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post #12421 of 15256 Old 06-09-2018, 11:05 PM
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Originally Posted by 340z View Post
I'll be curious to hear your comparison. I also have a pair of M126Be's on the way. In my case they will be replacing my M22 fronts, in a more modest 5.1.4 system.

Dave
Mine are due on Tuesday via FedEx. I too will want to here your impressions.
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post #12422 of 15256 Old 06-09-2018, 11:30 PM
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Originally Posted by Karl Maga View Post
Mine are due on Tuesday via FedEx. I too will want to here your impressions.
Will do. Mine are a little farther out. They just shipped to my dealer in MN and then will have to make their way back to me in Silicon Valley.
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post #12423 of 15256 Old 06-10-2018, 05:09 AM
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Originally Posted by 340z View Post
Can you fit in walls into your equation for the surrounds? If you can, and can use some of the higher end Revel in walls, you should be able to get both WAF and very good sound. I added four C763Ls for Atmos last year and my wife loves them and they sound great. They could be a decent surround, depending on your room configuration, or you could get some of the 8 or 9 series in walls, for an even better experience.

physically the space could handle in walls; i’m just not capable of putting them in myself and with all the other projects we’re doing this summer the wife would not be pleased if i started another one.

but...that’s an idea. “lay up” now with a cheaper center until time clears up for the in-wall project......
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post #12424 of 15256 Old 06-10-2018, 07:15 AM
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Originally Posted by madhuski View Post
physically the space could handle in walls; i’m just not capable of putting them in myself and with all the other projects we’re doing this summer the wife would not be pleased if i started another one.

but...that’s an idea. “lay up” now with a cheaper center until time clears up for the in-wall project......
I hear you on projects and timing. We completely (down to the studs) remodeled and expanded our house 3 years ago. At the time I had them run in wall wiring to every room (some even both back to the audio closet and with an in room option). Didn't get around to the Atmos speakers until 2 years after, and still haven't done any of the in rooms...cause you just have to prioritize projects and 'happy wife = happy life'...even with the wiring already there, and just a simple drywall cut out away, I still haven't gotten around to putting the rears in wall.


Just realized you are in MN. If you are interested in Revel speakers (or other similar options). I'd recommend that you reach out to SteveH at http://www.soundvideo.com . Steve is a Revel dealer, and could provide a lot of insight for your deployment plus a listen to the alternatives. I've worked with him for a few years now, and have been very happy with his advice, service and pricing. Even though I'm across the country in Silicon Valley, I've found it very helpful to work with such a knowledgeable guy.

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post #12425 of 15256 Old 06-10-2018, 08:24 AM
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Originally Posted by Floyd Toole View Post
Some people get quite agitated about this topic, insisting on laser-positioned accuracy for speaker placement, but when on stops and thinks about it, there is a huge difference between what is heard in cinema dubbing stages, where sound tracks are mixed, and in home theaters. First, there are many more speakers (somewhere in the 30s or 60s!). All of the basic surround speakers are not at or near ear level as in the home - they are well up the walls, closer to the ceiling than the floor. The elevation speakers are closer to the center in two front-to-back rows. See: https://www.dolby.com/us/en/technolo...lby-atmos.html
Indeed. I work in film sound post production (Sound Design) and so I've heard a great many mixes in professional mixing theaters. When I retire to my own home theater - projection based with a meagre 5.0 set up - I'm perfectly content. Sounds wonderful and easily preserves the general gestalt of the mixes we do.

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Originally Posted by Floyd Toole View Post
For me, I suspect that the system will be employed in music more than movies, in experiments in adding dimensions of space and envelopment to the countless spatially deprived stereo recordings that are out there. This brings audio closer to the participatory hobby that it once was, way back when I got interested in it. BTW, I have absolutely no nostalgic feelings about LPs - RIP!
It's funny because your last two sentences represent the opposite of my own sentiments.

One could easily guess that someone like yourself, who has argued for greater fidelity throughout the recording to reproduction chain, would have no nostalgia for LPs. That makes complete sense. In fact, I think it makes sense for anyone who grew up with LPs to have no desire to go back there, given the advantages of digital delivery. I'm 54 and grew up listening to LPs and then mostly ditched it for digital when compact discs came out. I've had my CD collection ripped to a server for quite a while as well as using Tidal. It's awfully cool to be able to have everything at the touch of a finger.

