OP might as well have asked: "how high is up?" |
I would say camp 1 is the analytical crowd that is left brain dominate. These are your engineers, doctors, and tech professionals. They like their music colored to the analytical/detailed side. They believe that this sound signature is neutral. They enjoy Benchmark amps and DACs as well as passive preamps. They trust their ears less and gain valuable insights from measurements and white papers.
Camp 2 is the feelings/emotion dominated group (right brain subjectivist). They tend to like a warmer presentation and gravitate towards valves and vinyl. They judge their gear by how it makes them feel. They are sometimes scorned by camp 1 hardcore objectivists for creating sound reproduction that is different than what the artist intended. You can find camp 2 members in the ZU Audio room at shows.
|
seanheis1, you assume that people who like exact (analytical) sound don't seek emotions. Read below, especially response 2: OP: I don't pretend to be a professional reviewer (in fact this is the first time I've been moved to review any equipment), so can't explain exactly the differences, but it was akin to listening to a live acoustic performance versus listening to music through loudspeakers. The difference was not slight - it was dramatic. There is no "tingle factor" and no goose-bumps when listening with the Benchmark. If anyone says that the Benchmark is more accurate - frankly I don't care - I listen to music with my ears, not an oscilloscope! It was dull and lifeless by comparison. If you listen to live music there's inevitably background noise (you're sharing the auditorium with other people) and the acoustics are possibly not as good as a recording studio, but despite all the drawbacks, live music is so much more exciting to listen to. Similarly with the valve amps, an evening listening to music is thoroughly enjoyable. With the Benchmark it was little better than loud background music. Furthermore, the inclination was to turn down the volume of the Benchmark and turn up the SETs - inaccuracies, slight background noise and all! Music should be a thrilling experience and the Benchmark sadly doesn't offer thrills. Response1 (John Siau): Peter,
This is John Siau, VP of Benchmark.
Thanks for taking the time to document your experience with the Benchmark AHB2.
The AHB2 is well suited to use with high-efficiency speakers. The low noise allows noise-free operation with very high efficiency speakers.
Of equal importance, the AHB2 virtually eliminates the zero-crossing distortion that is normally produced conventional Class AB push-pull output stages. This is especially important for high efficiency speakers because the amplifier will spend so much time in low power region where crossover distortion can become most audible. The AHB2 behaves like a Class-A amplifier in that it is free from this very objectionable form of distortion.
But the AHB2 isn't for everyone. If you prefer an amplifier that enhances your listening experience then the AHB2 is not for you.
Your SET amplifier is specifically intended to add the euphonic qualities produced by the single-ended tube topology. This specific character is produced by the unique non-linearities that are characteristic of single-ended tube topology. The SET topology provides significant coloring of the music in a way that many people enjoy. If this is what you prefer, then you will be very unhappy with most other power amplifiers.
The AHB2 and SET amplifiers are on the very opposite end of the spectrum. You are completely correct when you say that the difference is dramatic.
The AHB2 is a much different listening experience. In contrast to an SET amplifier, the AHB2 is designed to be virtually distortion-free. The output of the AHB2 will sound exactly like the input. The AHB2 will not enhance or improve what goes in.
Please understand that this is a mater of taste. Many people enjoy the coloration produced by SET amplifiers.
Amplifiers can fall into three categories:
1) Amplifiers that add nothing to the audio
2) Amplifiers that add musically-disturbing distortion
3) Amplifiers that add musically pleasing coloration
The AHB2 falls into category 1, your SET amplifier falls into category 3.
Technically "coloration" is distortion but I think the word "distortion" gives a completely misleading description of something that may actually enhance the sound.
Again, it comes down to a matter of preference.
Response 2: My experience with the Benchmark AHB2 driving sensitive speakers is somewhat different. In my current setup with Benchmark DAC2 HGC/AHB2, I am driving a pair of Klipschorns with a 105 dB sensitivity so in that sense they would be comparable to the Avantgarde speakers.
In my 25 years of of experience with mostly tube amplifiers of all sorts, I have never come across a more emotionally involving amplifier than the AHB2. It is exactly because it doesn't "interpret" the music by adding coloration or any artificial sense of ambience or reverberation that it is so fascinating to listen to. The AHB2's ability to reproduce the timbre and texture of acoustic instruments is beyond anything I have experienced before - just listen to brass or woodwind! - and the precision with which it reveals the actual acoustic properties of the recording venue, whether it be a small café or a concert hall, is second to none. At least to my ears. I think what captured my attention from the very first instant was how honest and genuine the sound is. If it is in the recording, it is there, otherwise not.
This amplifier keeps me on the edge of my seat in excitement and anticipation even with recordings that I have known for years and not thought very highly of, so in my view it is the very antithesis of boring. I don't remember having ever been so moved by reproduced music as with this Benchmark combo. FYI, I almost exclusively listen to classical music and much of it in hi-rez, but I have to say that well-recorded CDs are also much more enjoyable and listenable now than before. |
Seanheis, dude way way off.
The type of sound your prefer has nothing to do with your brain being analytical or not.
It has to do with taste and expectations as well as experience.
Why does one person love vanilla while another one likes chocolate?
In the case of sound, some people compare everything to the question of "how does it sound compared to the real experience of the instrument, this type of listener craves the life like experience and it is about being one with what is actually there. Unflavored, unfiltered, reality. If the recording sounds bad don't play it.
Vs.
The listener who feels that the experience has to be pleasing overall first, and if the recording is bad, they flavor their systems by choosing components that mirror their tastes. Reality isn't as important as being able to relax into the experience. Processing is less of an issue, it is about turning off the brain's processing and giving into the experience.
Think of it as having a really fine steak, listener A will relish the flavor of the steak maybe with a dash of salt and pepper, listner B will add Ketchup and A1 sauce to make an amalgem of flavors. Unmaked and unfiltered. Changing what is there to match personal tastes.
Not a dig at carnivores or how you like eating your steak it is to illustrate a point.
Fun thread.
Dave and Troy
Audio Doctor |
Type One: Detail, clarity, soundstage, the high resolution/accuracy camp. People who fall into this camp are trying to reproduce the absolute sound and use live music as their guide. Live music in the recording studio or live music in a venue? For me, there are a handful of factors that create a live music feeling....like the band is playing in my room. They are: 1. Dipole radiation pattern. 2. No crossover above around 1500 hz. 3. No enclosed (box) speakers 4. SET or SEP amp. Or pure Class A. A simple design with little or no NFB is preferred. 5. A room that is not totally dead. The room needs some energy that is not absorbed. 6. A much smaller factor but still relevant is the DAC. NOS or R2R are IME closer to live music than Delta Sigma. |
