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Want something more forgiving than Vandy 3a sigs

I think Mike Fremer's comment about the Vandersteen Quatros, in his Stereophile review, applies to the Vandersteen 3a sigs: "...treble performance may strike some as being too honest...". I'm one of those "some." We all know that a lot of source material out there suffers from some degree of treble emphasis. I listen to a wide range of classical and jazz recordings, and, even after a fair degree of experimentation with cables, pre-amps, and amps, I've been unable to come up with a combination that is sufficiently "forgiving" to allow me to listen, easily and comfortably, to as much of the source material that I want to hear on my Vandys. In particular, I'm often disappointed with orchestral string sound...and indeed, have figured out, with this experience, that massed strings are quite difficult to record well. My system starts with a Linn CD12. I've tried PSE, GNSC-modified ARC LS-15, Cary SLP2002, and am working with a Cary SLP98 now on the pre-amp side; and have tried a VTL ST150, a BEL1001, and an ARC VT100 MKIII on the amp side. I've used various Audioquest, Kimber, BEL, and Purist Audio cable, and am happiest with Cardas Cross and Golden Cross (to which I was led by things I read on this Forum). All of that is good gear, some of it more top-focused than others. None of it has been able to give me as consistently as warm and "lush" a listening experience as I think I ought to be able to find, and this is especially true with orchestral music. Probably not surprisingly, the Cary 2002 combined with the ARC VT-100 has leaned closest to the right direction. (Let me hasten to add, though, that a really well-recorded chamber music or jazz CD will often sound terrific with most of this equipment and the Vandys.) (I should also add that I came to the 3a sigs from the 2ce sigs, which I also felt were capable of being a bit unforgiving, frankly.)

Within Texas, where I live (and where I would prefer to buy), I've figured out that some options include Sonus Faber Cremonas, Audio Physic Scorpios, Wilson Benesh Circles (I think) and not much else (of which I am aware)that will fit into the room without creating domestic discomfort. (My wife thinks the Vandy's are too big as it is.)

Any ideas out there about the speakers mentioned, other speakers, or possibly electronics?
eweedhome
jmfmusic
5 posts
 
I would suggest you try out BAT gear, say one of their pre-amps. I am fairly sensitive to overly bright sound as well and when I was auditioning, it was always the system with a BAT pre-amp that made music to me. Nothing else I tried (ARC, NAIM, Classe, Blue Circle) clicked the way BAT did. I ended up with Vandys, a BAT pre-amp and an Ayre amp.
rjoe
4 posts
 
Some of my music are not the greatest recordings in the world - pop music from the 80's, Salsa music from the 70's. Therefore I find most high-end speakers just too bright and analytical.

I am suprised you find the 3A sigs too bright. They seem just right for me. But that's me, we all have different ears.

I have Spendor SP2/3. You may want to consider the Classic Spendor series SP100, SP2/3, or SP31/P. You probably don't want the Spendor SP1/2 (two tweeters) or the S series since they are less forgiving (but not bright to my ears). Note the Classic series is getting replaced the "P" becomes "R". Don't know when they will be available in he US though.

I used to have Sonus Faber Concerto. Loved them. They are more lush and forgiving than the Spendor.

Others to consder: Gershman, Vienna Acoustics, Harbeth, Living Voice, Audio Note.

I find bringing wood into the room adds some natural warmth. Maybe something to try?
mrtennis
3,295 posts
 
consider a speaker with the manger driver and also consider the aerial 10 t.

you might also consider toeing the vandersteens out and using room treatment on the side wall as well as covering up the window with an absorbing material, if possible.
binkleyc
9 posts
 
I recently heard some Audio Note AN-Ks that were much less bright than all the speakers I've heard recently. However, if something is mixed really badly, you will hear it, but my impression was they announced the "badness" of the mix without making it painful. They did not screech on well-recorded violins for instance, but a track with a lead vocal that had way too much "brilliance" on it was clearly audible as such.

I listened to ProAcs in the same session and by comparison they were certainly more analytical than the Audio Notes.
eweedhome OP
227 posts
 
I appreciate everybody's contribution. I've got the Cary SLP98 up and running, and with it in the system, the top end is certainly more relaxed. So I'm going to look at the speakers described, and if that doesn't work, consider some Cary amplification.
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