SoundStage! Xperience SoundStage! Xperience
  • Features
      • Back
      • Pulse!
      • Music Everywhere
      • Curator
      • Art+Tech
  • Encore
  • Entertainment
      • Back
      • By Category
          • Back
          • DVD Movies, Features & Shows
          • Blu-ray Movies
          • Blu-ray Features & Shows
          • Blu-ray Music
          • CD Music
          • Download Music
          • SACD Music
          • Vinyl Music
  • Equipment
  • WesWorld
      • Back
      • Feature Articles & Reviews
      • Collector's Corner
      • Back
      • SoundStage! Network (portal)
      • SoundStage! Access
      • SoundStage! Australia
      • SoundStage! Global
      • SoundStage! Hi-Fi
      • SoundStage! Life (podcast)
      • SoundStage! Simplifi
      • SoundStage! Solo
      • SoundStage! Ultra
      • SoundStage! Xperience (here)
  • More
      • Back
      • Newsletter
      • Equipment Buying Guides
      • Advertisers
Paradigm Persona Series
MartinLogan Renaissance ESL 15A
Electrocompaniet - AW 300M
Electrocompaniet - AW 300M
Bryston BP-19
Hegel Music Systems
SVS
Feed Entries
SVS
SoundStage! Encore
An original series on making music

Hennka

"Art+Tech"
Where music meets equipment

Art+Tech

Letters

Better than Bose?

Details
Letters

To Doug Schneider,

I would like to request an article on a “lifestyle” home-theater showdown. I have a small space and have been looking for something like this. For example, I'd like to see how a Bose setup fairs against Morel’s latest SoundSpot Music Theatre 2 / 2 Ultra setup and so on. This would be a great review article for people like me with a small space looking for professional reviews to help with their choice. I love the in-depth reviews on SoundStage! Xperience and I hope that an article like this is possible.

Thanks,
Angel M.

It’s interesting that you should bring Bose up, since I was talking about the company with one of our writers just the other day. In the 16 years that the SoundStage! Network has existed, we’ve never reviewed a Bose product. Why? From what we can tell, Bose doesn’t really like to have their products reviewed -- they’ve never seemed interested in having us write about their products, and I rarely see their products getting reviewed elsewhere. Could it be that their products just aren’t that good and they'd rather rely on their own marketing to sell them instead? Hard to say. However, you’re not likely to see any Bose showdown here or anywhere else for that reason.

But your point is an excellent one -- there are many who live in small spaces and yearn for a compact home-theater speaker system, Bose or otherwise. Morel’s system seems like an interesting option and I can imagine that there are many more products like it. I definitely agree that this is something we should focus more on and you have my word that we will. . . . Doug Schneider

Sealed or ported subs?

Details
Letters

To Doug Schneider,

I was wondering which type of enclosure is better for a home-theater application. Is it the sealed or ported subwoofer? What about for a music application?

Thank you so much.

Regards,
Maximillan Cue

You’ll find arguments on both sides. Some people will say that ported enclosures are better, because they generally have higher output capability with lower distortion, while others will say that sealed enclosures give tighter, more accurate bass. The truth of the matter is that it mostly comes down to how the subwoofer has been designed, since there are a lot of variables that can go into creating one, not to mention budget considerations if the designer is trying to meet a price point. So, look more at the end result that was achieved with a particular sub rather than simply looking at whether it’s a sealed or ported design. There are excellent ported subs, as well as excellent sealed ones. Likewise, you can find really poor examples of both types. I hope this answer helps you with your decision. . . . Doug Schneider

Headphones for a music reviewer

Details
Letters

To S. Andrea Sundaram,

As an admirer of your lucid, penetrating reviews, can I please ask your advice on headphones? I was particularly interested in your review of HiFiMan HE-500 on SoundStage! Xperience, November 2011, in which you particularly praised the Ultrasone Pro 2900.

