Peter kindly invited me over on Saturday for a session. Jesus Christ Superstar was presented by his system in an emotionally gripping manner, and I really liked the expansive presentation of orchestra and choir. Sonically I was especially impressed with Holst's The Planets (Zubin Mehta / Los Angeles Philharmonic). The soundstage was grand and wide, with excellent separation and location of instruments and instrument groups. The sound was very weighty and had beautiful timbres. In particular the texture of the strings was captivating, with a good amount of the airy micro-detail on the massed violins that makes live string sound so intoxicating. Jupiter was perhaps the most impressive to me, with deep, glowing colors of its mighty sounding brass section. It was a totally effortless, powerful rendition. I found astounding that the grand presentation was possible in this not very large room. In fact, what I experienced here on Peter's system was among the best reproductions of orchestral sound that I have yet heard.
Sublime Sound
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I am so glad that you enjoyed the listening session, Al. You happened to come by at the last-minute invitation while I was enjoying my annual listen to the Passion of Christ, according to Andrew Lloyd Webber. As we discussed, it is perhaps his best work. My original pressing from the UK is spectacular and I always listen to it on Easter weekend. This time, the individual voices were more distinct. The whole performance had more impact, and the spatial effects were eerie. What a masterpiece!
Yes, Holst's The Planets is indeed a joy to hear on my new Q3s. The scale and drama are really something. I particularly enjoyed the contrast between the grand, sweeping Mars, and the sweet, beautiful, Venus. This is a case where the improvements to my system are enabling me to better appreciate some of my music, formerly somewhat hidden in my collection. Ian was correct in predicting that I might expand the types of music I enjoy with the more capable speakers. I just can't get enough music these days.
Tonight I listened to Ella/Louis, a more intimate vocal performance and found that my speakers were just a bit too far apart. The voices were a tad thin, so I moved the speakers 2.5" closer together, and toed them in another 1.5" at the listening seat, and everything sounded more natural and present. So, I still have some fine tuning to do with speaker positioning, but I am very close. It is a balancing act now, and I have to confirm with a variety of LPs for the best overall position. These speakers really let the listener know what is happening with the set up and rest of the system.
The lyrics by Tim Rice greatly contributed to the success of the work as well.
Yes, I think that you had pulled the speakers a bit further apart after installing the Airtight cartridge, and moving the speakers closer together more or less reestablishes the old distance between them, I assume.
PETER
You mentioned you like the presence of the Mini
I cannot help noticing the tweeter and midrange are at different heights in these two speakers
Although I don’t know where the acoustic centre is on these speakers you might try tilting the q3 down to your listening position, or as an experiential first try sitting on a thick cushion to raise your ears, and see if this effects the presence region
Hello awsmone, I also like the sense of Presence that the Q3s present to the listener. In this respect, the two speakers are very similar. Remember, the Mini 2 front baffle is tilted back, I think 17 degrees. Though the speakers are different heights, and the Mini tweeter is 4" below the top of the front baffle and the Q3 tweeter is 5" below the top of the baffle, when I place a laser pointer on the top of each speaker, the two dots hit a spot on the wall 12" behind my head within 1/2" of each other. The dispersion pattern of each tweeter is also slightly different, but I think the center of each tweeter is fairly similar relative to the height of my ears.
Furthermore, the distance between the center of the tweeter and midrange on the Q3 is 5 1/2" while on the Mini it is 6 1/2". I'm sure that Magico modeled this on the computer programs when designing the speakers and then confirmed integration by listening. The drivers of each speaker sound incredibly coherent and well integrated.
Thank you for the suggestion, but the way I have the Q3s set up right now, the sense of Presence is quite remarkable, and perhaps even a bit better than than of the Mini. I placed a bubble level on the top surface of the Mini stand base and tilted the speaker so that the stand was level. I also placed a bubble level on the top plate of the Q3 and set it up so that it was level. I sit 9'-10" from each speaker. That distance and tilt angle seem to work well in my room. I may think about this some more and play with speaker tilt a bit to see how it affects the sound, but right now I am extremely satisfied.
That’s good news Peter
I am quite interested in your Impressions as I too have my eye on a Q3
What about timbre of intruments like violin viola cello? See I also love classical and timbre presence and soundstage are important to me
My room is a lot longer than yours I think at 30 ft but I am only judging from your photos
I am quite interested in your Impressions as I too have my eye on a Q3
What about timbre of intruments like violin viola cello? See I also love classical and timbre presence and soundstage are important to me
My room is a lot longer than yours I think at 30 ft but I am only judging from your photos
Awsmone, The Q3 is an amazing speaker and right now a remarkable value on the used market. Timbral accuracy is extremely good. You should look up my tonearm and cartridge set up thread where Al discusses string quartet’s that we just listened to on my system the other night. Speakers are incredibly revealing so set up in the rest of the system are very important.