And yet nothing in many years has reinvigorated my love of collecting and listening to music like getting back in to vinyl. I have a nice surround system but I've found re-connecting with vinyl (and purchasing a high quality turntable) "brings audio closer to the participatory hobby it once was" for me. I'm just giddy when a new album I've ordered arrives at the door (I love soundtracks and, aside from the excellent sound, the LP releases these days are almost objects-of-art themselves).

I could almost feel like I've let The Cause down by doing this by supporting a format that is stepping somewhat backward from refining the chain of audio fidelity.

But I'm having a bit too much fun to care :-)
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post #12426 of 15256 Old 06-10-2018, 10:18 AM
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Originally Posted by R Harkness View Post
Indeed. I work in film sound post production (Sound Design) and so I've heard a great many mixes in professional mixing theaters. When I retire to my own home theater - projection based with a meagre 5.0 set up - I'm perfectly content. Sounds wonderful and easily preserves the general gestalt of the mixes we do.

It's funny because your last two sentences represent the opposite of my own sentiments.

One could easily guess that someone like yourself, who has argued for greater fidelity throughout the recording to reproduction chain, would have no nostalgia for LPs. That makes complete sense. In fact, I think it makes sense for anyone who grew up with LPs to have no desire to go back there, given the advantages of digital delivery. I'm 54 and grew up listening to LPs and then mostly ditched it for digital when compact discs came out. I've had my CD collection ripped to a server for quite a while as well as using Tidal. It's awfully cool to be able to have everything at the touch of a finger.

And yet nothing in many years has reinvigorated my love of collecting and listening to music like getting back in to vinyl. I have a nice surround system but I've found re-connecting with vinyl (and purchasing a high quality turntable) "brings audio closer to the participatory hobby it once was" for me. I'm just giddy when a new album I've ordered arrives at the door (I love soundtracks and, aside from the excellent sound, the LP releases these days are almost objects-of-art themselves).

I could almost feel like I've let The Cause down by doing this by supporting a format that is stepping somewhat backward from refining the chain of audio fidelity.

But I'm having a bit too much fun to care :-)
[Soap box]

I believe that excessive compression (the Loudness wars) is in part responsible for the resurgence of the LP.
LP mastering requirements can provide an improvement over the overly compressed and digital clipping found in many pop recordings.
While CD and other digital formats have much better potential fidelity, the format has been greatly abused.

Here are a couple of Audacity samples: Adele Hello from CD and Adele Skyfall. Skyfall is a 96/24 download from HDTracks.
This points out the failing of HD Audio: there are absolutely no quality metrics. This level of compression and clipping has no business being called HD Audio.
But, who cares how many unused bits a recording has as long as you sell all those unused bits.
Even better, you can fold those bits using MQA.

Like video HDR, it is deliverable in many digital formats but only required that a rating system be included which would required metrics like those used in the Loudness Wars: http://dr.loudness-war.info/

Especially with digital recordings, we should have complete quality metrics available from the vendor.
I sent an email to a prominent HD Audio proponent proposing that we move the HDA (High Dynamic-range Audio) . No takers yet...

It's not getting easier to find great content for great speakers.

[/Soap box]

- Rich
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post #12427 of 15256 Old 06-10-2018, 10:30 AM
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Originally Posted by RichB View Post
[Soap box]

I believe that excessive compression (the Loudness wars) is in part responsible for the resurgence of the LP.
LP mastering requirements can provide an improvement over the overly compressed and digital clipping found in many pop recordings.
While CD and other digital formats have much better potential fidelity, the format has been greatly abused.
Crushing out all the dynamic range because of the loudness war is a hideous way to release your music.

