Tekton Double Impacts


Anybody out there heard these??

I have dedicated audio room 14.5x20.5x9 ft.  Currently have Marantz Reference CD/Intergrated paired to Magnepan 1.7's with REL T-7 subs.  For the vast majority of music I love this system.  The only nit pick is that it is lacking/limited in covering say below 35 hz or so.  For the first time actually buzzed the panel with an organ sacd. Bummer.  Thought of upgrading subs to rythmicks but then I will need to high pass the 1.7's.  Really don't want to deal with that approach.

Enter the Double Impacts.  Many interesting things here.  Would certainly have a different set of strengths here.  Dynamics, claimed bottom octave coverage in one package, suspect a good match to current electronics.

I've read all the threads here so we do not need to rehash that.  Just wondering if others out there have FIRST HAND experience with these or other Tekton speakers

Thanks.
corelli
joe,

Very informative assessment of 2 very fine amplifiers and Thank's for taking the time and posting this.I'm similar I like having a nice tube set but I also enjoy my first watts for a different flavor.

Kenny.
rja,

"Long thread, let me see if I have this all straight.
1. Tekton - Double Impact $3000
2. Tekton - Double Impact + upgrade package $3300
3. Tekton - Double Impact SE $6000 not yet available
Please correct list if not accurate.
Any idea of SE release date"

Yes this is correct pricing,

The SE version is going to be dealer only,I believe,and you might call Mike Kay owner of Audio archon and see when he will have a pair available for demo.

Kenny.

baranyi, yes I tried the ones teajay recommended and others. Improved the sound but still didn't mesh in my setup 
@snopro Thanks for sharing your impressions of the Coincident Frankenstein and the Pass XA 30.8. I’ve had the 30.8 in my system for about a month now, so your take on it is especially helpful and relevant to me.

When I hear about tone and timbre, little bells go off, akin to feeling fleeting butterflies in one’s stomach. I have not yet figured out why this is so, but the best I’ve come up with is that tone and timbre are among the most subjectively important aspects of music. Please know that though the previous sentences were triggered by your post this is a genuinely general reaction of mine and I’ve pondered about asking the same when similar topics have come up in the past.

Does this make sense? Perhaps you and others can elaborate? Thank you very much.
@charles1dad   

Charles,

As always, you are informative and enlightening!  Thanks for the additional clarification.

The 3 dimensional presentation, I believe, is much easier to get agreement on. Having come from tubed systems in the past, I easily get this aspect of tubed amps like the Line Magnetic. However, the same concerns apply with respect to tone and timbre. Any guidance or thoughts in this regard?
Hi David,
I freely acknowledge that tone and timbre are subjective evaluations. There’s no way to measure this parameter. I personally rely on my pretty frequent exposure to live acoustic music heard in venues that don’t use microphones on the performers.

The audio equipment that comes closest to this sound is what I choose.  Non scientific yet very effective for me over the years. Naturally what sounds like correct tone and timbre reproduction to me may not to you or another listener.  No argument there but when all is said and done I trust what I hear.  

No doubt that some would argue that solid state sounds equal or better in regard to tone, I get that,  it's a very individual judgement call. So I can understand Snopro's Frankenstein versus Pass Labs when comparing tonality. You could hear both and give the tonality edge to the Pass Labs.  Simply a matter of perspective.
Charles 
I currently have a borrowed First Watt S.I.T push pull version by Mr. Pass himself for the D,I,Y, community which he loves. Pure class A and 40 watts, this is quite a good sounding amplifier with exceptional tone/timbre. Yet in direct comparison with the Frankenstein the SET has more purity and tonal authenticity in my opinion. The presentation is also more emotionally engaging with the SET. Snopro noted the same in his 2 amplifier  comparison. I guess we both hear in a similar fashion.
Charles
So, I spoke with Eric at Tekton, and he says that the mini-Ulfs are about 7 days out, 10 days at the max. 

This is a good things being that my loaner speakers sold, and I also sold some radials that I had. 

I'm speakerless! 
David,

You have inquired about a very personal and subjective aspect of reproduction of music for the playback in our home.

It's going to be difficult for me to add anymore than what Charles has already said but I will try.

