Revel Owners Thread - Page 353 - AVS Forum | Home Theater Discussions And Reviews
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post #10561 of 16933 Old 11-20-2017, 09:27 PM
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when i bought my focals it was all measeured against bw d3's with mac gear. all other speakers were on marantz avr except my focal 948 on nad master series stuff. it was easy choice.

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post #10562 of 16933 Old 11-20-2017, 09:48 PM
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Originally Posted by torii View Post
when i bought my focals it was all measeured against bw d3's with mac gear. all other speakers were on marantz avr except my focal 948 on nad master series stuff. it was easy choice.
So you really have no idea how each would sound in your room.
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post #10563 of 16933 Old 11-20-2017, 09:51 PM
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So you really have no idea how each would sound in your room.

nope just how they sounded in dealer rooms...dealer had 4 rooms to audition, some with sound proofing, some without.

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post #10564 of 16933 Old 11-20-2017, 09:56 PM
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believe me it was easy choice...but i will grant if some dont like midbass highs, dealer had that covered. its not about my likes tho...its about all this talk about science and nobody else in industry cares to even recognize. so doc toole and friends spent their life doing something masterful but nobody else playing ball...sounds like us on forums.

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post #10565 of 16933 Old 11-21-2017, 08:31 AM
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Amazing speakers these Revels. I've had my modest F208's for a month or two and still can't believe how good they are. I know a lot of you have better Revels, but even these F208's is a big step up from what I have had before.
One of speaker tests is to compare the sound between good (and the "good" is an important factor here) headphones and the speakers. You see, headphones to speakers cost ratio is about 1:10, meaning you can buy a thousand dollars pair of cans and the imaging and coherency will sound almost as good as a $10,000 or more pair of speakers. The headphones require less materials, drivers and they are impervious to some of the speakers' issues such as positioning or room limitations. The headphones have their own drawbacks but that is besides the point.
What I am noticing with the Revels is that they actually sound BETTER than my reference level $899 HiFiMan HE560 . I have not experienced that with my previous speakers. A razor sharp sound with exact imaging and instrument positioning. The cans used to be the reference to tinker with speaker positioning before. Well, not anymore.
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post #10566 of 16933 Old 11-21-2017, 09:41 AM
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Originally Posted by grigorianvlad View Post
Amazing speakers these Revels. I've had my modest F208's for a month or two and still can't believe how good they are. I know a lot of you have better Revels, but even these F208's is a big step up from what I have had before.
One of speaker tests is to compare the sound between good (and the "good" is an important factor here) headphones and the speakers. You see, headphones to speakers cost ratio is about 1:10, meaning you can buy a thousand dollars pair of cans and the imaging and coherency will sound almost as good as a $10,000 or more pair of speakers. The headphones require less materials, drivers and they are impervious to some of the speakers' issues such as positioning or room limitations. The headphones have their own drawbacks but that is besides the point.
What I am noticing with the Revels is that they actually sound BETTER than my reference level $899 HiFiMan HE560 . I have not experienced that with my previous speakers. A razor sharp sound with exact imaging and instrument positioning. The cans used to be the reference to tinker with speaker positioning before. Well, not anymore.
Does this mean I don’t get that offer we talked about? :-p
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post #10567 of 16933 Old 11-22-2017, 06:29 AM
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I know this is a shot in the dark but does anybody have, or know somebody who has, some shipping boxes for Ultima Studio's version 1 that they would be willing to sell?
I recall when I contacted Revel that they wanted way too much for new boxes.

Thanks, and Happy Thanksgiving!
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post #10568 of 16933 Old 11-22-2017, 07:51 AM
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Does this mean I don’t get that offer we talked about? :-p
Chris, is that you? I can't possibly Keep track of all of your secret identities

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post #10569 of 16933 Old 11-23-2017, 07:17 AM
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Personally, I would take the F208s in a heartbeat over the original Salons.
I'd take my Studio2s over the Salons as well.

