Forum Nav:
  Return Home
  Back to Forum: Receivers, Amps, and Processors
This thread is locked  
AVS › AVS Forum › Audio › Receivers, Amps, and Processors › Best Sounding Pre/Pros in Different Price Ranges (Mini Reviews and Discussion)