When I judge a system for my personal interpretation of what sounds the best,most natural with reference to real instruments and voices,and also Important to me is correct Image size,I listen for the following criteria in this order.

Tone 
Timbre
Texture
Overall soundstage presentation which would include Liquidity or holographics.

If my system pleases my ears in these aspects,especially the first 3 then I concentrate all my attention to the stage and judge critically to what I interpret to be believeable for a recording.

Basically If I listen to any system and the tone is to bright or to dark for me I stop right there and make changes to my system.

I'm not so critical with Timbre and Texture and generally speaking of the high level of gear represented on this thread It ends up being a hair splitting contest.If these aspects of the overall sonics sound correct and pleasing to the individual listener then I say go with what you like.

Now with all that being said,
I will bring up the absolute most important aspect for me and that would be the engagement or emotional connection with the music that I'm getting and feeling.When this connection is high I forget all about the rest of these aspects and get lost in the music and I probably couldn't even tell you if the Di speaker has 7 tweeters or 40.😃

Always remember every form of music is all about Emotion,I'm sure you know this.

I probably will always have some different gear around that at a moments notice I can change and get a slightly different flavor,fun stuff.

Here is a couple links that may help,

https://www.stereophile.com/reference/50/

https://www.musical-u.com/learn/music-timbre-texture-tone/

I hope any of this has helped,

Kenny.


evolvist,

I would say you have some good news and at the same time you have also some bad news.

I sure hope you get those minis in a timely manner and that you enjoy some really good music played from them.

Kenny.
One question about the Freya someone mentioned earlier. Did you want a replacement for additional features or because of some sonic shortcomings? Thanks
Rja, on my DI's the Freya preamp was noisy. The passive and solid-state sections were okay, but the tube gain section was just too noisy to listen to. I tried several different tubes in it with the same results. I then went with a BHK Signature preamp and it was nice and quiet.
@david_ten 

Oh, I am a long way from making a preamp decision. I am not going to rush this. Now that I have the Pioneer M-22, the gain of the Freya preamp in tube gain mode is no longer an issue. I have 40 6SN7 tubes which is why I was looking for a preamp that uses them. I can always sell what I have, and break even, if I decide on a preamp that uses different tubes.

The 2 channel system sounds really quite incredible now and I would be more than content if I am unable to improve upon within my self imposed budget constraints.

I'll probably buy a used preamp at some point to compare to the Freya. That way, if I don't like it, I don't lose too much when I sell it. There were a lot of suggestions...some, while great, are quite expensive.


For a 6sn7 preamp the deHavilland UltraVerve 3 Preamplifier will be hard to beat. Call her for best pricing and you will find it reasonable. 

The unit can be upgraded easily with a couple of part upgrades for even better sound. It is a wonderful 6sn7 based preamp. 
porscheracer,

I can relate to your situation and your not being in any hurry is a good thing and that is a wise decision.

I gave you my impression of the freya many pages back and I won't repeat it here.
You need to understand that most of us on this thread are experienced,picky and fussy audiophiles for many yrs.

If it was me I would also stay with a preamp that uses the 6sn7 octal tube,I'm very biased though.

Kenny.


Hey Bill,

You will just have to wait for my review to find out if I purchased the demo pair!
@charles1dad  and @kdude66 

Thank you for your detailed and thoughtful responses. I need to push myself with educational research on the topic.

My gut response is that these issues are much bigger than just what our ears hear.  I believe there is much higher end processing going on (beyond the physics of the sound wave as it enters the ear canal) and when the emotional connection aspect is introduced I would say things become oh so complicated. I believe it becomes about sensory pleasure, again beyond and certainly not limited to just one sense, in this case hearing. 

For me, it is easier to accept that SETs are perceived as, or believed to be, more pleasurable to an individual (they certainly have been for me) vs being 'better' or having 'the edge' with tone / timbre.  For me, the tone / timbre 'thing' remains highly elusive. 
@teajay , what is the minimum size room you would reccommend for the Ulf? I have a 30' x 36' unfinished space above my office. The ceiling is angled and peaks at about 20', I can change that. My intention is to eventually build out this space but reduce the size of the listening room so there is other usable work space.