Revel has come a very, very long way in their mid-range and especially the top-range since the original Salons, imo.
Plus I never like the looks of the Salons...
The v1 salon is unusual looking, but demoing different electronics i'm finding it improves with each component. I posed the question to myself after hearing both because the f208 sounds so similar and at 250 lbs the salon is a drag to move. It's not a realistic question since everybody has different taste and values when choosing products and the f208 does come pretty close sonically with looks fitting a rooms decor better it says quite a lot that Revel can come so close a mere 10 years later to sota sound at 1/4 the price.
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post #10570 of 16933 Old 11-25-2017, 02:08 PM
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I have a pair of F35's on demo at the moment and am really impressed. Can someone tell me the main differences between this range and the performa F206? Do the Performas resolve any more detail? I'm coming from a pair of Tannoy D700s and although the Revels are smoother and the top end is way crisper I'm not sure some instruments sound quite as real, piano is a good example although it's so close and they are certainly seductively easy to listen to...
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post #10571 of 16933 Old 11-25-2017, 04:12 PM
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Originally Posted by Lexicon94 View Post
I have a pair of F35's on demo at the moment and am really impressed. Can someone tell me the main differences between this range and the performa F206? Do the Performas resolve any more detail? I'm coming from a pair of Tannoy D700s and although the Revels are smoother and the top end is way crisper I'm not sure some instruments sound quite as real, piano is a good example although it's so close and they are certainly seductively easy to listen to...
My understanding is, as you go up in price with Revel, dynamic range increases, output level increases and refinement increases. At all price levels sound accuracy is the goal.

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post #10572 of 16933 Old 11-25-2017, 04:49 PM
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Originally Posted by Lexicon94 View Post
I have a pair of F35's on demo at the moment and am really impressed. Can someone tell me the main differences between this range and the performa F206? Do the Performas resolve any more detail? I'm coming from a pair of Tannoy D700s and although the Revels are smoother and the top end is way crisper I'm not sure some instruments sound quite as real, piano is a good example although it's so close and they are certainly seductively easy to listen to...
Although the Concerta2 are a 2.5 way vs a 3 way design the F36 might be a better comparison to the F206 Performa3.
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post #10573 of 16933 Old 11-25-2017, 06:12 PM
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Originally Posted by Lexicon94 View Post
I have a pair of F35's on demo at the moment and am really impressed. Can someone tell me the main differences between this range and the performa F206? Do the Performas resolve any more detail? I'm coming from a pair of Tannoy D700s and although the Revels are smoother and the top end is way crisper I'm not sure some instruments sound quite as real, piano is a good example although it's so close and they are certainly seductively easy to listen to...
The F35 are a 2.5 way vs a 3 way in the F206, not that a 3 way is necessarily better. You really need to listen to both unfortunately, I think if you're happy with the piano black finish it would be a tough choice. I think the F35 is an MDF cabinet vs real wood in the F206 as well.
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post #10574 of 16933 Old 11-25-2017, 11:48 PM
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F35/6 v F206

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Originally Posted by aarons915 View Post
The F35 are a 2.5 way vs a 3 way in the F206, not that a 3 way is necessarily better. You really need to listen to both unfortunately, I think if you're happy with the piano black finish it would be a tough choice. I think the F35 is an MDF cabinet vs real wood in the F206 as well.
The F206 is a fair step up price wise from the F35/6 so I was wondering if anyone had taken the time to do a side by side comparison. I understand that the 208 is the one everyone raves about but that's a further step up in price again and it would be overkill for my room which is 15 x 13.25 x 7.75 ft.

