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Discussion Starter · #1 ·
...with Aeons and a Theater in front, Scripts in the rear and a Descent sub, what would you need to drive these with? I know you're somewhat limited in choices because the MLs need a lot of power, but not sure what you could get away with that is not in the Krell out-of-this-world price range.


c
 

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this ones easy.


Sunfire 5 channel amp.


I've used a few different amps on my logans and really like the sunfire - plenty of power and doesn't sweat the low impedance loads. Very smooth detailed sound. Currenlty using a aragon 8008bb for just stereo now and it works well.
 

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I had a bryston in my setup for a few months.


HATED IT. Very dry and edgy. It was a powerful amp to be sure (i think it was a 7b) but did not mate well with my particular speakers. If you do look at brysont, try first.


Heck, try any amp first before you buy.
 

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Crown Studio reference or other high quality pro amp (QSC, etc.).
 

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Another vote for the Sunfire Cinema Grand. I have one that drives five Magnepan planar speakers, which are similarly known for their inefficiency. It provides more power delivery than I could ever want. It has a very smooth, musical sound, and it practically craves low impedance loads.


- Chris
 

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I have a sunfire CGII as well, but not with MLs. However, my local shop has a Sunfire Stereo Signature amp connected to some higher end MLs, and it sounded pretty incredible to me. See if you can have a listen at a local dealer.
 

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Discussion Starter · #8 ·
Thanks for the recs. I'm going to a local HT shop that has the Aeon's set up and will be sure to check out what they're driving it with.


Is there anything in the $2,000 price range that can drive speakers these with aplomb?


c
 

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A used Sunfire Cinema Grand from ebay would do the trick, and come in well below $2000. :D


I love my CG, but I don't have anything as exotic as MLs though.


Sorny
 

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I was actually considering selling my Sunfire CG to move to the 17" wide Architectural Cinema Grand (works better for my shelving area). I could probably be talked into a pretty good deal. :)


PM me if you're interested! This wouldn't be for a couple of weeks yet.


Edit: I had taken apart my Sunfire CG a couple days ago to see if I could stuff the guts into a custom-made 17" chassis easily. I thought you guys might be interested to see what's in a Cinema Grand . Note the huge power transformer in the center, and the output daughter cards which connect to the output jacks on the back. There are two taller two-channel cards, and a shorter single-channel card. You can see the many output devices which bolt directly to the bottom of the aluminum chassis.


This unit generates an impressively small amount of waste heat during operation. Once we hooked six full-size Magnepans up to a single channel of this amplifier (my old roomie had a pair too) in parallel, for an equivalent load of a bit under 1 ohm. We drove the speakers full-range to some brutally loud levels, so much so that the lights in the room were dimming. The speakers were absolutely crystal clear until we pushed it too far and blew a fuse in the smallest pair of Maggies, then powered down. The underside of the amp corresponding to the active output stages was lukewarm to the touch.


- Chris
 

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You might also want to look at Classe, good work horse amps that I have used to drive Apogee ribbons.
 

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Quote:
Originally posted by chrispy
I was actually considering selling my Sunfire CG to move to the 17" wide Architectural Cinema Grand (works better for my shelving area). I could probably be talked into a pretty good deal. :)


PM me if you're interested! This wouldn't be for a couple of weeks yet.


Edit: I had taken apart my Sunfire CG a couple days ago to see if I could stuff the guts into a custom-made 17" chassis easily. I thought you guys might be interested to see what's in a Cinema Grand . Note the huge power transformer in the center, and the output daughter cards which connect to the output jacks on the back. There are two taller two-channel cards, and a shorter single-channel card. You can see the many output devices which bolt directly to the bottom of the aluminum chassis.


This unit generates an impressively small amount of waste heat during operation. Once we hooked six full-size Magnepans up to a single channel of this amplifier (my old roomie had a pair too) in parallel, for an equivalent load of a bit under 1 ohm. We drove the speakers full-range to some brutally loud levels, so much so that the lights in the room were dimming. The speakers were absolutely crystal clear until we pushed it too far and blew a fuse in the smallest pair of Maggies, then powered down. The underside of the amp corresponding to the active output stages was lukewarm to the touch.