Lance
Hey Lance,

I strongly stick to my position regarding having enough space, at least 4 to 5 feet off front wall, at least 3 feet off the side walls, and 2 to 3 feet from the ceiling.  So, it seems you do have enough space to set the Ulf's up to perform their highest ability.  And believe me this is one great speaker and a true bargain, just like the DI's, even at 12K!

Hope this helps. 
Hello David,
I’m in complete agreement with you concerning the immense complexity of the auditory-brain pathway and it’s associated anatomy, physiology and processing mechanisms. For certain there’s much scholarly effort and research into this topic.

Fortunately as a consumer and music lover it doesn’t require an in depth exploration into this field of study. We can listen to various components and choose what we feel sounds best to us.  . The beauty is that High End audio offers many options and most of us eventually find and buy what we’re after.

I just assume that you bought your Pass Labs XA 30.8 based on "listening" just as I use this same criteria (listening) to purchase the Frankenstein. It easily passed the realistic/-believable tone/timbre test to my satisfaction 😊. I’m sure your Pass amplifier did the same for you.

At the end of the day my only objective is to do what’s necessary to make my listening to music experience at home better and more emotionally involving.
Charles
Hi Charles, Your additional perspective is appreciated.

Unfortunately I did not have the opportunity to audition or demo the Pass XA 30.8 prior to purchase. But in the case of the 30.8, it's been out for a few years and extensively reviewed and discussed. Definitely not the leap that some gear can be.

Kenny was very helpful in my evaluation of First Watt vs the .8 series. He, as you and others here at Agon know, is a certified First Watt Head.

Though he didn't succeed in walking me to First, he did throw a strike when I got to the fork with a choice on either side. : )  The Dutch are still pissed off, but I don't think they are that into baseball.

As to " easily pass[ing] [no pun intended] the realistic/-believable tone/timbre test" I'm not sure. Which is my point. I would say the same of the Franks or the MZ2S Triode 2A3 combination. 

Enjoyable, absolutely! Including your pairing as well as others.

Speaking of enjoyable and musical...I just rotated Volti Audio Rival (Horn Hybrid) speakers into my system. Very, very nice!!!
David,
I’ve heard Volta a few times at shows (but only with the Border Patrol amplifiers) and they were good sounding speakers.

I think that the tone and timbre is a more simplistic issue for me and probably more of a dilemma for you. By that I mean I don’t analyze it to the extent you do. I am simplcstic in that I really just rely on what I hear and go with my reaction to it. That makes sense as we’re 2 people who have their own individual quests, standards and approach to audio. True diversity if you will 😊

No doubt that your Pass Labs XA 30.8 does justice to both the Volti  and Double Impact speakers. I can tell you that the First Watt amplifier loaned to me sounds very fine driving my Coincident Total Eclipse II speakers. I hope you’re having an enjoyable Labor day.
Charles
David, I have heard Greg's Rival's at 2 shows with BP kit, always fun, engaging, wildly dynamic and live sounding, rooms I just want to hear what music they're going to play next. I heard the DIs at Lance's, not broken in and with prototype tubes, very dynamic, great detail along with nice tone and richness, bass a little light and soundstage just needed some more work on placement, a real affordable bargain in the High End, and soon I'll hear them broken in with Mirror Image or Benchmark SS amps. Please give us your thoughts on a comparison between them. 
@klh007 , im loving the DI's and interestingly enough using the Mirror Image there is much more bass now with this rare gem of a SS amp. As much as I enjoyed the Benchmark AHB2 it sounds a little anemic in comparison. I think David would agree since during his visit we played both. You will need to return for another listen. Unfortunately I will have to return this amp to David eventually.

Lance
Lance, We had the MI gear at Excalibur in Olde Town Alexandria, it was one of a few amps to compete with Krell, better sonically and just missing the cachet that was Krell back then. Now I really want to hear your system, before the 1.1 goes back to Annandale.
@klh007 
always fun, engaging, wildly dynamic and live sounding

I fully agree.

In my case, they are not paired with Border Patrol gear. But the above remains consistent with your assessment of the Volti Audio Rivals and the descriptors you used.

The Double Impacts have greater transparency, clarity, and inner resolution / micro-detail.

Each portrays the energy in / of the music differently.

I'm listening to Elliot Smith's "Hamburgers" from the 'Heaven Adores You Soundtrack' album as I type and the drum work sounds terrific.

