Best speakers at low volume

[Al M.]

Yes. I have not heard Volti.

At a lower price such designs can be accepted add compromise if space is constrained

What do you think of Klipsch La Scala? That seems to be a "smaller" (relatively spoken) full horn?

 

[bonzo75]

What do you think of Klipsch La Scala? That seems to be a "smaller" (relatively spoken) full horn?

Klipsch design can be B made good with n good drivers and cross over but haven’t heard one.

i did hear a brilliant version of the W bass bin that klipsch has used but it was made to his own specs

 

[Al M.]

Klipsch design can be B made good with n good drivers and cross over but haven’t heard one.

i did hear a brilliant version of the W bass bin that klipsch has used but it was made to his own specs

So basically you seem to think Klipsch standard factory ware is not sufficient quality.

 

[Robh3606]

How much experience do you have with Magnepan loudspeakers?

Hello Ron

I don't have any real experience with panel type speakers. It has all been cone and dome, horns or horn hybrids.

Rob

 

[Folsom]

Sorry to continue here, as this is a little off topic, but what "type of music" will reveal the horrible comb filtering that you suggest I experience? I am really curious to know. Thanks. I benchmark the accuracy of the overall frequency response of my speakers by comparing with the sound I hear on a variety of headphones, listening to a variety of music. Aside for bass issues, I do not detect frequency imbalance. So what magical track do I need to use?

Perhaps you would also like to elaborate how measuring comb filtering at the listening point is not relevant and how any other position would better reflect the listening experience. I'm also very curious about that one...

Classic pieces you've posted sound weird. Very unnatural. Some other ones it's harder to tell on.

But I think I'm done with the lunacy. There isn't much point to conversing the objective qualities with people that utterly fucking ignore physics as we know them today. No one that thinks physics can just be whatever they feel like can be reasoned with. Hell you can't even accept the difference between standard engineering with endless proofing and theory.

You like your stereo, that's good enough for you.

 

[Folsom]

So basically you seem to think Klipsch standard factory ware is not sufficient quality.

The really old stuff can be good - electrovoice era. But I've heard only a little bit older Cornwalls do nice things on a natural sounding amplifier. It's not full magic, but there is some for sure. Certain years of Klipsch is a mixed bag for what parts you get, which complicates things.

 

[hopkins]

Classic pieces you've posted sound weird. Very unnatural. Some other ones it's harder to tell on.

But I think I'm done with the lunacy. There isn't much point to conversing the objective qualities with people that utterly fucking ignore physics as we know them today. No one that thinks physics can just be whatever they feel like can be reasoned with. Hell you can't even accept the difference between standard engineering with endless proofing and theory.

You like your stereo, that's good enough for you.

I don't "utterly fucking ignore physics", but I will certainly "utterly fucking" ignore you.

I mentioned my system here to illustrate one aspect which I appreciate (low level listening). I am well aware of its limitations, and always eager to get constructive advice.

I am also well aware of the physics of comb filtering. I asked you to define "massive" and you did not, because you cannot. Physics explains the phenomenon, but how it translates to our perception of the sound is another matter.

 

[hopkins]

I don't "utterly fucking ignore physics", but I will certainly "utterly fucking" ignore you.

I mentioned my system here to illustrate one aspect which I appreciate (low level listening). I am well aware of its limitations, and always eager to get constructive advice.

I am also well aware of the physics of comb filtering. I asked you to define "massive" and you did not, because you cannot. Physics explains the phenomenon, but how it translates to our perception of the sound is another matter.

By the way, I have also compared the sound of one driver versus multiple drivers per baffle, and the frequency response (listening) is not significantly different. So whatever the issues are with the sound, it is not linked to that, or at least the comb filtering effect is negligeable (at my listening point) compared to other aspects. What you do get by adding drivers (I compared 1 to 4) is a much "airier" presentation, which I enjoy. Low volume listening improves with more drivers. Whether it is a "natural sound" or not is a separate issue.

Perhaps I should not have posted anything in this thread, as it is titled "Best speakers at low volume", and mine are certainly not the "best".

I was curious about the topic because there are a lot of audiophiles who don't listen at low volume, as they believe music should be heard at home at the same levels as live music to reproduce the same dynamic range. So they don't care about low volume listening. My point of view, having listened to some of these systems at high volume, is that you actually lose on the detail when the volume is too high. Perhaps this is how my ears react to what I perceive as excessive volume, or I have not listened to the right systems...

 

[Al M.]

I was curious about the topic because there are a lot of audiophiles who don't listen at low volume, as they believe music should be heard at home at the same levels as live music to reproduce the same dynamic range. So they don't care about low volume listening. My point of view, having listened to some of these systems at high volume, is that you actually lose on the detail when the volume is too high. Perhaps this is how my ears react to what I perceive as excessive volume, or I have not listened to the right systems...

You lose detail when the room starts to distort at high volume. Many rooms, I suspect, are not well sorted out. It took me years with mine. Unwanted, uncontrolled short-distance reflections are an absolute enemy.

The sound from loudspeakers can also distort at high volume, leading to loss of detail, especially when they are driven by insufficiently clean electronics. Everything matters, including equipment platforms, footers, power delivery (good dedicated lines) and power cords.

 

[hopkins]

You lose detail when the room starts to distort at high volume. Many rooms, I suspect, are not well sorted out. It took me years with mine. Unwanted, uncontrolled short-distance reflections are an absolute enemy.

