Violins have a very wide frequency range which always passes through a cross over to separate midrange and tweeter drivers. My guess is this disrupts the ultra fine detail these instruments have. My daughter is an accomplished violinist. When we bought her violin I was amazed at the different character these instruments have sort of like wine. I must have listened to 20-25 instruments. The one I finally landed on cost $10,000.
The runner up was a more reasonable $5000 made by a young Italian violin maker who was an up and coming star in the world of violins. So I got that one. Anyway, the secret to the best ESLs is that there is no crossover in the violin's path and their transient response is unsurpassed. The reproduction of massed violins is as good as it gets. If violins are your thing then you need to head in that direction. |
the proton d1200 amp can produce 540w/1000w/1500w 20ms
'450w/650w/800w 100ms
'380w/500w/520w 200ms
'duty cycle
500ms dynamic headroom at 8,4,2ohms 7.3db 'should be
able to easily handle any crescendo that Beethoven,Mahler,or Orff can
dish out,n'est pas?
What's the difference between Continuous RMS and Dynamic Power ?
https://usa.yamaha.com/support/faq/audio_visual/2483.htmlMany people confuse these specifications, so I will try to give you a
simplified, non-technical explanation. Continuous RMS Power, is the spec
that really tells you how powerful an amplifier is. RMS power is
expressed in watts. A typical specification might read 100 watts RMS
into 8 ohms from 20Hz-20KHz at .01% THD. What this means, basically, is
that the amplifier will deliver 100 watts into an 8-ohm speaker from
20Hz to 20Khz? This frequency range is basically the entire audio range
that an individual can hear. The THD spec stands for Total Harmonic
Distortion: This is the amount of distortion the amplifier will
introduce into the original signal. Any high quality amp made today has
extremely low distortion ratings. The human ear cannot hear anything
under 2%. For the most part, when you are considering purchasing an
amplifier, you can disregard the THD specifications.
Dynamic Power, is a
little more difficult to understand. This is a test of the amplifier's
ability to go beyond its continuous RMS power for a very short time
period. We are not talking minutes or even seconds here. We are talking
milliseconds or thousandths of a second. A musical transient peak, such
as a cymbal crash lasts only a very short time. Dynamic power is usually
measured into 8 ohms, but specifications are generally also published
for 2, 4, and 6 ohm loads as well. To keep things from getting too
complicated, we will concentrate on the 8-ohm figures. To measure
dynamic power, an amplifier is fed a 1000 Hz signal for 20 milliseconds
then allowed to rest for 480 milliseconds. The amplifier volume control
is turned up until the amp reaches the clipping point. At that point,
the amp has reached its instantaneous peak or dynamic power output. Like
the continuous power rating, dynamic power is expressed in watts. The
figure is usually significantly larger than the RMS power rating, and
should not be confused with the continuous power ratings of the
amplifier. A dynamic power rating into a figure such as 1 or 2 ohms does
not mean that the amplifier can drive a speaker with a 1 or 2 ohm
rating continuously. If you attempt that, the amplifier will either go
into the protection mode or possibly cause damage.
PROTON D1200 continuous RMS power is 100 W at 8 ohms. This amplifier is NOT rated for RMS power at 4 Ohms which is the internal impedance of the
Magnepan MG12/QR
speakers. You got plenty of company to discuss for issues with mass violins. I am trying to give you a solution to at least minimize the problems related to reproducing mass violins in your system. |
What about buying speakers that are made acoustically to match the instruments you like to hear. I am sure there are speakers that reproduce classical music better than others. It would be interesting to hear from those who have found the right equipment to best reproduce classical instruments. I am sure cabinet design is a good source of the problem. There are many in this group who know what speakers are best to reproduce classical instruments along with components. |
@6119 Several years ago I copied tracks from a variety of CDs on to one CD-R so it would be easier to carry around when auditioning equipment. One of the tracks was the first movement of the Barber violin concerto played by Shaham, exactly the recording you mention. So we have a concrete data point in common. I put the Barber on the CD-R precisely as a test of violin reproduction (as well as bass--those falling two-note bass figures in the background). What I can tell you is this: the DGG recording is never going to be described as forgiving, but it can be played on equipment without inducing the slightest wince, grimace, or tensing of the muscles. It just depends on the equipment in the system, because these days listening to that recording at home is a pleasant and rewarding experience. While I'm at it let me recommend this recording of a consort of viols as a wonderful test of overall timbral reproduction of stringed instruments (as well as an excellent CD): https://www.amazon.com/Crye-TYE-HUME-TALLIS/dp/B000025DFV/ref=sr_1_1?dchild=1&keywords=crye&qid=1599586146&s=music&sr=1-1 |
if you choose to replace your old amp, I would suggest a home trial of a neutral sounding one such as the Benchmark AHB2. 100 wpc, same as yours. Sounds fine with massed violins in my system.
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