I review classical CDs for The Australian (newspaper) and want headphones to dissect the performance and recording qualities of CDs. I own Stax SR-X Mk 3s, which I love for their detailed realism. However, I need a second headphone to run straight off CD players, and on occasion my MacBook Pro. I've heard Sennheiser HD 600/650 but felt they're not as good as the venerable Stax except for bass. The HD 800 and Audeze LCD-2 are a bit expensive for me. I don't have a headphone amp, but my CD player, a Shanling SCD-T2000, has what is regarded as a very good valve headphone amplifier (two 6N3P dual triodes). Are the Pro 2900s perhaps the ones to go for? I thank you for any advice.

With kind regards,
Graham

If you are accustomed to Stax, then any dynamic headphones will seem a bit veiled. That said, the Pro 2900 is the best I've come across for picking apart recordings. They even convey positional information about the instruments, hall ambience, and microphone placement -- if you know what to listen for, and you probably do. They have a tendency toward brightness, but that would likely be ameliorated by the valve output stage of your CD player -- I have found it to be so with some tubed headphone amplifiers. They also have a bit more bass than perfect neutrality. It's very punchy and well-controlled with a solid-state headphone amp, but the valves may be a liability here. You also might consider the AKG K702. They are not quite as detailed as the Ultrasones and don't give as many soundstaging cues, but their frequency balance is closer to neutrality. . . . S. Andrea Sundaram

Monopole, bipole or dipole surrounds?

Details
Letters

To Doug Schneider,

I was wondering which of these two types of speakers are better for a 5.1- and 7.1- channel surround-sound system. For instance, if I decided to have a 7.1-channel setup, would it be better to buy four bookshelf speakers for the surrounds or use a pair of bipole or dipole speakers. Thanks in advance and more power to your company.

Regards,
Maximillan Cue

From what I understand, you are either looking at using four bookshelf-type speakers (monopoles), or two bipole or dipole speakers. Therefore you'll either be setting up a 5.1- or 7.1-channel system. There are various schools of thought on what to use for surrounds and how to set them up. I’ll tell you what I’ve learned and what I prefer.

Monopole speakers have their drivers mounted on the front of the cabinet and, therefore, radiate the majority of their energy in front of the cabinet as well. Bipole speakers have drivers mounted on the front and back and involve the room the most by radiating sound from their front and from their rear in phase. In phase means all drivers are moving in and out in unison. This is more or less like having two monopole speakers placed back to back. Dipole speakers have drivers on the front and back and radiate similarly to a bipole, but the front and back are out of phase, meaning as one set of drivers is moving in the other set is moving out. If you measure the output of a dipole, you'll see a cancellation to the sides of the speaker because of the way the drivers are moving. The dipole’s presentation is similar to a bipole, but not quite the same because of that cancellation. Plus, bipoles tend to have more bass because all the drivers are operating in phase.

How these speakers interact in the room not only depends on the way the speaker radiates its sound, but also on the room itself, and, obviously, the speaker positioning. But there are some general rules of thumb about their performance that can be made. Bipoles and dipoles create the most spacious sound, but imaging from these speakers is less precise. In contrast, monopoles sound less spacious, but have more precise imaging. A few years ago the thinking was that monopoles should be used for surround-sound music playback, which generally requires more precision in the rear of the stage, and bipoles or dipoles should be used for movie soundracks, which tend to have diffuse effects in the rear of the stage anyway. The problem is that not everyone can afford to have two kinds of surrounds for music and movie playback, so most people are faced with the exact same questions you posed.

What you should do depends on how your system will be set up and, also, what your own listening preferences are. I suspect you’re thinking of using four monopoles to get more spaciousness, and that might work, but I can tell you what I’d do -- get bipoles, regardless of whether I were going to use one or two pairs. I prefer the sound of a bipole over a dipole, because I don’t like to have to deal with that awkward cancellation that dipoles have, and they have more bass. They involve the room a little bit more, but I’ve never found that to be too much of a problem. I also find that the imaging of most bipoles is precise enough, at least for my tastes. In fact, I prefer a little less specificity in the rear of the stage, even with music, because I can’t stand it when I can tell exactly where the sound is coming from and where the speakers are positioned, which almost always happens when monopoles are used. Essentially, bipoles provide the best overall performance in 5.1 or 7.1 systems, at least for my listening tastes. . . . Doug Schneider

Oppo, Marantz, and system strategies

Details
Letters

To Wes Marshall,

I read and enjoyed your recent review of the Marantz AV7005 from the September 2011 SoundStage! Xperience. The checklist for an AVP and how the Marantz AV7005 scored was particularly helpful.