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post #12428 of 15256 Old 06-10-2018, 10:43 AM
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Originally Posted by Floyd Toole View Post

-- Omitted --

It should be obvious that using in-ceiling loudspeakers for elevation sources might be problematic if the listener is far off axis where high frequencies are not well reproduced. We need a wide band spectrum that is somewhat accurately reproduced at frequencies above 6kHz or so. That is why I will be using quality bookshelf loudspeakers in custom supports, aimed at me. The tradeoff is that the speakers are not "invisible", but for techies it will be "cool" and the sound quality will not be compromised.
Bookshelf speakers seem a great idea, but supporting such speakers seems a challenge. Bookshelf speakers come in many sizes and weights, and aren't inherently intended for ceiling mounting. May I ask for more details about these custom supports, and your thoughts in general about ceiling mounts for bookshelf speakers?
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post #12429 of 15256 Old 06-10-2018, 12:42 PM
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Bookshelf speakers seem a great idea, but supporting such speakers seems a challenge. Bookshelf speakers come in many sizes and weights, and aren't inherently intended for ceiling mounting. May I ask for more details about these custom supports, and your thoughts in general about ceiling mounts for bookshelf speakers?
Supporting bookshelf speakers so that they end up facing the prime listening location is not trivial. I searched extensively for commercial products and found nothing I would trust in this earthquake territory, and that looked half decent - OK for a PA system but not my entertainment room. Fortunately I have a multitalented builder, one of whose skills is welding. So, as I write this he is probably fabricating the custom mounts and painting them. I will be using 4 Revel M106s, a C205, and a C783 as the VOG. Numerous wood screws will penetrate the pristine piano black finishes :-(

Edit: The attachment to my post 12410 explains the spectrally specific cues we use for judging height. It is a learned thing, unless the reproduced sound is something very familiar in real life - rarely the case in movies, and never the case for sound effects. So we adapt to the spectrum of a sound as it is reproduced through horizontal plane loudspeakers and compare this to the sound from elevation speakers. So, in addition to the elevation speakers needing to be able to deliver high frequencies with some precision, the closer they are timbrally to the horizontal plane speakers the better the perceived result is likely to be.

In domestic rooms the direct sound is dominant above about 4-6 kHz, so it is the on-axis/listening window performance that is the key factor.

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post #12430 of 15256 Old 06-10-2018, 01:21 PM
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Originally Posted by Floyd Toole View Post
Supporting bookshelf speakers so that they end up facing the prime listening location is not trivial. I searched extensively for commercial products and found nothing I would trust in this earthquake territory, and that looked half decent - OK for a PA system but not my entertainment room. Fortunately I have a multitalented builder, one of whose skills is welding. So, as I write this he is probably fabricating the custom mounts and painting them. I will be using 4 Revel M106s, a C205, and a C783 as the VOG. Numerous wood screws will penetrate the pristine piano black finishes :-(
I use OmniMount mounts (that may not still be available) but added wood bases with holes drilled to match the stand mount screws. The wood base is screwed to the mount so there is no damage to the speaker. I put screws into the Voice2 base to attach it and used flat elevator bold and rubber washers to attach it to the wall mount base.

There are mounts that have bases and screw holes, one bolt into speaker base should do the trick.

The Voice2 cannot be tilted much because the magnetic grill is not very strong and will fall off. I could sew on a strap to the top of the grill that would be hard to see that would allow a greater tilt.

- Rich
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post #12431 of 15256 Old 06-10-2018, 07:26 PM
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After researching for the last year +, I've made a decision on what amps to bi-amp my Studio2s with Emotiva XPA-1Ls.
Seriously considered ATI 542 & 522 Ncore, Nord NCore, Hypex DIY NCore and searching for used XPA-1Ls.
Kind of surprisingly ended with Emotiva XPA-1 Gen2 monoblocks.

The XPA-1Ls have served me well the Revels.
Nice detail but not analytic.
No fatigue factor in the least, in fact all of my friends have described the SQ as natural & easy to listen to.
My one nit is that while the lower end is tight, responsive & rhythmic it's as not percussive as I think the system is capable of.

Emotiva is discontinuing the XPA-1s & offering a 20% discount.
The XPA-1 is basically the Big Brother to the XPA-1L.
Twice the weight, twice the power & twice the size.