It's very early in listening time. I will report back in a few days.
@porscheracer,  did you get the new woofers from Eric? How were issues of  the dented cones resolved?
@wschee,

I decided to not replace the woofers.

After talking with Karma it was decided that I would let the speakers go for a week to see if the indentations went away. After a week, the indentations didn't go completely away but were hardly noticeable unless you looked close. 

When Karma called back a week later, just as she said she would, I told her that I was comfortable with them they way they were.

The speakers sound wonderful and I didn't really want to risk changing that sound.  Plus, I really don't see myself selling the speakers any time soon.

I am a satisfied customer.
I guess we all know by now ,maybe not ,that 
Walter Becker of Steely Dan died at age 67 on Sunday Sept 4th.
I told my wife that i  wanted to see them this next year .. before I DIE !
I never thought about one of them dying .
Of course I MUST mention that all of the Steely Dan and  Water Becker songs  are great on the Double Impacts . Try out some songs from  Two Against Nature ; Everything Must Go; Gaucho;
And Donald Fagen's "Morph The Cat" and "Sunken Condos" albums.
Also try some Bela Fleck and the Flektones on the Double Impact. especially songs from the   UFO TofuThree Flew Over The Cukoo's NestLittle Worlds;and  Flight Of The Cosmic Hippo albums.
Try also any of the Mushroom Jazz albums and the Verve Re-mix albums .....Great Stuff..

I could go on and on of course , but please try these and give us  your impressions,especially  if something stands out.

Good to hear porscheracer. They really are amazing speakers and it's good to see you're enjoying them. 

Had the pleasure of hearing Charles' system today. His Coincident system including their Line Stage, Frankenstein 300B mono blocks and Coincident speakers ( I forget their name) is the closest to real, live music I've heard in a system. I'm not surprised as his Frankensteins in my system took my sound to a level I've not heard before. After trying my MZ2 in his system ( more on that in a bit) I can confidently say the DI's are not the weak link in my system. Adding the Coincident Line Stage and Frankensteins to my system would give me a sound I could be very happy with for a very long time. I'm going to experiment with a 2A3 SET for now but the Coincident sound has set a high bar for me. 

Comparing the MZ2 to the Coincident Line Stage was quite a dramatic contrast. The MZ2 is very good as a preamp and I'm even enjoying it as an integrated amp currently but in Charles' system it sounded lifeless compared to his Line Stage. Comparatively it lacked in dynamics and fullness. Charles would be better able to describe the sound difference. Not a knock against the MZ2, the Line Stage just sounded that much better yet. Maybe the synergy between the Line Stage and Frank's is part of it. I do know that the combination of the two is magical. 

Thanks to Charles for sharing his system with me. I've learned much from him and one of the lessons learned is that the DI's will reflect whatever is placed upstream of them with a transparency that is impressive. 
I had not heard that grey9hound. I'm a big fan of Steely Dan. Sorry to hear of his passing. 

Thanks for the musical suggestions, I enjoy trying new artists out. 
@porscheracer, thank you for the update.  I am glad that you got the satisfactory resolution.
Muzikmann and Snopro,
You two express an interest in the LTA MZ2-S and the Coincident Statement Line Stage (CSL) comparison. Tom (Mac48025) described the differences well and I really appreciate him brining his preamplifier to hear in my system this afternoon.

The MZ2-S was a good match as a preamplifier with the Frankenstein driving Tom’s Double Impacts, transparent, fast and clear with very good detail retrieval. In my system it exhibited the same traits. In direct A/B comparison with the CSL I heard the following areas of improvement with the CSL playing the same music after both were sufficiently warmed up.

1 Dynamic energy, contrast and increased "pop/startle factor"
2 Instrumental weight and presence, the sense of flesh on the bone" noticeable increased.
3 Superior musical ebb and flow, swing and soulfulness, Musicians were more in the room and very tactile with that elusive the "breath of life " aura, or you being in the recording venue. In short, more reach out and touch vibe taking place.
4 Larger scale presentation across the board and particularly with rhythm section instruments i.e.piano, stand up bass and drums very significantly more present and realistic.