I am currently looking at replacing my old CD/Blu-ray player and my old surround-sound receiver (also recently bought an Emotiva XPA-5 amp for a 5.1 setup).

I have read many reviews on the Oppo BDP-95 and I am excited about the Marvell Qdeo video processor, the ESS Sabre DACs, the beefed-up analog power supply/outputs, and the ability to handle various streaming/networked music and video inputs including high-resolution music (24/96).

Given that the Oppo BDP-95's video and audio capabilities are better than the Marantz AV7005, the only reasons I can see using the Marantz AV7005 are:

  • Volume control. Although the Oppo has this capability, it probably is not as good in terms of preamp quality as the AV7005.
  • Possibly using the Audyssey room correction for multichannel music and movie soundtracks, but this would mean giving up the Oppo BDP-95's DACs and analog back end.
  • Switching flexibility for other devices like my HD cable PVR.

Would I be better to buy the Oppo BDP-95 and feed it directly to my Emotiva amp (and also feed the PVR directly to the HDTV; obviously I would not have surround sound), and wait for Marantz or others to come out with an improved version of the AV7005? I would appreciate your thoughts on the best short-term (one year) and long-term (2+ years) strategy regarding an AVP and the Oppo BDP-95.

Thanks and regards, 
Bob Jones

Thanks for the note. If you’ve read much of my stuff, you’ll know I am a big fan of Oppo’s products. I own a BDP-93 and it is my go-to player when I have a Blu-ray or DVD lined up. You don’t say anything about your speakers or room, but the Emotiva is a fine power amp and you are positioned to have a fine system by simply adding the BDP-95. That being said, I would not consider it for myself for a number of reasons. I have a Sony PS3 that I love, a turntable and a large collection of LPs, a CD recorder, a Roku, and, perhaps most important, a DISH satellite system with an HD-DVR and a couple of terabytes of storage. I can’t imagine living without any of those, so just plugging an Oppo straight into an amp wouldn’t work for me. However, and this is a vital however, even if I didn’t have any of those other things and the only signal generator in my whole system was the Oppo, I still wouldn’t go the route of a direct input because I believe the Audyssey system’s control of a room’s acoustics is so far advanced that I can’t imagine having a system without it.

Marantz may very well be coming out with something new soon. I don’t know and they haven’t been forthcoming with that information. If you are concerned about it, wait until the Consumer Electronics Show is past (it runs January 10-13, 2012) and see if they announce anything new. As the landscape stands today, for all the reasons I enumerated in the checklist, I believe the AV7005 is the marketplace’s best bargain. Will it be two years from now? I can’t say, but I can’t imagine any other company beating it by a substantial margin.

Hope this helps. Enjoy your system! . . . Wes Marshall

Why 24p is important

Details
Letters

To Doug Schneider,

I am looking at receivers and the various features they have. I noticed that Sony has this feature listed:

24p True Cinema Mode: The 24p True Cinema Mode allows you to watch movies at their native frame rate 24p format (24 frames per second) when paired with a 24p playback device like a Blu-ray Disc player.

I haven’t found a similar feature on other brands. Is the lack of this in other brands something that will degrade my video quality, or is this just marketing, and any brand will properly play back Blu-ray content  at 24p?