Here's my question;
While my default assumption was to bi-amp the Revels using the XPA-1Ls for the upper end and the XPA-1s for the lower end.
I'm thinking it might be better to reverse that stragedy.

The Studio2 X-Over is in the high 200Hz arena.
Would the power needs better served by running the 60wpc Class A in the top end with the 35wpc Class A switching to 250/500 A/B for the lower end?
Will try both ways to see if there's any tangible difference.

The interesting thing about these amps is the ratio between rated power output vs. the transformer size & capacitance storage.
The XPA-1L has is rated at 35wpc Class A, 250wpc Class A/B @ 8ohms, 500wpc @ 4ohms, 450 VA transformer, 90,000uF capacitance, 35lbs
The XPA-1 Gen 2 has is rated at 60wpc Class A, 600wpc Class A/B @ 8ohms, 1000wpc @ 4ohms, 1200 VA transformer, 120,000uF capacitance, 73lbs
I guess what I find interesting is delta between transformer & capacitance in these amps.
The XPA-1 has nearly 3 times the transformer output but only 1/3 more capacitance.
Seems that they made a design decision or 2 with the Gen2 spec.
Obviously specs don't say everything but certain ones give an pretty good idea.
These amps have lots of transistors which to me is always a plus in this design.

I'm sure I've bored more than one member with this post so please feel free to ignore & move on.

 

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post #12432 of 15256 Old 06-11-2018, 08:17 AM
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Staying OT on the CD/LP conversation (my apologies to the "please discuss speakers only" advocates) as I find this a fascinating subject, so I'll try to be short. It must have been 7 or so years ago that I did an unscientific comparison between my old vinyl albums and CDs by the same artists that replaced them. I had around 20 CDs and LPs to compare against each other. I can't say I had any bias going in other than the convenience of the CD, so after reading the many heated debates about which was better, I was curious what my ears would hear. To the best of my memory (I wish I could retrieve that post but the archives don't go back that far) it was pretty much a draw. CDs won some, so did the LPs, with a few being so close as I was unable to make a call, but some weren't even close, and that goes for both mediums. Not all CD recordings are created equal, and the same goes for the LP.

I think many live for the nostalgia of the LP. As a teenager in the 60s, and then growing into adulthood, reading and cleaning the album, finding a needle that would fit your budget, then balancing the tone arm, were all a part of the enjoyable process. But I no longer care to go through that process. I can record every song I want to a CD (try getting 16+ songs on an album), insert it into the player, and I'm done. Some songs clearly sound better than others, and too many bad recordings will fatigue you in no time on a good system, but it is what it is. This is to say nothing of the hundreds of songs I have on USB drives that are in my Explorer.

I found this excellent article. Why CDs May Actually Sound Better Than Vinyl

And another article that taught me a few things. Does vinyl really sound better? An engineer explains
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Last edited by Aliens; 06-11-2018 at 08:59 AM.
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post #12433 of 15256 Old 06-11-2018, 09:43 AM
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And another article that taught me a few things. Does vinyl really sound better? An engineer explains
Using spoiler tags to keep this off-topic stuff at a visual minimum for those who wish to skip over it:

Spoiler!
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post #12434 of 15256 Old 06-11-2018, 10:19 AM
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I found this excellent article. Why CDs May Actually Sound Better Than Vinyl
I agreed 100% with the interviewees in this article and have for many, many years.
The litany of "faults" cited by CD\Digital recording\playback critics is not the fault of the format but the fault of the creators.
Certainly early ADC\DAC convertors were part of the problem but that really has been solved.

I've never put down people who prefer vinyl but the truth is, it isn't more accurate.
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post #12435 of 15256 Old 06-11-2018, 11:19 AM
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I took a class in vinyl disc mastering at the Institute of Audio Research in New York in 1974. Learned how to cut master lacquers, they had a lathe! Lots of compromises must be made and processing done to try to fit the information on master tapes on vinyl records. Ultimately, a record can not sound like the master tape. I was happy when CD's came along and even happier when the issues with A/D and D/A converters were fixed.