I would categorized the MZ2-S as a "good" High End preamplifier.
The CSL would be by relative comparison be categorized as "superb" it is very transparent and very open. The main distinction between the two is noticeably more dynamic force, weight and superior harmonic richness,fuller tone, overtones and texture. The MZ2-S relatively speaking has a leaner and lighter weight/presence and sounds smaller in scale. This made it sound less (but not devoid) emotionally engaging.

To put in proper context the MZ2-S is 1800.00 dollars and weighs about 5 pounds and has a separate small power supply of about 3 pounds.

The CSL is 5500.00 dollars, is 2 chassis and total weight of 70 pounds (power supply chassis weighs 40 pounds).
In my opinion Tom’s Double Impacts would easily reveal the differences due to their resolving ability.
Charles
Gentleman,

I very highly recommend that you put on your short list of very affordable hand made SET amplifiers, the AricAUDIO Transend Series SET KT-120 amplifier.  Kenny had already mentioned on the thread that he was having Aric build him a custom SET 2A3 which I'm sure will be a superlative piece of audio art/performance.

When I setup this review with Aric for hometheatereview.com on this SET amplifier I was a very "Doubting Thomas" because I have never personally liked KT-88, 120, or 150 based amplifiers.  I found them all to be very solid state "ish"  for my ears.  Well, after 10 hours of listening to the Transend SET KT-120, being driven by the Micro-ZOTL through the Ulfberth's I'm patiently shocked how this amplifier sounds!

If I was blindfolded and was asked what type of tube was being used I would swear that it was either a world class SET 300b or possibly a 211 based amplifier.  I have another highly regarded set of SET 300b mono-blocks in-house for review that are great and they retail for 10K.  Plus another thousand or so if you are going to get the best tubes to run in it.  

Well, Aric's amp out performed these mono-blocks and its retail price is $2,350.00.  Totally transparent- oozes mico-details effortlessly, a sound-staging wizard, great tonality, sparkly/sweet highs, silky smooth like a SET is supposed to be, and finally balls to the walls dynamics and the best control over the Ulf's gut pounding lowest octaves.  

Is it better then the Triode Lab SET 2A3?  No, it's a very different presentation of the music almost like comparing apples to oranges. The 2A3 is all about dense color tonality, lush liquidity, more meat on the bones, and oozing of the sound into your room.  The SET Kt-120 is not quite as intimate or romantic, but gives more "clean" leading edges with out cutting your ears, more "kick/pop" to the underlying pulse of the music, not quite as colorful timbres- but wonderful tonality, and control over the bass with an accurate "iron-fist".  They are both superlative, personal taste would decide which one is for you.

Well, I'm still pretty much shocked that I would ever say things like I did above about a KT-120 based amplifier.  However, I had never heard this tube used in a SET design amplifier before.  Aric, now joins my list of very talented designers/builders on the market today.  

Final note:  Rolled in some NOS Sylvania Gold Brand 12AT7's (12au7's, 12ax7's are compatible), instead of  Russian Electric Harmonic current production, and the amp just got that much better!  You can also use KT-88, KT-150, or 6550 power tubes to get different "tastes" in your system and whatever you roll-in/change you will easily hear it through the DI's or Ulf's.  I'm looking forward to trying a pair of NOS Brimer Yellow label 60/60 12AT7's to see what magic will happen in this amplifier.  



   
Forgot to mention that the AricAUDIO SET KT-120 amplifier is a powerhouse SET putting out 20 watts per channel.
@charles1dad  and @mac48025  

Great information and sharing of your demos in both of your respective systems. Very, very helpful. 

Was there a reason why you only used the Franks with the DIs and not the Statement Line Stage + Franks with the DIs when Charles visited you, Tom? Perhaps you did and I don't have it right?
Hi David, 
Lastweek when I went to Tom's home I thought about bringing the CLS  along with the Frankensteins  (which are mono blocks). Simple truth,  I didn't feel like lugging 4 component chassis with a combined weight of 140 mpouds. Besides we wanted to primarily hear the DI and Frankenstein pairing with the M2Z-S as the preamplifier. 

Today's listening comparison told us both what we needed to know using my Coincident Total Eclipse II speakers. The Double Impacts would reveal the preamplifier contrasts easily I believe. 
Charles 
Hi Charles. Thanks. I understand about the logistics and can extrapolate from your findings.

