speakers for classical music

Narrowing the field a little. Not interested in horns, electrostats, personal (vs established company) designs etc. Speaker must sound good for both 105 db orchestral and 70 db chamber.

David,

Ok - let me see - no horn, no panels, no boutique designs.

If you mean 105 db SPL continuous then I'd recommend that you need at least an ATC SCM 50ASL (like Gordon Holt who likes classical) and possibly a JL F113 sub or two depending on room size and placement - IMHO.

Why? Because if you are listening at 105 db SPL (and sitting a typical 2 meters back) then this is 111 db SPL continuous sound and you will also need plenty of headroom (or else it will sound strained and dull with most non pro dynamic speakers and you ideally want an effortless sound). If you have a bigger room and sit a little further back then you probably need an SCM100 or bigger, as well as the sub(s).

The 3 inch midrange in the SCM50 is on the right while the bigger 3" dome for the larger SCM100 to SCM300 range is on the left. Why a photo? because a picture is worth a thousand words - this 3 inch driver has a bigger magnet and bigger diameter voice coil than you see on 99% of all woofers and subwoofers...there is a reason for this and at 105 db SPL at the listening position you will hear that reason (without a horn you will definitely need a design with big motors). It has a wide "waveguide" to control dispersion (this is not a horn).

An extremely dynamic pro driver three way like ATC or PMC can certainly handle your needs without the least hint of strain and also play at 70 db with chamber music with no problem with the same accuracy and balance. This is a key reason these speakers are popular in mix/mastering. Note that your ears will inevitably suffer the usual Fletcher Munson loss of hearing sensitivity to bass frequencies at low levels - so it will not sound quite the same but it will not be the speaker fault - just use some loudness or bass tone control if you want a fuller sound at very low levels. Usually the mastering engineers take care of this for you - rock and Mahler sould be mixed thin in the bass so it sounds best real loud (as it is when heard live) - the opposite is done for chamber music.

FWIW - I don't hear significant differences in IC's, cables or most CD players - perhaps I have tin ears from listening too loudly!

Good luck and happy listening - just don't play it too loudly for too long as it is not good for your hearing.

105dB continuous at the listening seat is "crazy loud". You don't even get that sitting in the orchestra or even on a rock and roll bandstand (unless the drummer is an idiot -- yes, that happens). I played with one ridiculously loud big band drummer that got run out of the band and he was only 110 dB five feet away in my rhythm guitar spot. I wore ear protection, as did half the band.

Moving from 85dB average to 95dB average is the difference between audience and orchestra. The peaks, even on stage are still only 110dB or so. Smart rock bands are usually below 100dB on stage (yes, not all are smart) but they're probably 120+dB for the first 20 feet from their main PA, even in a club.

Dave

Guido- I will certainly look into the Soundings/JRDG/Sumiko room. I think I heard the Mahlers a few years (2) on the Mezzanine floor/1st floor? in the same room that Linn were in the last year? being run with 3/4 205/305 REL subs? Going from memory so I maybe wrong.
The poor sounding B&W 802's/Classe I will allow for the room they were in should have sounded more like music than hi-fi.
I would not replace those over my KCS Oris 150's which are (to my ears folks) much much more musical, and decidedly less expensive. Each to their own fellow sufferers.

I wonder why jazz is played so much at shows? is it because you can make almost any system sound like a million dollars?
Even the mega expensive ones! lol

Got a chance to listen to several active speakers this weekend. Looks like this may be the way to go. Out of the bunch the genelec 8040 sounded the best - a great sounding little speaker - detailed, clean, and sounded good at low and high spl's. Also seemed to handle the high spl's easier than any passive I have listened to. Unfortunately, no one close by had any of the 3 way units or even the 8050. Also looked around for ATC actives but no one close by had those in stock. Looks like it is going to be a good 6 hour drive from the DC area to find either for a demo. Would like to hear from anyone who compared 3way speakers from ATC and Genelec - particularly the Genelec 1037C to the ATC SCM100ASL. Could you described the difference. Also how is the power consumption for these units - i.e. can you run them off the same 15 amp circuit w/o any problem.

Hi Gawdbless, tell the truth, I did hear the Mahlers with the Rel subs at RMAF as well. . . and begged for the thing to be turned off. . . it was not my cup of tea in that particular setup.. . . somewhat rambling/woolly in the bass with a slight propensity of furballing things higher in the spectrum as well. Much much better/tighter on their own. In 2006 they were being played with JRDG 201 monos, JRDG 501 monos, and with the JRDG 312 stereo. . . . loved them on 312, but not so much with other 2 amps, as they sounded much less musically involving to my particular ears. I understand that feeding the 201s and 501s with the very new PC1 PFC devices introduces some of the musicality found with the 312. . . but I'll need to verify that with my own ears. In 2008 they will be back in the large suite where Lyn was featured in 2007.

As for musical selections, vendors tend to feature what audiophiles like best. . . which are often not my favs at all at all at all. . . that's why I bring my trusty home made sampler with pieces that are important to me. . . . even if at least one of them tends to sound positively hideous in most situations, including with Vienna speakers. . . . and none of the selections pretend to be 'audiophile class' recordings. . . just music that I love!

Hope to see you in Denver! G.