Flame — hard to say. Different rooms and very different speakers. Some time ago when I replaced the 75SE with the 160S, in the same room and system, paired with DAWs, the 160S brought dynamics and “jump factor" to a whole new level. It is dynamic as hell. Spanish Moon from Waiting for Columbus became a thrilling ride; air drumming is an involuntary (if mildly embarrassing) response. The 160S also brought a different sense of clarity/definition. I hesitate to say better, but different. More forward. If you get off on the arresting transparency of a perfect Julie London or Nat Cole recording, or you want to feel the breathiness of Ben Webster, I’ve heard nothing better. But I think in 10-20 years some will still love the 75SE for its ability to remain unnoticed, its naturalness, and its relaxed presentation. In real life, when someone is playing a piano or guitar in your room, they are not trying to impress you with sonic charms. Such is the sound of the 75SE. In fact, it is VERY good in this regard. But a true confession: I waffle between my teenage brain seeking punch and sizzle, to a more adult appetite for effortlessness and flow. For example, at least once a month I seriously consider auditioning a D’Agostino stereo amp in place of the 75SE. The 160S also offers more punch, with a noticeable "charm" in that lovely lower midrange, upper bass region. And good ole’ bass is definitely tighter and more pronounced. Final word on all this: the ARC break-in period is notoriously long, and it’s not malarkey. Make sure you’re listening to a fully broken-in ARC amp, otherwise all bets are off.
