speakers for classical music

06-07-08: Neilmc said:
"If SF uses a simple crossover and VA uses a complex one, you might conclude that the SF puts more into their drivers, for the same price range. I keep reading about SF driver quality."

That's a rather simplistic set of assumptions and I doubt that it's factually correct. Even if the fact set were correct, it wouldn't lead to a conclusion that SF's drivers are superior to VA's.

My VAs have drivers that are available from no other makers. VA just developed a proprietary cone materal for its new flat, ribbed midrange driver for its new "statement" speaker.

Still, I'm not saying that one is "better" than the other. The prospects needs to listen for themselves to these two fine speaker lines. There's a basic difference in character that'll lead you to one or the other, but you must chose for yourself.

Dave

If the speaker can stand up to those sources without stressing, without distorting, without sounding stuffy or wooly, and deliver the full dynamics, transients and bandwidth, it'll be a very special speaker. The best ones I've heard for this have always been active. I've heard some passives come close, but to really deliver, actives have a decisive edge.

The above post about active speakers is of course correct, but my experience is that most active speakers or powered studio monitors lack the finesse of audiophile speakers

Agree fully. You want piano (a percussive instrument) then I have not heard better than with actives. You want full orchestra - same answer. You want big band - same answer. You want full justice to percussion - same answer. However if you listen to acoustic, modern pop or rock (generally not much dynamic range left when it leaves the mastering studio) then there are many good choices often with more warmth and finesse - and which won't show up every wart on a recording.

Nice description Raquel.

Let me chime in with my opinion about the best current Rowland amps for the Mahlers. For those using separates, the 501 monoblocks plus PC1 Power Factor Correction is the "budget choice", for stereo the 312 is amazing and includes PFC and for those of us that like integrateds the Continuum 500 will do the job and includes PFC.

Anyone considering VA and sufficient budget to consider a "statement" product should wait just a few weeks to hear the new The Music reference speaker. I haven't heard it, but it looks like a high potential product from a great maker. Hopefully we'll be auditioning them soon.

Dave

If you are needing high SPLs and have a large enough room then Avantgarde Trios with bass horns will be all you will ever need.

All these large amplifier problems mentioned above will evaporate as the high sensitivity will leave you being able to use pretty much anything you like from low power to quite high powered amps.

The dynamic range will kill all the above speakers leaving them sounding muted and flat. By the time you have found an amp to run low sensitivity speakers at the SPLs needed for full orchestral works in a big room
your bank balance and you floor will be very tired.

What are good models and manufacturer's for actives? Will active's also sound good at low volumes. It would be nice to have the same set of speakers for Mahler's 2nd symphony at 100 db and a shubert trio in the early morning at 70 db? I have heard good things about Mackie's but have never listened to a pair. Also is the horn technology a problem? Actives actually look like a good idea - built in amps, right amount of power per driver, etc. What are the downside to actives and why do are there so few active's as opposed to passives?