Still, I do believe it would be nice and helpful and informative to have had the Coincident gear ahead of the DIs, if only for another combination possibility with the DIs. If you recall, I nearly went with the Statement Linestage (with volume control) for my preamp choice.

Perhaps a Coincident vs LTA-Triode and now LTA-Auric pairing might be on the agenda? : )
@teajay  As always, thanks so much for sharing your findings here. 

I see this as a really terrific development and a great option for folks who may be considering a new amplifier to drive the Double Impacts.

Good to know that an amp with multiple tube type possibilities and with more power...and therefore more versatility with speakers (those less efficient than the Double Impacts) and likely easier to justify across a wider range of music types...is a great pairing with the DIs.
David,
I didn't know you had interest in the CSL  at some point in time. It and the Frankenstein are a very high quality pairing. I believe that any genuinely good Line Stage and power amplifier pairing will work quite successfully with the Double Impacts. 
Charles 
Wow, all of this tube amp talk really blows my mind. I mean, it's all really Tekton talk, if we're go by the premise that the DIs, maybe the Ulfs, and who knows about the mini-Ulfs, and near perfect conduits for your upstream gear, yes?

Okay, so what now? Heh.

When I went to Raven Audio, I was really shown that a valve amp could be just as quick as solid state. I liked that, plus there was a little extra magic, a little more ease to the brain with tubes.

But then you hear, or read things like, the 300B tube is "romantic" and good for jazz, or classical, maybe not so much classic rock, and forget about metal.

Then folks say yadda yadda about the 2a3, and now even the KT-120, and I'm thinking to myself, "Okay, then what's a good all around great tube set that will thrill all of music, and not just certain genres?" Does any animal like that even exists, and just as quick as what I heard at Raven?

Hmmm...many things to ponder as I await my mini-Ulfs.
I would say that you can not stereotype the sound character of a specific tube type,  for example the 300b is "romantic ". This can be misleading due to oversimplification. The critical determinant is the level of implementation of the amplifier. 

Yes each type of tube has sonic characteristics that distinguish one from another but this factor can be overstated as well.  You can listen to 5 different 300b amplifiers and recognize that you could sort them out and  rank each one based on sound quality.  The 300b and "any" tube type^can successfully play multiple music genres if design and implementation are high caliber. 

The same is true of transistor amplifiers.  Krell, Bryston, Pass Labs ,McIntosh etc. all sound distinctly different from each other  despite all being solid state. This is why actually listening to the audio product is such a relevant point. 

It's very difficult to avoid discussing amplifiers when discussing speakers,  so critical is the matching of the two items. 
Charles 
   Just to make everything a little more confusing for those considering amplification options for the DI's I thought I would add my findings to the discussion. I purchased the DI's as a downsizing move to integrate my room back to home theater and needed a speaker line with center and surrounds to add later but was hoping for a speaker that could also still satisfy the 2 channel lover inside me (Thank you Kdude66 for your time and knowledge). At heart I prefer tubes and/or simple electronics that have less parts and less opportunity to wreak havoc on the audio signal (NOS dacs, SEP amps, Vinnie Rossi LIO etc...). That being said I have known Bill D (Grannyring) for a long time and he has consistently extolled the virtues of his Lyngdorf TDAI-2170. I ended up buying it because I knew I could plug my blu ray, cable box, and fire stick into it and my wife and kids would be able to figure out how to watch movies without my help. It was a simple and elegant solution that was reasonably affordable. I also purchased Linear Tube Audio MZ2-S and got to hear the ZOTL 10 from a friend (and briefly owned the ZOTL40) as the basis of a tube based system for critical listening.
   To reiterate, I had zero intention of using the Lyngdorf as my main amplifier but after it burned in and with the room correction in place, I am dumbfounded by the sound coming from it...vivid tone, rich texture, presence, 3 dimensionality, air around instruments, fantastic imaging, great woofer control, and an absolutely silent background. I have had the misfortune of owning way too many class D amps in the past and don't think one of them has lasted more than 60 days in my system so I was not expecting what I'm getting from the Lyngdorf.  I must give a big shout out to Grannyring and have to agree with all his praise for the unit. I can say that I prefer it by a very wide margin compared to the MZ2-S driving the DI's (better tone, presence, imaging, and bottom end control). Adding the ZOTL 10 to the mix was a huge upgrade with the MZ2-S and really had much better presence, imaging, and PRAT but still lacked the tonal saturation of the Lyngdorf.
   I have taken care creating the theater room and it was built on the Fibonacci progression with dedicated circuits, and innovative room treatments hand made and installed by Dale Pitcher of Intuitive Design. Even with that, I must admit that the improvement in sound when the room correction is on is huge and definitely confirms that the room and meticulous setup play an enormous role in the quality of sound you get.
   The DI's are incredibly revealing of the differences in what you feed them and the environment they are playing in. I have seen pictures of Teajay's setup (Thank you for being a fearless kick ass reviewer) and know my setup and speaker placement is significantly different as is the construction and composition of room materials and digital source. I also know the music he tends to gravitate toward isn't the mainstay of what I listen to so I'm not surprised at all we have different preferences.  I also appreciate Charles1dad's feedback that adds to the collective experience. I admire anyone that can find audio bliss and stay there as long as he has.
   For me, the Lyngdorf experience has really opened my eyes to just how much the room influences what's coming from your speakers and expect that because of that room interaction, there will likely be great variation in what people prefer to feed the DI's.
   I do hope this thread continues to be educational for those interested in the speakers and doesn't get sidetracked by those with negative agendas.
David
Charles and mac48025,
I figured that those would be the results. 
 You both described what differences I heard between my preamp and the mz2.  