I sold my high end turntable/arm/cartridge and phono preamp many years ago. I gave all of my records to a friend who works at a studio and has access to good playback systems. When you think about it, the technology is primitive. A cutter head cutting vinyl to create a stamper to make pressings, a stylus tracing a groove and converting it to sound? RIAA encoding and decoding EQ? Moving coil and moving magnet phono cartridges and many different shapes of the stylus? Antiskating? The best records and playback systems are not that far removed from the Edison phonograph, I had one of those too.

Most folks don't know how to properly set up a tonearm/cartridge or have the tools to do it, let alone have test records to check the performance. Like lossy formats and various types of distortion? Vinyl records are for you.

And now, back to the Revel speaker discussion.
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Last edited by Rex Anderson; 06-11-2018 at 05:08 PM.
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post #12436 of 15256 Old 06-11-2018, 12:01 PM
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I just moved 2 weeks ago into a brand new home. FYI My Revel Concerta2 F36, 2- B10 Subs the matching center and surrounds are sounding awesome with my McIntosh MC207 and Marantz Av8801.

Need to swap out the AV8801 I'm told so I can pass 4k to the new Sony 85" tv

Other than that I have boxes full of LP's mostly 70's-80's rock and jazz and a ton of original Elvis records. Plus I have CD's as well. UGH, no where to put all this stuff anymore but I just cant dump it in the garbage can either.

I tried to play some on my Technics SL1200 with a Stanton 681eee-s cart....sounds really good but to me not as nice as streaming full rez...so I doubt I will really every use this stuff again.

Main room McIntosh MC207 Amps....Marantz AV8801 Processor....Revel F36 Concerta2 And Revel Subs....Panasonic BluRay BDT500....Sony 85"4k
Listening Room Schiit Saga+ Pre-Amp....JBL 308P Active Studio Monitors....Apple MacBook Pro....Audioquest Dragon Fly DAC....Mogami Cables....Sony 65"
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post #12437 of 15256 Old 06-11-2018, 03:04 PM
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Originally Posted by Karl Maga View Post
Mine are due on Tuesday via FedEx. I too will want to here your impressions.
Please let us know how they are when they arrive tomorrow.

As far as I know, apart from select dealers, you are the first person receiving the Be series. Someone correct me if I am wrong?
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post #12438 of 15256 Old 06-11-2018, 04:35 PM
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Quote:
Originally Posted by Aliens View Post
Staying OT on the CD/LP conversation (my apologies to the "please discuss speakers only" advocates) as I find this a fascinating subject, so I'll try to be short. It must have been 7 or so years ago that I did an unscientific comparison between my old vinyl albums and CDs by the same artists that replaced them. I had around 20 CDs and LPs to compare against each other. I can't say I had any bias going in other than the convenience of the CD, so after reading the many heated debates about which was better, I was curious what my ears would hear. To the best of my memory (I wish I could retrieve that post but the archives don't go back that far) it was pretty much a draw. CDs won some, so did the LPs, with a few being so close as I was unable to make a call, but some weren't even close, and that goes for both mediums. Not all CD recordings are created equal, and the same goes for the LP.

I think many live for the nostalgia of the LP. As a teenager in the 60s, and then growing into adulthood, reading and cleaning the album, finding a needle that would fit your budget, then balancing the tone arm, were all a part of the enjoyable process. But I no longer care to go through that process. I can record every song I want to a CD (try getting 16+ songs on an album), insert it into the player, and I'm done. Some songs clearly sound better than others, and too many bad recordings will fatigue you in no time on a good system, but it is what it is. This is to say nothing of the hundreds of songs I have on USB drives that are in my Explorer.
This thread is massive and has gone in several directions, but it seems to me something of a safe haven for rational discourse on a number of issues. So on that note, and hoping this doesn't strain the patience of others on this thread....

As I've mentioned I've been mostly digital since probably the late 80's/early 90's or so. There have always been arguments about LPs vs digital, and I've never fallen for the common vinyl-fan claims about "the superiority" of vinyl - b.s. like "analog is inherently more natural to the human ear" and "digital doesn't capture the whole waveform" or all that stuff. Digital sources have been putting a big grin on my face for decades.