Thanks,
Kevin White

To answer your question properly, it’s important to know that most films are shot at 24 frames per second (fps). 24p is the name given to the video format that supports 24fps playback, which means it matches the frame rate of film. What this means is that 24 still images are shown each second, and that gives the illusion of a moving image on the screen. Typical North American TV programs that most of us grew up on were shot at 30fps (actually, it was 60 interlaced fields back then, all used to create 30 frames), which was the NTSC standard. Nowadays there are three main television standards: 24p, 25p, and 30p. These are “progressive” formats at the varying frame rates that the numbers represent.

While it’s possible to do a frame-rate conversion so that 24p video can play back on, say, a 30p display, or vice versa, the image will always look the best when shown at its “native” frame rate. In other words, the frame rate it was originally shot at. The frame-rate conversion process almost always produces visual artifacts that most people find quite noticeable and very distracting.

DVD was actually able to support 24fps playback, so you could have a true motion-picture look without any frame-rate conversions. When Blu-ray Disc came along, native frame-rate playback became an even bigger deal, not only because Blu-ray supported 24p (as well as other frame rates), but because the higher-resolution picture meant that a true cinematic experience was now possible in the home. As a result, receiver, processor, and display manufacturers responded by ensuring their equipment could support 24p, as well as the other video formats.

So is 24p important? Yes. But is Sony the only manufacturer that supports 24p? No. Support for true 24p was rare several years ago, but all the good receiver, processor, and display manufacturers support 24p and the other popular formats now. Look more closely at the other companies' specifications and you'll likely see something that indicates this is so . . . . Doug Schneider

iPods and DACs

Details
Letters

Hi,

I just read a review of the Peachtree iDac and it made me wonder if the USB port on other DACs like W4S, Simaudio, Bryston, etc., would also accept the data from an iPod at lower bitrates (MP3 or MP4).

Rene Fortier

Most DACs won’t be able to get at the digital data stream of an iPod directly, but there are ways to do it. What you have to put between an iPod and an ordinary DAC to make them work together is something like the Wadia 170iTransport, which can extract the musical data in a digital form from an iPod and output the data in a format pretty much any DAC can use. The 170iTransport’s digital output is RCA-based S/PDIF, which almost every DAC on the market supports. There are other products besides the 170iTransport that can do this, but I mention this one specifically because it was the first on the market with this feature and many audiophiles are familiar with it. . . . Doug Schneider

Paradigm, Denon, Integra, other?

Details
Letters

To Doug Schneider,

I just read your review [of the Atom Monitor v.7 on SoundStage! Hi-Fi] and was very impressed. I was wondering: for a family room that is very open (three stairs down from kitchen nook that overlooks into the family room that’s 20’ x 25’), would you recommend the Monitor 9 ($1200/pair) or Monitor 11 ($1600/pair) for the fronts and using two Atoms as rears [behind the] couch against the back wall that is approximately 6’ from the back of couch that faces a fireplace straight on?

How do the new Monitor 9 and/or 11 sound compared to the competition in those price points: MartinLogan Motion 12, B&W, etc.?

I was also thinking of a Denon AVR-3312CI. Does that match well with the Monitor Series 7 or should I look at another brand in the same $1000 to $1200 range, such as Integra, etc.?

[I am using this system] primarily for family movies and sports (75%), then music (25%).

Thanks,
David O.

The Monitor 9 and Monitor 11 models share the same general sonic character. What the 11 gives you over the 9 is primarily deeper bass and higher output capability. For the size of your room, the bigger 11 might be beneficial, particularly if you want to play them very loud. I heard the 11s at the TAVES event held recently and was very impressed. On the other hand, I bet the 9s are no slouches for bass and output, so they could work well too. It really depends on what your needs are.

I probably wouldn’t use the Atom Monitors for rears; instead, I’d opt for the Surround 1 or Surround 3 speakers, which are designed specifically for rear-speaker use and are part of the same series as the 9 and 11. Furthermore, if you’re setting up a full surround system, definitely get either the Center 1 or Center 3. It’s imperative that you not only buy all your speakers from the same manufacturer, but that you also get them in the same series, since they’re all designed to have the same sonic signature and will work better together.

I can’t tell you how the Paradigms would compare with speakers from MartinLogan or B&W because I haven’t made that comparison.