I'm running out of space for all the demo boxes at the moment........ and she's getting a bit twitchy....
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post #10575 of 16933 Old 11-26-2017, 07:52 AM
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Originally Posted by Lexicon94 View Post
The F206 is a fair step up price wise from the F35/6 so I was wondering if anyone had taken the time to do a side by side comparison. I understand that the 208 is the one everyone raves about but that's a further step up in price again and it would be overkill for my room which is 15 x 13.25 x 7.75 ft.
I'm running out of space for all the demo boxes at the moment........ and she's getting a bit twitchy....
You can find used F206's and F208's for great prices on Audiogon.

I sit about 10' back from F208's and they are perfect.

Last edited by Rex Anderson; 11-26-2017 at 09:54 AM.
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post #10576 of 16933 Old 11-26-2017, 12:42 PM
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Originally Posted by Lexicon94 View Post
The F206 is a fair step up price wise from the F35/6 so I was wondering if anyone had taken the time to do a side by side comparison. I understand that the 208 is the one everyone raves about but that's a further step up in price again and it would be overkill for my room which is 15 x 13.25 x 7.75 ft.

I'm running out of space for all the demo boxes at the moment........ and she's getting a bit twitchy....
you got PM
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post #10577 of 16933 Old 11-26-2017, 02:04 PM
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Quote:
Originally Posted by Lexicon94 View Post
The F206 is a fair step up price wise from the F35/6 so I was wondering if anyone had taken the time to do a side by side comparison. I understand that the 208 is the one everyone raves about but that's a further step up in price again and it would be overkill for my room which is 15 x 13.25 x 7.75 ft.

I'm running out of space for all the demo boxes at the moment........ and she's getting a bit twitchy....
I have the 208's and a good friend of mine has the 206's. I have a dedicated room. It is our intention (likely after the Holidays) to bring his 206's over to my home and set them up and do a comparison. We have been talking about it for some time but just have not had enough free time to do so yet.
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post #10578 of 16933 Old 11-26-2017, 05:51 PM
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Talking When a sound system enables the music to move your soul

This evening, for the first time ever, I connected my Mark Levinson No. 536 amplifiers to my new Salon2’s. I had been using my ATI 6007 amplifier while awaiting the completion of my room.

The difference was stunning! These Salon2’s are quite revealing and allow one to hear the difference in gear. When fine transducers like the Salon2’s are served by equally fine electronics, the result can be soul touchingly exquisite. I had a moment where the music moved me to a lump in my throat and my fist pumped the air.

This is why I have the system I do, to have these moments!

I wish for all of you to enjoy your systems this way!

Finally, thank you Harman for making fine gear!
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post #10579 of 16933 Old 11-26-2017, 10:30 PM
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This evening, for the first time ever, I connected my Mark Levinson No. 536 amplifiers to my new Salon2’s. I had been using my ATI 6007 amplifier while awaiting the completion of my room.

The difference was stunning! These Salon2’s are quite revealing and allow one to hear the difference in gear. When fine transducers like the Salon2’s are served by equally fine electronics, the result can be soul touchingly exquisite. I had a moment where the music moved me to a lump in my throat and my fist pumped the air.

This is why I have the system I do, to have these moments!

I wish for all of you to enjoy your systems this way!

Finally, thank you Harman for making fine gear!

"These Salon2’s are quite revealing and allow one to hear the difference in gear"

Yep, what I've been saying since about forever. If you have the resolving capability, butt to nut, in your system, there can be audible differences in components thought (especially around here) to all sound the same.

And believe me, this is both a blessing and a curse.

Last edited by Scotth3886; 11-26-2017 at 10:44 PM.
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post #10580 of 16933 Old 11-27-2017, 02:32 PM
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It's not a matter of all gear sounding the same. As always, there are caveats:

Electronic gear that measures the same and is operating properly within its limits should sound the same.

It's very possible that a speaker that presents a complex load (like the Salon2) could sound better with certain amps vs. others. And some of those differences may be revealed only with particularly challenging pieces of music. If so, the differences may be temporal and therefore hard to replicate.