The sound from loudspeakers can also distort at high volume, leading to loss of detail, especially when they are driven by insufficiently clean electronics. Everything matters, including equipment platforms, footers, power delivery (good dedicated lines) and power cords.

I had the opportunity to visit this system, whose owner plays at very loud volume: https://zero-distortion.org/microsorbers-and-pyt-audio-panels/

Apparently no issues with the room, and I don't think the system distorts at high volume.

It probably has to do with my hearing, since I am so used to listening at lower volume.

 

[itay123]

The issue of volume gain is also very much related to the emotional state we are in, attempt bringing the instruments to a LIVE feeling as much as possible, at least in feeling, depending on the size, energy of the room, distance of the listener
and very much related to the genre you are listening to and of course the quality of the original recording.

For example, I usually listen with high efficiency (dynamic) volume between 75db to 85db, this range manages to include most genres and types, including both METAL and symphonies.

However, it should be taken into account that it is not only about the type/capability speakers and the ability to perform in low GAIN ,but taken in mind the amplification that knows how to deal and control the speaker in an absolutely dynamic way even in the lowest audible.

 

[hopkins]

The issue of volume gain is also very much related to the emotional state we are in, attempt bringing the instruments to a LIVE feeling as much as possible, at least in feeling, depending on the size, energy of the room, distance of the listener
and very much related to the genre you are listening to and of course the quality of the original recording.

For example, I usually listen with high efficiency (dynamic) volume between 75db to 85db, this range manages to include most genres and types, including both METAL and symphonies.

However, it should be taken into account that it is not only about the type/capability speakers and the ability to perform in low GAIN ,but taken in mind the amplification that knows how to deal and control the speaker in an absolutely dynamic way even in the lowest audible.

Between two systems playing at the same volume level, in the same room, the one offering more "contrast" (resulting from lower "noise floor", low level detail, less distortion, etc.. ) should probably play better at lower volume, as you won't need to turn up the dial to get the same information. So everything matters to achieve those results. In spite of this, our listening preferences also come into play, as you point out.

 

[itay123]

The volume level should not change at all (Once we set the "desire reference level" for us at that point), THE Dynamics Change,
if feeling that needed to increase the volume to hear clearer or sharper, something is wrong.

 

[Argonaut]

As has been opined previously in this thread , I find that a well implemented field coil driver , Viz Wolf Von Langa Son , tends toward projecting a well formed sound stage full of immediacy and vibrancy even at low levels of attenuation.

 

[Solypsa]

The volume level should not change at all (Once we set the "desire reference level" for us at that point), THE Dynamics Change,
if feeling that needed to increase the volume to hear clearer or sharper, something is wrong.

It could be said that there is 'one' best level for a given room+system+listener. We still need a volume control to accommodate the rather large variety of reference levels that media is mastered at. In a similar way there is a (not universally implemented ) concept for mastering studios of setting one reference level for the system and not changing it....

 

[itay123]

Of course, when I listen, I set the desired volume, according to my existing status, my desire, the emotional state I'm in,
and NOT touching the "KNOB" while I'm listening to A full album or a desired piece...
when switching on another album/recording, the same way I set the desired volume. ..
what changes during playback should not be the volume, but the Dynamic of the SETUP and the recording that played.

 

[jbrrp1]

The volume level should not change at all (Once we set the "desire reference level" for us at that point), THE Dynamics Change,
if feeling that needed to increase the volume to hear clearer or sharper, something is wrong.

If you are talking about full-on music reproduction, not "Best speakers at low volume" (i.e. to not disturb other residents in the house, etc.), then for me the volume needs to change considerably. Listening to rock or an orchestra I want SPL's comparable to live, and the same goes for a lute or a harpsicord - - very different propositions! Ideally, I want both to present as if I were at a live event, and they simply operate at much different acoustical outputs, so my stereo needs to match that.

Now, at low volumes, a compromise situation in my mind, I'll push either to the same SPL that I think I can get away with...

I agree with the poster above that points out that the relationship between amp and speaker matters. Higher efficiency speakers seem to have a natural advantage, but I don't find that advantage to be absolute, provided the amp driving a lower efficiency speaker has the right juice for the specific speaker (my CH Precision M10 does this trick rather well with TAD CR-1's, which are far from efficient).

 

[itay123]

I completely agree with you, I was talking more about a matter that is very simple,
not to be every moment with "your finger on the remote",
and to let the SETUP express dynamics even if we listen at a low SPL...
It is absolutely clear that when we want to simulate LIVE, so does the volume It will be accordingly,
but even there we will not rush to touch and let the SETUP, (if it is perfectly balanced) be A dynamic changer.

 

[Treehaus Audiolab]

As has been opined previously in this thread , I find that a well implemented field coil driver , Viz Wolf Von Langa Son , tends toward projecting a well formed sound stage full of immediacy and vibrancy even at low levels of attenuation.

As someone in deep with field coil drivers; I agree completely with this. You do not need a lot of volume/ gain to realize the energy/ immediacy/ detail present in the music. I found early in my own audio journey, so many speakers need to be really cranking along to get them to fully express all that is in the track. With a good, efficient field coil, they express what is in the track without needing to approach live levels. Is it the same as an SPL of a live performance? Of course not. Will it also possibly save your hearing long term? Yes ;-)

 

[Bso]

Consider trying a preamp with a Loudness Control.