Joe

@schw06 - "really opened my eyes to just how much the room influences what’s coming from your speakers and expect that because of that room interaction, there will likely be great variation in what people prefer to feed the DI’s."

That’s exactly right schw06. I’d also add speaker/chair positioning and height make a significant difference in the sound you get. This is a great thread but I’d like to see more system pictures posted so we could get a better feel for the context of comments being made.

schw06, Thanks for your impressions of the TDAI-2170, especially with a bias against it being so good. I'm not surprised about the soundstage/imaging being stellar as RoomPerfect is top notch, but your findings about tonal saturation and rich texture being better than the LTA combo is eye opening. I really want to try the TDAI- 2170 in my system soon.
@schw06  Great Post!  Thanks for adding your detailed findings to this wonderfully educational thread. I'm happy that you have found something that works so well for you for both 2Ch and HT and is easy for your family to enjoy and use as well. That's a heck of a combo and value!

What stood out to me was your comment about tonal saturation lacking with the LTA combo. I would not expect this. Do you believe this is because of application of Room Perfect and not other factors? Did you compare without Room Perfect engaged with the TDAI? Thanks.

Adding the ZOTL 10 to the mix was a huge upgrade with the MZ2-S and really had much better presence, imaging, and PRAT but still lacked the tonal saturation of the Lyngdorf.


Thanks for sharing sch06. The DI speakers are so very intriguing to me and I am sure they would be great with the Lyngdorf.

Another Aphile I am corresponding with uses the Lyngdorf 2170 and is selling a very high end, well reviewed, and expensive set of DHT monoblock amps. He has the DI speakers also.

What folks have to know is Lyngdorf started the whole digital amp thing long ago and does not approach their designs like ICE, Hypex, Pascal, and the like. They have engineered a completely different approach so they cannot be lumped in with other Class D amps. Forget any and all preconceived notions about Class D or simple one box solutions with the 2170. Plus the room correction, dac, and SOTA volume control are all part of the package that just works beautifully together.

Care must be taken with a good quality power cord/conditioning to get the most out of the 2170. The Core Power Technology products are great with the 2170 as well as Furutech Alpha Nano power cables. Also, the unit should be left on and not in standby for best sound. It only pulls some 20 watts so no big deal. It runs very cool and only weights 19 pounds. No tube expense, heat, expensive tube upgrades,  and replacing. No worries about little ones touching the amp and getting burned or playing music 10 hours a day, every day.

Just another option for those wanting a simple and beautiful sounding rig solution.

Lastly, for those of you comfortable with mods and letting go of your warranty😁 I know of and performed a mod that yields stunning results with this unit. I even let Lyngdorf know about because I was so excited. Doubt they are as excited as me however! Ha!

Enjoy your DI speakers!