The caveat here is - what is an actual difference in sound vs. a perceived one? Decades of psychoacoustic research has shown that we as human beings are very easily fooled into thinking we see and hear differences, when those differences are not actually there. One only has to google optical and aural illusions for many examples. The McGurk effect is an easy example of how easily our ears can be fooled by a slight visual cue:


Plus all the time I spent doing sighted listening tests where people SWORE they heard a difference between components when I actually never switched them

Human beings are SO easily fooled that it really does become necessary to put scientific protocols in place to eliminate bias. Otherwise it's hard to separate the perceived vs. the actual.
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post #10581 of 16933 Old 11-27-2017, 02:44 PM
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Human beings are SO easily fooled that it really does become necessary to put scientific protocols in place to eliminate bias. Otherwise it's hard to separate the perceived vs. the actual.
I hope so because I am keeping my AT6000's


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post #10582 of 16933 Old 11-27-2017, 02:53 PM
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Originally Posted by John Schuermann View Post
It's not a matter of all gear sounding the same. As always, there are caveats:

Electronic gear that measures the same and is operating properly within its limits should sound the same.

It's very possible that a speaker that presents a complex load (like the Salon2) could sound better with certain amps vs. others. And some of those differences may be revealed only with particularly challenging pieces of music. If so, the differences may be temporal and therefore hard to replicate.

The caveat here is - what is an actual difference in sound vs. a perceived one? Decades of psychoacoustic research has shown that we as human beings are very easily fooled into thinking we see and hear differences, when those differences are not actually there. One only has to google optical and aural illusions for many examples. The McGurk effect is an easy example of how easily our ears can be fooled by a slight visual cue:

https://www.youtube.com/watch?v=G-lN8vWm3m0

Plus all the time I spent doing sighted listening tests where people SWORE they heard a difference between components when I actually never switched them

Human beings are SO easily fooled that it really does become necessary to put scientific protocols in place to eliminate bias. Otherwise it's hard to separate the perceived vs. the actual.

"It's very possible that a speaker that presents a complex load (like the Salon2) could sound better with certain amps vs. others. And some of those differences may be revealed only with particularly challenging pieces of music. If so, the differences may be temporal and therefore hard to replicate."


No kidding! So you can understand what I've been through with my lifelong 'thing' with ESLs. Blind, if anything the differences were more pronounced, and this was with two pair of very high end mono blocks 25 years ago, the VTL 300s and ARC Classic 150s. Not having the visual accentuated the audible differences. I also had Adcom GFA555 and Counterpoint SA220. None of them sounded alike with the this load. I liked both the ARCs and VTLs as they were my amps and shockingly easy to identify which was which. My buddy who later became the largest VAC and Magico dealer in the country would, 50% of the time, get the first identification wrong, but was accurate on the rest of a set. I couldn't understand how he couldn't have gotten one wrong as it was so obvious. This was using the A1s and ML Statements. On my Maggies, most of the difference were gone. Sumthin' to do with that load I suspect.

Last edited by Scotth3886; 11-27-2017 at 03:12 PM.
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post #10583 of 16933 Old 11-27-2017, 05:44 PM
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If the difference is only in my head, then count me among the happily deluded!

I would never present myself as representative of our species’ finer minds (because I ain’t one and I don’t), so it could be psychological!

But I’d be willing to wager a couple grand that I could pick the difference between these two amps in a DBT.
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post #10584 of 16933 Old 11-27-2017, 06:35 PM
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I just bought a pair of Revel M16 ($900 MSRP Pair) for my desktop to replace my NHT Superones ($325 MSRP Pair).

A couple of thoughts about the speakers and if it is worth it for use on a desktop. Used a Velodyne Subwoofer for the low end, 80hz and a computer software to DSP the sub.

