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Thread: Zero Distortion: Apogee Duetta, Scintilla, and tussle with horns

  1. #131
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    Quote Originally Posted by spiritofmusic View Post
    Brad, for €350k+ their lack of deep bass was a shocking limitation
    But in terms of verve, midrange presence, flow, dynamics, I thought they were the best sound in the show
    I can't quite get Ked's "meh" reaction
    Just a comparison point for his thought on these Scinnies

    W the Aries Cerat Symphonia horns not outputting much below 35-40 Hz, I can't see them sounding better in the deep bass than those Gammas

    I think it’s unfair to compare the Scintilla to the Gammas at Munich. A speaker like Gammas will never be set up at Munich properly, so it won’t sound as complete. On the other hand, if it is indeed a good speaker, any speaker that size will have more scale and weight than the Scintilla and is made for much bigger rooms, so should be compared to FR, Grands, Trios (or big cones like Alexandria and Arrakis). The only thing Scintilla will do despite its size over the bigger giants (apart from the FR) is midrange.
    Audition recordings: Zero Distortion Link; Reference Components: Zero Distortion Link; Own: Lampi GG One-day-to-get: Apogee Scintilla, or a horn (with Tenor 75 OTL ), Preamp to be fit in to suit the gain and drive the power amp. Analog: TBD

  2. #132
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    Sure Ked
    The reason why I mentioned the Gammas was just a reference point
    We so disagree on Animas, Duos, Liszts, that I wanted to get something that we both listened to in the same room at the same time to compare
    I wouldn't have thought Scinnies and Gammas would have the same scale
    It was more the palpability/excitement/texture thing that I was interested in
    But this might be a mute point since I thought the Gammas, and the Liszts before them, we're so much more impressive than you did

  3. #133
    Quote Originally Posted by spiritofmusic View Post
    I have to say there is something deeply appealing re Stenheim
    Absolutely no bells or whistles, true form following function, Old School drivers and self effacing bulletproof build
    It's as if they look at the over fussy statement spkr field, and decided to provide an inert, calm, unfussy alternative to bling spkrs like Kharma Grand Exquisite, and even Wilson Alexandria etc
    A true statement product that must generate 200% confidence and calm in the owner
    And a lovely tube friendly mid-90s dB eff to boot
    There is one tweak...the mid section pivots by remote control. Needed feature as these 200kg boxes will not be moved onced placed! $500K for the set.

  4. #134
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    Quote Originally Posted by wisnon View Post
    There is one tweak...the mid section pivots by remote control. Needed feature as these 200kg boxes will not be moved onced placed! $500K for the set.
    We are talking about the 50k smaller piece
    Audition recordings: Zero Distortion Link; Reference Components: Zero Distortion Link; Own: Lampi GG One-day-to-get: Apogee Scintilla, or a horn (with Tenor 75 OTL ), Preamp to be fit in to suit the gain and drive the power amp. Analog: TBD

  5. #135
    Quote Originally Posted by bonzo75 View Post
    I think it’s unfair to compare the Scintilla to the Gammas at Munich. A speaker like Gammas will never be set up at Munich properly, so it won’t sound as complete. On the other hand, if it is indeed a good speaker, any speaker that size will have more scale and weight than the Scintilla and is made for much bigger rooms, so should be compared to FR, Grands, Trios (or big cones like Alexandria and Arrakis). The only thing Scintilla will do despite its size over the bigger giants (apart from the FR) is midrange.
    I'd argue it probably articulates bass better than virtually any other speaker technology. There's virtually nothing out there that gives you as much insight into actually following a bass player play than the aforesaid. At least, according to me. And I am right, naturally

  6. #136
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    Review on positive feedback on triangle art TT, the guy owns the scintilla. He heard the triangle art in his system and bought it, he was searching for the Micro seiki 5000. But references to scintilla in the review http://www.positive-feedback.com/Iss...iangle_art.htm
    Audition recordings: Zero Distortion Link; Reference Components: Zero Distortion Link; Own: Lampi GG One-day-to-get: Apogee Scintilla, or a horn (with Tenor 75 OTL ), Preamp to be fit in to suit the gain and drive the power amp. Analog: TBD

  7. #137
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    Quote Originally Posted by spiritofmusic View Post
    Brad, for 350k+ their lack of deep bass was a shocking limitation
    But in terms of verve, midrange presence, flow, dynamics, I thought they were the best sound in the show
    I can't quite get Ked's "meh" reaction
    Just a comparison point for his thought on these Scinnies

    W the Aries Cerat Symphonia horns not outputting much below 35-40 Hz, I can't see them sounding better in the deep bass than those Gammas
    Having heard both I would agree with the assessment of the Cessaros lacking bass (despite the enormous size) but I did not feel it was in anyway best sound in the show but the Aries Cerat speakers have great sounding bass (at least they did in the room in 2014), powerful, textured and resolved.

    I have heard Christoph's Scintillas as well as other restored ones and non-restored ones and they are a good speaker, no question. They don't do dynamics like a good horn though but can be just or even more resolving and pretty good at micro-dynamics (although I think good electrostats are better at this).

    As from my Positive Feedback report, the Living Voice system was the best I heard at the show bar none.

  8. #138
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    Quote Originally Posted by morricab View Post
    Having heard both I would agree with the assessment of the Cessaros lacking bass (despite the enormous size) but I did not feel it was in anyway best sound in the show but the Aries Cerat speakers have great sounding bass (at least they did in the room in 2014), powerful, textured and resolved.

    I have heard Christoph's Scintillas as well as other restored ones and non-restored ones and they are a good speaker, no question. They don't do dynamics like a good horn though but can be just or even more resolving and pretty good at micro-dynamics (although I think good electrostats are better at this).

    As from my Positive Feedback report, the Living Voice system was the best I heard at the show bar none.
    Stats are better at detail. I don't like their thin sound anymore. Did love it once. Though I still think they are a great value buy and easier to run, except for Soundlabs which require giant rooms. I find most horns to have compromised bass and dynamics. Except for trios, and a couple of small bespoke manufacturers. Too many crossover issues, box/cabinet colorations, bass sounding different from the midrange, etc etc. Sure, they sound fast and immediate but quite disparate.
    Audition recordings: Zero Distortion Link; Reference Components: Zero Distortion Link; Own: Lampi GG One-day-to-get: Apogee Scintilla, or a horn (with Tenor 75 OTL ), Preamp to be fit in to suit the gain and drive the power amp. Analog: TBD

  9. #139
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    Brad and Ked, we all hear things so differently
    As it ever was
    I feel Cessaros are all of a piece (bass extension being an issue in the Gammas at Munich but not the Liszts in N London)
    Ked is truly underwhelmed, you were unimpressed
    I felt the sound at Munich was truly continuous and thrilling
    Brad, you loved the Living Voice Olympian, I felt it was one of the most disparate, and saccharine sounds I've ever heard in the high end
    Of course, w Ked and I disagreeing on so many baselines it's nigh on impossible to really draw any group conclusions, and so I haven't got much to add anymore
    If I get the opportunity to hear well set up Scinnies, I'll try not to pass it up

  10. #140
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    Bill and I agree with you on the Vox. Too sweet
    Audition recordings: Zero Distortion Link; Reference Components: Zero Distortion Link; Own: Lampi GG One-day-to-get: Apogee Scintilla, or a horn (with Tenor 75 OTL ), Preamp to be fit in to suit the gain and drive the power amp. Analog: TBD

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