For many years I've had a nice mirco seiki DD40 turntable given to my by my very engineer-minded father in law. He's a classical music fan and once CD arrived he couldn't ditch his record collection fast enough. It wasn't easy to integrate that turntable in to my system so it's sort of been in and out for bits over the years. An extended session with that turntable more recently had me realizing how much I was enjoying listening to vinyl, and it encouraged me to pick up some new releases, which finally spurred an vinyl-rig upgrade (audiophile that I am).

Before my upgrade, I found listening to vinyl vs digital something of a trade-off. Vinyl sounded wonderful and cozy in it's own way and was nostalgic, digital was cleaner and more accurate sounding. Since my upgrade to a really heavy duty turntable and high end cartridge...wow! Now I "get" what the high end vinyl fanatics
were on about. I still don't buy many of the "analog is better" arguments on technical grounds. But I get the subjective grounds for why they prefer good vinyl over digital.

And it's weird as heck to even be thinking this, from my perspective. Aside from just the technical specs that show the potential superiority of CD, if you look at the actual process of mastering and cutting vinyl it's like one big kludge after another to even get it sounding decent. It seems hilariously antiquated and it makes sense that when looking to increase fidelity, we'd want to move past all those vinyl liabilities as quickly as we could.

Yet when I'm not playing a well produced record I find myself utterly seduced not simply by the nostalgia....but by the sound quality! So many records that I've listened to on CD for decades have been blowing me away on vinyl. There's quite a number of time where, if I was asked to play a sound quality demo of my system, I'd actually reach for the vinyl version vs the CD version (even sometimes when they come from the same master). I'm not sure exactly how to explain it, but my hunch is that, when you play vinyl through a really precise turntable set up, many of the gross or distracting distortions in the process are well reduced. (My records sounded markedly "quieter" in background noise once I got the new turntable, for instance). Yet you never really get rid of the subtle distortions that are part of the vinyl-producing chain (even from a digital master). And some of those distortions remain pleasing. So when I compare excellent LP pressings and the CD counter-part, they sound in some ways remarkably similar. But they also sound a bit different, and my ears seem to generally prefer the difference brought on by the vinyl - just a bit more sense of spaciousness, density, roundness, texture. Even if a bunch of that could be put down to the different eq/mastering for the vinyl version...it seems I really like it. The subjective effect for me is the speakers seem to "disappear" just that much more, and there is a sense of texture and fullness, and often thickness and punch, that are extremely pleasing and even in some aspects more "convincing" to my ears. (E.g. if I compare the CD version and the Vinyl version of Neil Young Live At Massey Hall - from the same original master - Young's guitar sounds a bit more full, his voice a bit more filled out and coherent, softer more natural - on the vinyl).

At the same time, I can easily imagine someone else listening to both the digital and vinyl on my system, and finding the digital better suites their tastes (even the slightest ticks or pops, or background hiss, or wow/flutter could for instance put off a classical music lover comparing both formats). So this is certainly not a "vinyl is objectively superior" stance I'm taking.

But I find it fascinating to have ended up where I'm at now. After so many years of enjoying digital, if the vinyl version is available that's usually what I want over the digital version. (The the previously mentioned aesthetic appeal of vinyl LPs adds to this as well).

Anyway...that's my recent experience.
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post #12439 of 15256 Old 06-11-2018, 05:23 PM
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Gonna have to admit I am still fascinated by the beauty of the mechanical design of turntables, tone arms and cartridges. I have a great love for transducers (especially microphones and loudspeakers). I knew a guy who was an independent high end audio dealer. He loaned me absurd amounts of gear to evaluate including some very expensive cartridges and speakers. I spent endless hours changing cartridges and tonearms and setting them up. It was a lot of fun and a great learning experience.
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post #12440 of 15256 Old 06-11-2018, 05:48 PM
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Oh, I still look at turntables and that stuff.
SHF has a great thread on show us your system.

Like I said earlier, I totally agreed with the LATIMES article meaning not just the downsides of vinyl but the upsides as well.
Collecting & spinning vinyl is a very tactile & visually satisfying experience that I miss.
Album art was just that, art. Some better than others but still cool.
All you have to do is look at the boutique music producers, for those guys vinyl outsells all digital formats physical or otherwise.
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post #12441 of 15256 Old 06-11-2018, 05:54 PM
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Please let us know how they are when they arrive tomorrow.