Pros:

1) When playing loud, the Revels are significantly better than the NHT.
2) Listening to high quality music, the detail, clarity, and soundstage is excellent.
3) I can crank up the volume and they don't irritate me as much as the NHT.
4) Attractive speakers
5) Can be found for much cheaper


Cons:

1) When playing at low or moderate volume on the desktop, the difference between the NHT and Revels wasn't as great. The Revels were still better but not sure over 2-3x the price.
2) Low quality music or even itunes videos only had a slight improvement by the Revels.
3) Placement on a desktop isn't ideal vs my other Revels for my TV.
4) Large


Now I know why THX has different certifications for desktop versus home theater. Distance and size of the listening space really does matter. I think the Revels are excellent and if you can do proper placement and want the best, these are the speakers to get for desktop. If you can't afford it, listen to low to moderate volumes, or compressed music, a smaller speaker may work just as well. Like the smaller SVS Prime Satellites or the NHT Superzero.
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post #10585 of 16933 Old 11-28-2017, 10:07 AM
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Quote:
Originally Posted by Scotth3886 View Post
"These Salon2’s are quite revealing and allow one to hear the difference in gear"

Yep, what I've been saying since about forever. If you have the resolving capability, butt to nut, in your system, there can be audible differences in components thought (especially around here) to all sound the same.

And believe me, this is both a blessing and a curse.
I have never found this audiophile claim "You really need a highly resolving system to hear differences between source/component quality" to be true, in practice.

I've always noticed that, even playing music on my car stereo, I hear essentially everything in the source. When I play the same music on my high end gear, it's not so much I'm hearing "things I couldn't hear" on the car stereo; rather I'm hearing them differently.

The same goes for when I play my music on "super resolving" systems. I hear essentially the same details, just presented slightly differently.

This carries over to all the speakers I've owned (and own), which range from those known for super high resolution, to much less so. If, for instance, a new re-master of an album is sonically different, I hear the difference no matter what speakers I use. If a source or amp actually has a sonic signature (e.g. my tube amps), then this is heard easily whatever speakers I've used. In other words, once we are talking about the audible threshold - that is when a change is in principle audible to our hearing system - I suggest it is at a level that would be heard through most decent speakers. (And, for instance, the type of large sonic differences many audiophiles describe for things like cables would be audible through any decent speaker, no "super resolution" models required).
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post #10586 of 16933 Old 11-28-2017, 11:19 AM
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Originally Posted by R Harkness View Post
I have never found this audiophile claim "You really need a highly resolving system to hear differences between source/component quality" to be true, in practice.

I've always noticed that, even playing music on my car stereo, I hear essentially everything in the source. When I play the same music on my high end gear, it's not so much I'm hearing "things I couldn't hear" on the car stereo; rather I'm hearing them differently.

The same goes for when I play my music on "super resolving" systems. I hear essentially the same details, just presented slightly differently.

This carries over to all the speakers I've owned (and own), which range from those known for super high resolution, to much less so. If, for instance, a new re-master of an album is sonically different, I hear the difference no matter what speakers I use. If a source or amp actually has a sonic signature (e.g. my tube amps), then this is heard easily whatever speakers I've used. In other words, once we are talking about the audible threshold - that is when a change is in principle audible to our hearing system - I suggest it is at a level that would be heard through most decent speakers. (And, for instance, the type of large sonic differences many audiophiles describe for things like cables would be audible through any decent speaker, no "super resolution" models required).

"I have never found this audiophile claim "You really need a highly resolving system to hear differences between source/component quality" to be true, in practice."

I couldn't disagree more, which is sort of the reason these forums exist I guess. I don't see how the above couldn't be true. One caveat, is that I think you will hear differences in color, but low level detail, not so much. Let's say to use your example of the car stereo. The car at 70 mph, if its a very quiet car has a noise floor of 68-70 db, maybe some as quiet as 65db, but nothing lower than that I'm aware of. My listening room downstairs has a noise floor of 18db (which is very quiet, the average at home noise floor being 30db +/-), and you're listening in the both environments at level that won't cause you to go deaf, lets say average of 80-85 db. How could low level detail not be masked in the car environment when there's a 50db +/- difference in your noise floor? I've debated (and argued) about this since there's been an internet, before if you count AOL and Prodigy chat rooms. I completely do not understand this claim.