Insofar as receivers go, Denon and Integra generally make excellent products, so I don’t think you could go wrong with either brand providing you get something powerful enough. There’s nothing worse than putting together a system with pretty big speakers and not having enough power to drive them well. One brand I would add to that list is Anthem. They are a sister company to Paradigm and their new MRX-series receivers have gotten very good reviews, primarily for their high power output and sound quality. Wes Marshall reviewed the big MRX 700 model on this site. Vince Hanada reviewed the MRX 500 on GoodSound!, a sister publication. Anthem MRX receivers also have the Anthem Room Correction (ARC) system built in that can help you maximize sound quality in your room. Paradigm used an Anthem receiver at the TAVES event to drive the Monitors. . . . Doug Schneider

Lightning strikes!

Details
Letters

To Doug Schneider,

I have an Onkyo 5.1 surround-sound home-theater receiver. During an electrical storm it was hit with a power surge. Now I have no sound at all to speakers or even the headphone jack. The internal fuse is fine. Any suggestions?

David U.

If the fuse is fine, then chances are that something inside is fried. This wouldn’t surprise me whatsoever -- power surges will do that sort of thing. If you really want to know what’s wrong, take it to a qualified technician for repair (don’t try to repair it yourself unless you’re capable of it). That, though, will cost money, so you’ll have to determine if it’s worth it to take it there, even for an estimate, or if you should just buy something new. Whether you repair it or buy a new one, I suggest buying a good surge-protection unit, since what happened to you isn’t as uncommon as many people think. . . . Doug Schneider

Replacement remote

Details
Letters

To Doug Schneider,

I have a Velodyne sub and my remote quit working. Do I have to buy a new one or can I use my programmable Marantz remote as a substitute?

Thanks,
Jodie Pike

My bet is that your Marantz remote can be programmed to work. What I can’t tell you is how you go about doing that. But Velodyne has a strong reputation for good customer service, so my suggestion is to contact them and describe your predicament and see if they can help out. In the meantime, perhaps a reader who has some experience in this area will read this and write in and offer a suggestion. If someone does, I’ll e-mail you privately with their response. . . . Doug Schneider

Help with new speakers!

Details
Letters

To Roger Kanno,

Can you give me some advice? I'm having a hard time looking for what front speakers to choose in my system upgrade.

I have an Anthem MRX 700 receiver, a Def Tech Super Cube II sub, an Oppo BDP-93 BD player, Supra speaker cables, Transparent HDMI for audio and video, and a pair of Paradigm Monitor 7 speakers for the fronts. I am looking for the best possible sound for music with my actual gear and am searching for a better set of speakers. Could you make suggestions not just from the ones I mention below, but some others you would consider the best choice to match my gear:

Paradigm Reference Studio 100
Wharfedale Opus 2-2 or 2-3
GoldenEar Titan Two
PMC DB1, GB1, or maybe higher
Vienna Acoustics Mozart Grand or Bach Grand
Aperion Audio Verus Grand Tower

Best regards,
Miguel Casellas

That is quite a list. Unfortunately, I have not heard the Wharfedale or the Vienna Acoustic speaker so I cannot comment on them. The PMC GB1 that I reviewed many years ago has been upgraded to "i" status, which I have also not yet heard. Doug Schneider will have a review of the Vienna Acoustics Mozart Grand SE on SoundStage! Hi-Fi on September 15, if you can wait that long.

Both the Paradigm Studio 100 and Aperion Audio Verus Grand Tower have been extremely positively reviewed by SoundStage! Network reviewers. Jeff Fritz was very impressed by the performance-to-price ratio of the Aperion speakers.