- Chris
Neat pics! thanks for the post. And that's a totally nutty experiment! Must have been fun.
 

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A cleint who bought an EAD Ovation from a competeing dealer came to me about amps for his martin logan system. We don't sell Martin Logans so I had limited familiarity with them at the time. He was running a Krell amp with the speakers and said he was just wondering if something was missing.


Personally I thought the speakers sounded kind of hard and strained. I had brought along the Cinepro 3k6se Generation I with me. We removed the Krell and set the Cinepro in there. After some quick level balancing we were ready to do some listening.


I think his MLs were reQuests or something like that. They were about as tall as me 5'8" and kind of wide. He sat in the sweet spot and I got some chair of to the side. Well the only speaker I could hear from where I was was the right front. Beamy as hell but not so strained anymore.


He listened to music and various movie clips while I called back to the office. After about an hour he said I have to cancell an Order. He had ordered a Classe amp from the first company too. I was ready to leave and said I had to take the amp now. "OVER MY DEAD BODY!" We called back to the office and he wrote a check. I was not looking forward to that long flight of stairs with the amp in tow.


Cinepros do a great job with speakers that tend to dip in impediance. HAving a reserve of 400 watts a channel doesn't hurt either. Since the death of the company president Cinepro seems to have gone the way of the dinasour. Dealers are looking to move off the last of the gear. (Why demo what you can't get?) $8000 amps can be had for around $4500. Yeah Cinepro is no longer around.. but the design of the amp is pretty solid and the only real thing to worry about is maybe the fans. Those can be ordered when ever from the OEM. Plus with the Cinepro SE Gold units I have pretty much found that if it works now its gonna keep working... solid state.
 

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Are the ML considered bright, laid-back? I haven't heard them in over 5 years.


I know that have a very open, detailed sound but I can't remembe what they sound like in the treble.


-Brian
 

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Quote:
Originally posted by Greg_R
Crown Studio reference or other high quality pro amp (QSC, etc.).
I second this idea.


QSC DCA amps run about $1200 for the four channel and have alot of juice and then some. Same with Crown (an HK company now) amps. There are a couple Crown and QSC that are THX certified for Theaters. If they can fill up 5k SQ Ft up with loudness. I think they would work fine for HT ;)


Now if you want to look at the amps. Do not get these as they are supposed to be in a closet. ;) heh
 

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I have had MLs for about 10 years with Aerius's and now SL3s as my mains. I worked at a high end store that had Krell, MacIntosh, B&K and Adcom as its line of Power Amps and I spent an extensive amount of time with these four brands. Krell is ultra revealing as are the speakers and the combo of the two will reveal all the glory or horror of the source and any other components. The Mac was warmer than the Krell but did not have the power, control or ultimate transparency of the Krell with similar price points. The B&K was much smoother and more musical than the Adcom and had similar power at each price point. I matched the B&K EX-442, now the 200.2, against the Mac MC300 and found it equal despite the price difference. The Krell as usual was in a different league from the B&K but I did not have the resources in college to build a system that was respectable enough to warrent the Krell equipment. I now have SL3s for fronts a Theater for center 2 pair of scripts for rears and a Descent sub. I am using a single Ex-442 on the SL3s and a second 442 for the Theater (one channel only). The scripts are being driven by a B&K st2020 and a B&K 2140 with the Reference 30 processor controling it all. My SL3s are crossed over at 70htz to the descent via the Ref 30. The system continues to amaze me to this day. I have never run out of power and I am not happy until the house is rocking. I use the system for both home theater and 2 channel critical listening The B&Ks are not as analytical or controling as Krell or Levinson but they work well with the logans at a fraction of the price and they do not require multi thousand dollar investment in calbles and transports. I do currently have a Bryston 4Bsst in my room to compare against the B&K and if my thoughts change on B&K I will post another message.
 
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