Or you have a system that doesn't resolve so well so lets say a early/mid 60s Sears Silvertone Compact Consolette all in one stereo versus a full blown audiophile system such as the VAC, Von Schweikert system at Axpona, to stake out extremes? An example that I use and show is the St. Martin/Marriner/Blueback/Four Seasons from 1960. Fantastic recording with a very low noise floor. I have 3 (2 still sealed) copies of the original, remasters, and the test pressing of Chad's remaster. On the latter, upon listing to the entire side, something is quite noticeable that I've had other folks here listening ask me "what was that that just happened or similar". It's the HVAC cycling on and off in the hall. Btw, I turn mine completely off for serious listening so it can't be mine that they're hearing. I play that exact same recording on my budget system with the Yamaha and Elacs and it's simply not audible. It's still there because its the exact same recording, but not audible. Some of that is due to the slightly higher noise floor up here 25 - 30db and the rest due to the budget system doesn't resolved nearly as well (doesn't drive me nuts either). Even when I take the other speakers in the house down to system in the listening room. Not there or excuse me, there, but not audible. That's one of many examples of low level detail that's obscured or masked by a system that doesn't resolve as well. It could be key clicks of the woodwinds or any number of other things, but there can be quite difference in 'information' retrieval. Next time you're in town, give me a shout and drop on by. I show you by playing a side of that album using the B&Ws or Elacs in my listening room with everything the same except the speakers, and see if you can tell me when you hear that, if you do. Then I'll play the same on the ESLs or the highly resolving speakers of your choosing.

I think you'll find it to be surprisingly obvious. I'm an old fart geezer curmudgeon so I'm quite certain your hearing will be better than mine. Also, as I've said many times in the past, this is both a blessing and a curse
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Last edited by Scotth3886; 11-28-2017 at 04:03 PM.
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post #10587 of 16933 Old 11-28-2017, 12:31 PM
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Quote:
Originally Posted by R Harkness View Post
I have never found this audiophile claim "You really need a highly resolving system to hear differences between source/component quality" to be true, in practice.

I've always noticed that, even playing music on my car stereo, I hear essentially everything in the source. When I play the same music on my high end gear, it's not so much I'm hearing "things I couldn't hear" on the car stereo; rather I'm hearing them differently.

The same goes for when I play my music on "super resolving" systems. I hear essentially the same details, just presented slightly differently.

This carries over to all the speakers I've owned (and own), which range from those known for super high resolution, to much less so. If, for instance, a new re-master of an album is sonically different, I hear the difference no matter what speakers I use. If a source or amp actually has a sonic signature (e.g. my tube amps), then this is heard easily whatever speakers I've used. In other words, once we are talking about the audible threshold - that is when a change is in principle audible to our hearing system - I suggest it is at a level that would be heard through most decent speakers. (And, for instance, the type of large sonic differences many audiophiles describe for things like cables would be audible through any decent speaker, no "super resolution" models required).
Rich, one certainly can hear common differences in source material or gear regardless of system. What a highly resolving system does that one less resolving cannot do is make discernible those differences that are more subtle. An example of what I am trying to describe is the ability to hear the actual word enunciation in a song where otherwise not discernible. Some other differences are difficult to verbalize, though not at all difficult to detect. I’m not sure we are disagreeing, I sense that you are merely saying that many differences are readily noticed in nearly any system, and with that I agree.

