I'm happy to oblige with additional information about source material. Here are some "torture test" discs that I like very much, but that I do not favor on the Vandersteens--either at my home, or the dealer's: Delius by Barbarolli on EMI 65119; Delius V Con, etc. by Titner on Naxos 8.557242; Joseph Marx, Nature Trilogy for Orch., ASV 1137; Telemann, Orch Suites, Schneider, cpo 999994-2. The problem is in the massed strings, especially as the strings play louder. They can sound somewhat thin and edgy, and generally unpleasant (and not "real") on the Vandys. As noted, I got the best results at home with the Vandersteens coupled with the Cary SLP 2002 coupled with the ARC VT 150 MkIII (but on the 4 ohm tap...the 8 ohm tap was unpleasantly bright on almost all source material). This was using Cardas Cross or Golden Cross cable (prefer the former, frankly).
These recordings all sounded better on the Wilson Sophias and the Scorpios. They sound better, also, on the Harbeths. When I say "better", I mean the strings are warmer, generally fuller, and generally without harshness.
My reference comparison comes from having played a great deal of music (I have a degree in music) and, in the course of my travels for business, having heard some wonderful orchestras in some of the great halls we have in this country: Carnegie, Orchestra Hall in Chicago, Symphony Hall in Boston, and others. (Most of my orchestral listening has been in either Orchestra Hall or Carnegie Hall in the last 15 years.)
This has, indeed, been an interesting thread, thanks to all the considered responses. I admit that I have had an issue with "brightness", or whatever you want to call it, that has been a bear to deal with since I've been playing around with high end gear, on and off, since the mid-80s. I am coming to believe that it is possible to have too much detail in the high end, that makes some recordings sound really good, but others not so good (even though they are not necessarily bad recordings). I also completely agree that there are some recordings that are just so lousy, nothing with make them sound good.
Thanks
My next project is to listen to various of the Spendor speakers.
I
These recordings all sounded better on the Wilson Sophias and the Scorpios. They sound better, also, on the Harbeths. When I say "better", I mean the strings are warmer, generally fuller, and generally without harshness.
My reference comparison comes from having played a great deal of music (I have a degree in music) and, in the course of my travels for business, having heard some wonderful orchestras in some of the great halls we have in this country: Carnegie, Orchestra Hall in Chicago, Symphony Hall in Boston, and others. (Most of my orchestral listening has been in either Orchestra Hall or Carnegie Hall in the last 15 years.)
This has, indeed, been an interesting thread, thanks to all the considered responses. I admit that I have had an issue with "brightness", or whatever you want to call it, that has been a bear to deal with since I've been playing around with high end gear, on and off, since the mid-80s. I am coming to believe that it is possible to have too much detail in the high end, that makes some recordings sound really good, but others not so good (even though they are not necessarily bad recordings). I also completely agree that there are some recordings that are just so lousy, nothing with make them sound good.
Thanks
My next project is to listen to various of the Spendor speakers.
I