As far as I know, apart from select dealers, you are the first person receiving the Be series. Someone correct me if I am wrong?
I didn’t realize I was an early recipient. I guess I owe it to the club to give them a thorough listening to and to report thereafter.
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post #12442 of 15256 Old 06-11-2018, 07:01 PM
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In reply to R Harkness/vinyl tangent

Again, I'll use spoiler tags to appease the thread-topic disciplinarians:

Spoiler!
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post #12443 of 15256 Old 06-11-2018, 08:25 PM
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Love my Revels F206 speakers. Also I’m a music fanatic and have > 300 CDs including many that are remastered. But after getting back into Vinyl 4-5 months ago I reach for a vinyl record 3 out of 4 times & forget about streaming other then in my vehicles.

To me Vinyl sounds more realistic & richer even with a little crackling or pops. I always felt digital media sounded bit dull & fake. So will still play both, but love hearing the vinyl sound pumping through my Revel speakers. Enjoy all !!!
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Primary set-up 5.1.4; Yamaha A2050, Paired w/Parasound P5 & ATI 500NC 2 channel amp
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post #12444 of 15256 Old 06-11-2018, 09:52 PM
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Please let us know how they are when they arrive tomorrow.

As far as I know, apart from select dealers, you are the first person receiving the Be series. Someone correct me if I am wrong?
There was another poster a few pages back whonreceived his M126Be’s. I don’t know what finish he ordered though. That may be something of a variable for deliveries currently.
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post #12445 of 15256 Old 06-12-2018, 11:09 AM
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I’ve a pair of M126Be’s inbound that are slated for rear surrounds. I had been planning on Gem2’s, but I thought I’d try these first. I can always repurpose these for L/R in my office and buy the Gem2’s for rears in the 7.2.4 system.

I’m interested to compare these M126Be’s to the Ultima2’s, at least for the frequencies included in the M126Be’s specs.
I will be very interested in your take as well. I have set up a demo before my purchase this week of the M126Be with a pair of REL G2s and the F208.While this is my current budget, I have my eyes ultimately on the Salon/Studio 2s
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post #12446 of 15256 Old 06-12-2018, 11:28 AM
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Originally Posted by thyname View Post
Please let us know how they are when they arrive tomorrow.

As far as I know, apart from select dealers, you are the first person receiving the Be series. Someone correct me if I am wrong?
According to my dealer, there are at least 5 people in my area that are in posession of M126Bes alone. And I know he took shipment of them 2-3 weeks ago. I believe a couple of those sales were made at the showing at AXPONA
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post #12447 of 15256 Old 06-12-2018, 12:02 PM
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According to my dealer, there are at least 5 people in my area that are in posession of M126Bes alone. And I know he took shipment of them 2-3 weeks ago. I believe a couple of those sales were made at the showing at AXPONA
Thanks! Good to know they are trickling down to customers.

Any word on the F228Be?
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post #12448 of 15256 Old 06-12-2018, 12:26 PM
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[Soap box]

I believe that excessive compression (the Loudness wars) is in part responsible for the resurgence of the LP.
LP mastering requirements can provide an improvement over the overly compressed and digital clipping found in many pop recordings.
While CD and other digital formats have much better potential fidelity, the format has been greatly abused.

...

[/Soap box]

- Rich
Using spoiler tags to keep off-topic response at a visual minimum:

Spoiler!
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post #12449 of 15256 Old 06-12-2018, 12:36 PM
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Thanks! Good to know they are trickling down to customers.

Any word on the F228Be?
Haven't heard, but I haven't asked. I'll bring it up tomorrow night while I'm demo'ing the M126
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post #12450 of 15256 Old 06-12-2018, 01:03 PM
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^It's off topic, of course, but your Revel's won't sing playing content victimized by the loudness wars. Good read, and thanks for that link and write up!

EDIT: This refers to mitchco's post on compression 2 posts back.

Just one more upgrade and things will be perfect.
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