The GoldenEar Triton Two is also an excellent sounding loudspeaker from what I have heard at shows and offers the advantage of having built-in powered woofers. Having powered woofers will lighten the load on the MRX receiver’s internal amplifiers and might obviate the need to upgrade the system with a power amp. Other speakers to consider with powered woofer sections are the Definitive Technology Mythos ST or STS, or something in their new BP ST series. . . . Roger Kanno

Paradigm Signature and Energy Veritas

Details
Letters

To Roger Kanno,

I read a few of your reviews and have always valued your opinions. A few years ago I bought a pair of Energy Veritas V2.3i speakers after listening to them and the Paradigm Signature S2. I didn’t find the beryllium tweeter superior at the time; perhaps I couldn’t hear anything above 15kHz anyway. However, I am now very tempted by your review as you seemed to be saying that the Paradigm Reference Signature S6 v.3 sounds even better than the original S8.

I don’t know if you have heard of the Veritas line, but if you have, could you offer your opinion on whether the S6 that now costs double the price of my V2.3i back then will sound noticeably better? My room is small, only 12' x 20' x 8'. I don’t like speakers that may be purposely made to sound bright or warm and prefer speakers designed to be neutral and that would sound true to the original recording.

Best regards,
Shiu

I actually reviewed a home-theater system based on the Energy Veritas V2.3i a few years ago. One of the things that struck me about the V2.3i was how tight and articulate the bass response was, much like that of the Signature S6 v.3. And although I found the Veritas V2.3i to sound quite smooth through the mid and high frequencies, the beryllium tweeter of the S6 v.3 sounds a little smoother and sweeter and is on a par with some of the very best speakers available today. Note that the original Signatures did not have a beryllium tweeter, but instead had a gold-anodized aluminum tweeter.

I would characterize both speakers as sounding quite neutral and the sweetness that I described in the high frequencies of the S6 v.3 does nothing to detract from that. The S6 v.3 is a superior speaker to both the Veritas V2.3i and the original Signature S8. However, as you have noted, the S6 v.3 costs about twice as much as the Veritas V2.3i and nearly as much as the original S8.

It is up to you whether you think the additional performance is worth the price. The S6 v.3 is one of the finest speakers currently available at its price, but the original S8 and the Veritas V2.3i remain very good speakers. . . . Roger Kanno

Does Squeezebox Touch record?

Details
Letters

To Rad Bennett,

I am really keen on the Logitech Squeezebox Touch, even more so after reading that detailed review that you wrote.

I have one question, though: Can it record the music that it plays? I mean, since it has an SD card slot could one record some music if one liked a particular number? Thanks for your consideration.

Regards,
Juan

No, it does not record. But it does so many other things well that it is surely worth consideration. . . . Rad Bennett 

The Burson Audio HD-160D headphone amplifier/DAC

Details
Letters

To Doug Schneider,

I always read your reviews. What can I say? They're great.

Just wondering if you have a review of the Burson HA-160D unit? I’ve been interested in this and I want to see an honest review. Let me know.

Thanks,
Charles Garcia

We don’t have a review of the Burson HA-160D headphone amplifier/DAC in the works, but we agree that the product looks interesting, as do some of the other things in the company's line. We have our team looking into it. . . . Doug Schneider

  1. Axiom or Aperion?
  2. Bettering the Logitech Squeezebox Touch
  3. Do better cables matter?
  4. Is the PS3 still the best Blu-ray player?
  5. Mirage advice
  6. Anthem or Sherbourn?
  7. iTunes artwork and skipping XRCDs
  8. ATCs, Gallos, and "singing"
  9. Mirage or B&W?
  10. Five or seven channels?
  11. High-resolution output with an O!Play
  12. Thank you for Energy Take Classic review
  13. OMD-28 wiring
  14. OMD-28s again
  15. The Mirage OMD-28 and night-time listening

Page 4 of 7

  • 1
  • 2
  • 3
  • 4
  • 5
  • 6
  • 7
KEF LS60
KEF KC 62

SoundStage! Xperience is part of

SoundStage!

All contents available on this website are copyrighted by SoundStage!® and Schneider Publishing Inc., unless otherwise noted. All rights reserved.

This site was designed by JoomlaShack, Karen Fanas, and The SoundStage! Network.

To contact us, please e-mail info@soundstagenetwork.com