But a fine degree of differentiation is what compels audiophiles to spend good money, and I was describing where it came to fruition in my system. I’ll freely admit that the refinement is sometimes small, but it’s where I find the magic happens and I really, really dig it!
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post #10588 of 16933 Old 11-28-2017, 12:39 PM
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Rich, one certainly can hear common differences in source material or gear regardless of system. What a highly resolving system does that one less resolving cannot do is make discernible those differences that are more subtle. An example of what I am trying to describe is the ability to hear the actual word enunciation in a song where otherwise not discernible. Some other differences are difficult to verbalize, though not at all difficult to detect. I’m not sure we are disagreeing, I sense that you are merely saying that many differences are readily noticed in nearly any system, and with that I agree.

But a fine degree of differentiation is what compels audiophiles to spend good money, and I was describing where it came to fruition in my system. I’ll freely admit that the refinement is sometimes small, but it’s where I find the magic happens and I really, really dig it!

Perfect !!!!
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post #10589 of 16933 Old 11-28-2017, 03:05 PM
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Originally Posted by R Harkness View Post
I have never found this audiophile claim "You really need a highly resolving system to hear differences between source/component quality" to be true, in practice.

I've always noticed that, even playing music on my car stereo, I hear essentially everything in the source. When I play the same music on my high end gear, it's not so much I'm hearing "things I couldn't hear" on the car stereo; rather I'm hearing them differently.

The same goes for when I play my music on "super resolving" systems. I hear essentially the same details, just presented slightly differently.

This carries over to all the speakers I've owned (and own), which range from those known for super high resolution, to much less so. If, for instance, a new re-master of an album is sonically different, I hear the difference no matter what speakers I use. If a source or amp actually has a sonic signature (e.g. my tube amps), then this is heard easily whatever speakers I've used. In other words, once we are talking about the audible threshold - that is when a change is in principle audible to our hearing system - I suggest it is at a level that would be heard through most decent speakers. (And, for instance, the type of large sonic differences many audiophiles describe for things like cables would be audible through any decent speaker, no "super resolution" models required).
This audiophile thing called "resolution" is very misleading. There is no - none, nada - metric for "resolution" as an isolated perceptual dimension. However, there is 40+ years worth of evidence indicating that as distracting resonances are removed, as non-linear distortions are reduced, and as directivity is rendered more uniformly, that listener ratings go up. So, I suggest that high resolution is what is left after the flaws in loudspeakers are eliminated. It is not a property that is "added".

That said, we are in the excellent situation in 2017 that the rules for designing the distracting audible flaws out of loudspeakers are well understood by competent loudspeaker designers. High "resolution" can be achieved at all price levels, with the constraint that small inexpensive loudspeakers cannot play as loud as their bigger brethren, they will not be as stylish, and they probably don't extend down to the lowest frequencies. However if competent engineers set out to design neutral loudspeakers it is an achievable goal. Sadly, there are numerous loudspeakers, including "high end" products, that give evidence to the reality that not all brands care, or are able to achieve the achievable.
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post #10590 of 16933 Old 11-28-2017, 03:57 PM
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Originally Posted by Floyd Toole View Post
This audiophile thing called "resolution" is very misleading. There is no - none, nada - metric for "resolution" as an isolated perceptual dimension. However, there is 40+ years worth of evidence indicating that as distracting resonances are removed, as non-linear distortions are reduced, and as directivity is rendered more uniformly, that listener ratings go up. So, I suggest that high resolution is what is left after the flaws in loudspeakers are eliminated. It is not a property that is "added".

That said, we are in the excellent situation in 2017 that the rules for designing the distracting audible flaws out of loudspeakers are well understood by competent loudspeaker designers. High "resolution" can be achieved at all price levels, with the constraint that small inexpensive loudspeakers cannot play as loud as their bigger brethren, they will not be as stylish, and they probably don't extend down to the lowest frequencies. However if competent engineers set out to design neutral loudspeakers it is an achievable goal. Sadly, there are numerous loudspeakers, including "high end" products, that give evidence to the reality that not all brands care, or are able to achieve the achievable.

"There is no - none, nada - metric for "resolution"


Thank you!
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