My room is 15 feet deep and 16 feet wide and 7 1/2 feet high There is no problem with the size of the speaker in my room and I also think it will sound fine in a larger room
My room is 15 feet deep and 16 feet wide and 7 1/2 feet high There is no problem with the size of the speaker in my room and I also think it will sound fine in a larger room
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Congrats, Peter! Although we don’t know each other, I remember reading you talked about Q3 here and there for a very long time. Sincerely happy for you. I myself own a set of Magico S3 mk1 and love them.
I’ve never heard Q3 in person, but if below video is any indication (even with obvious limitation), I can imagine how good they must sound with big class A power in your system.
https://youtu.be/fQ5gPZd0FJQ
I’ve never heard Q3 in person, but if below video is any indication (even with obvious limitation), I can imagine how good they must sound with big class A power in your system.
https://youtu.be/fQ5gPZd0FJQ
Thank you very much kzhtoo. That is a fun video and an interesting way to sell a pair of speakers. The sense of Presence came through very well, as did the coherence. Thanks for posting the link.
A few days ago Peter invited me to listen to his latest changes in speaker positioning, which he is enthusiastic about. The Q3 speakers are more toed in than before. Jupiter from Holst's Planets sounded larger than before with the MSL cartridge. Previously it had sounded considerably smaller than with the Airtight cartridge which pushes the image further back and thus gives a grander outlook. Dynamics were effortless as ever, and I was particularly impressed with the clear distinction of triangle tremolo on top of cymbal clash around half a minute into the piece.
The Mozart string quintet KV 174 (Grumiaux Trio with guests, Philips) sounded even better than before. String textures had wonderful resolution and tone. As with the Holst orchestral piece, the sound was both highly resolving and naturally warm, detailed but relaxing to listen to at the same time, just an enjoyable experience. Toeing out resulted in a bit less overall energy, less incisiveness on transients and perhaps less body on the cello, not surprising as the woofers were less directed towards the listener. We also tried the opposite, toeing in further than the new preferred position, which gave even more resolution; at some points you could hear the slight friction of the bow moving away from the strings as the player was ending the tone.
At that greater toe-in Sonny Rollins sounded very good, yet reverting to the original new preferred position revealed even more coherence in the sound, with the sax sounding just extraordinary and the cymbals more convincing. Peter of course had played around with all possibilities of toe-in on his own, and apparently found the right compromise for all parameters that are important for reproduction. He clearly has made additional progress with the new speaker set-up. It pays off to strive to get the most out of the components you have and finding a satisfying solution, rather than constantly switching out gear without ever fully optimizing a given set-up.
The Mozart string quintet KV 174 (Grumiaux Trio with guests, Philips) sounded even better than before. String textures had wonderful resolution and tone. As with the Holst orchestral piece, the sound was both highly resolving and naturally warm, detailed but relaxing to listen to at the same time, just an enjoyable experience. Toeing out resulted in a bit less overall energy, less incisiveness on transients and perhaps less body on the cello, not surprising as the woofers were less directed towards the listener. We also tried the opposite, toeing in further than the new preferred position, which gave even more resolution; at some points you could hear the slight friction of the bow moving away from the strings as the player was ending the tone.
At that greater toe-in Sonny Rollins sounded very good, yet reverting to the original new preferred position revealed even more coherence in the sound, with the sax sounding just extraordinary and the cymbals more convincing. Peter of course had played around with all possibilities of toe-in on his own, and apparently found the right compromise for all parameters that are important for reproduction. He clearly has made additional progress with the new speaker set-up. It pays off to strive to get the most out of the components you have and finding a satisfying solution, rather than constantly switching out gear without ever fully optimizing a given set-up.
Thank you Al. That was another fun visit. I continue to marvel at how responsive these speakers are to the slightest change in position. Just like with the tone arm height adjustments, it is worth the effort to keep experimenting until the sound of the music is completely satisfying. I think I am almost there with my new speakers as the current position does provide good sound on a variety of recordings with both large and small scale music. These considerably larger speakers now disappear as well as did my former two way Mini speakers as well as provide a more full range sound.
Thank you very much, XV-1. The Q3s are really excellent and easier to drive than the Q5s. I agree that the build and sound quality are superb. I also much prefer them to the S series, although I have not yet heard the S Mk 2 speakers yet. There is an honesty and neutrality to the Q series that is just phenomenal. Very little distortion, coloration, or flavor. Many disagree and describe them as analytical, sterile, fatiguing, but in my system with the Class A SS Pass amps and vinyl source, I hear none of those characteristics. I hear a lot of resolution, tone, dynamics and presence. They seem very transparent so I am hearing more of what is on the recording: just plain music, emotionally engaging, as it should be.
Peter, kudos to you re finding optimal positioning.
For my part, changes in toe in/distance to side and front walls, always results in pros and cons.
I’ve never yet found THE position.
You’re v fortunate to have done so.
For my part, changes in toe in/distance to side and front walls, always results in pros and cons.
I’ve never yet found THE position.
You’re v fortunate to have done so.
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