Holographic Soundstage ?

I also think the speakers are the best thing to change for a more holographic sound. I like Fyne so F501SP would for me be something to check out but there sre many good speakers. 

The level of holographic sound, etc. is dependent on system voicing, i.e. everything in your system including the room. That stated some are more naturally holographic.

Two of my three systems are:

1. A 105dB sensitivity system--holographic
2. A 89dB sensitivity system--non-holographic

1. The valve/tube amps in the first system are extremely holographic to the point, where a non-audiophile musician noticed it. She remarked without prompting by me and in her own words, "Wow, incredible big sound, but not loud and just BIG. Do you have speakers behind the walls? The music from the orchestra sounds like it is coming from several feet on the other side of the walls." I switched the system to solid state amps and she stated that it was good and more "punchier," but not as 3D and lacked "crisp natural sounding cymbals."

2. Switching to the second system (ESLs with high power), she said, "This is good, but . . . well, fatiguing and more in your face. The singer sounds like her head is 6 feet tall with a 3 foot mouth. I would get tired of this after a while, but is a good/different sound." Me, "More intimate?" Her, "Yes. More intimate."

Both auditions were from the same roon labs qobuz 192x24 source using the same OEM model DACs.

I noticed that your Wharfedales (I am a fan of them, because like me they are from the UK) are very insensitive--think large earth-based telescope. High sensitivity is like the Hubble telescope devoid of atmospheric interference. Why? One hears a lot of details (some unwanted like noisy amps, and yes most are "A" rated by Stereophile) and content simply not reproduced on lower sensitivity regardless of SPL or amplification, DACs, phono, etc. Think of insensitive speakers of having an atmosphere or lens in the way.

I am a fan and own both systems, and that is why there is no perfect system for many reasons. That’s what makes the hobby fun.

I listen to the ESLs system 20 times more often, than the big sounding 105db sensitivity system. Why? I can abuse the ESLs system and don’t care or give a damn. There are way too many sand (silicon) based amps out there for sale and speakers that love them. So, it is easy to price and replace. The system is on 24x7 and gets plenty of abuse. Robust it is.

OTOH the "tube" base system requires more TLC, warmup, and voicing with the right amps is a b*tch to get right. Most amps are noisy, e.g. I have a pair of Canary M-80s that "hum" (no, it’s not a ground loop, etc. it is the amp) with tube rush that sounds like a babbling brook. Nothing wrong with the install or system. That’s the pitfall of a sensitivity system. Very few amps sound quiet and good. The quiet amps are choked to death with negative feedback, unity, or push/pull designs. After 40 years with this system I’ve tried/bought/borrowed/auditioned just about everything.

Bottom-line:
System#1 is extremely holographic, but extremely finicky and sometimes fragile . . . like a centuries old Scotch . . . use sparingly.
System#2 is not holographic and not fragile. Devil-may-care attitude applies.

And yes, everyone should have more than one system at both ends of sensitivity. Listening to the same source on two extremely different systems is like doubling one’s music collection. :)

Remember that there is no single "god" system. Voicing and a room smaller than 40ft x 40ft x 40ft impacts the sound, because the SWR goes up in small/tiny rooms (anything lower than 40ft ceiling). Yes, one can "fool" ears with room treatments into thinking that the SWR is low, but it isn’t. The standing waves are still there.

Best rooms out there?

• Wiener Staatsoper
• Pacific Pantages (when it was a theatre) - middle front row balcony seat

What do they have in common? SIZE and high ceilings. And yes, they are holographic by design. Ever wonder why cathedrals and opera houses have high ceilings? The space contributes to the sound. Composers and people already knew this in the 17th century. Raw room size does matter. If he were alive, J.S. Bach would agree.

Have fun.

Cheers,
g

#jss49

We are talking a 6 ohm 91 sensitivity easy load.  And we are talking 30 watts (the amp actually measures out at about 34 watts) with independent high voltage power supplies for each channel for the Valhalla.  A friend was running Opus 3's with an LTA reference 40 amp and had a ton of headroom.  The OP is looking for soundstage, not looking to match wattage of his Krell.  The Krell has at least 3 or 4 times the wattage he needs.  And that's SS watts.  No comparison to tube watts.   He asked for a suggestion and I gave him an opinion after having knowledge of hearing Opus 3's with tubes.  Have you?

Keep in mind I have Mirage OM 6 speakers
Transparent Super Bi Cables
Plinius SA 102 in mono bloc at 740 watts
Pure class A or ab switch

In class A mode after about 45 minutes to warm up i notice a blacker background with a very realistic stage.
Plenty of clear space between musicians with a spooky in the room presence. Not the greatest depth although you get a sense of it but absolutly first rate instrumental tones along with detailed vocals, parting of lips, the foot pedals in pianos, even the room accoustics in recordings, wood floors, high ceilings or cathedrals , a very realistic recreation of the event.

At 740 watts into an 8ohm load the dynamics can startle you. Even so I have 2 Bag End subs in stereo rated at 8htz that add a spatial ambience as well as extend or augment my mains to provide detailed bass response and staggering dynamics!

Love my Plinius gear as i have them in my hometheatre with other fine gear
2 Plinius SA 102s
Plinius SA 100mk3
Plinius M8 preamp
Plinius p 8

I also got a pair of Klipsch Cornwallmk3s 103 db sensitivity
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Dared VP 845 with 1942 nos RCA 845 tubes
18 watts pure class A
The tubes cost more than the amp
1958 nos RCA 12ax7 and 1954 RCA 6sn7
Also a
Cary cad 300sei F1 version with
Latest pair of Western Electrics 300b tube
1944 Sylvania chrome dome 6sn7
My Lampizator lite 7 dac
Possibly upgrading to big 7 mk2
Innuos Zenith mk3 server
With Revelation audio labs cryo silver cat 8 rj45 i2s etherner 2 runs for Innuos
Transparent Reference XL rca interconects out from Lampi
Wireworlds Silver starlite usb
And also a VPI  White Prime superscout turntable
Transparent Reference phono cable etc..
In a very 3d stereo reproduction to use in my home as a reference to my posting above.

Sssooooooo!!!

We have diverged far off the OP Q.
What makes 3D? 
If a  speaker has no potential for fidelity soundstage, it makes no difference what amp/source you use.
If its not there, it aint there.
Rake a  Jadis JA800, hook it up to B7W,, The Jadis will sound like a  B&W sound, which i can't stand. 
I'm searching for fidelity right now.
I am re-inventing the Seas Thors.
The seas FA22RCZ arrives late sunday.

Which will go between the dual W18's. 
The Millennium tweeter is history. 
This  tweeter has fidelity, but the sound stage on complex music is too small, = not 3D.
3D = hight, depth, width. With human vocals perfection.