I think I know what you ended up with, if so you made the right choice.
Congratulations.
Congratulations.
ATC SCM150 (or JBL Synthesis) (or JBL vintage) (or new Klipsch Jubilee)
ATC Active--but a smaller model (50 or 100) with a SWARM subwoofer system (http://www.audiokinesis.com/the-swarm-subwoofer-system-1.html) for better distribution of bass peaks and nulls. ATC SCA2 preamp or Benchmark LA4. |
Interesting thread-always interesting to hear what other perspectives are. I am the US importer and Lone Mountain. I am also the US pro importer distributor and have been for 20+ years. I did not always eork for ATC, I spent years at JBL, was the Dahlquist rep for many years in the midwest and ran a high end shop back in the mid to late 70s during the hey day of Magnapans, DCM Time Windows, KEF 104's and many others. That KEF was the most amazing thing I ever heard. Too bad Ray is out of the business now but he advanced the whole speaker business by himself. Same for a lot of the great English manufacturers who were small engineering houses that "built their own". .A LOT of our current body of work is owed to these inventors and the companies they owned. From where i sit the speaker business is a manufacturing business and therefore an engineering business. That's why people like JBL, Revel, Magico and of course ATC impress me. They invest a lot of time engineering their way though problems. All of them get the single most important part of playback is the driver, where the energy transforms from electrical to acoustical. A speaker builder not building their own drivers trying to be successful with one hand tied behind their back. Drivers offer the possibility of lower distortion if you build very good ones. Once the distortion is created in the driver you cant get it out- not DSP, not cabinets, not amplifiers, or preamps. ATC is one of the very very few that still builds their own drivers and parts and focuses on this singular idea: lower distortion means more music. Distortion acts like masking, it covers up details. It may be hardly audible as distortion, but its audible when the details disappear and the timbre starts to sound different than the real event. Give me accuracy and I'll take my chances with bad recordings thank you. Besides, some bad recordings are charming- like super old Elvis masters and old recordings of Aretha Franklin. I'm not sure where this idea that low distortion studio monitors = harsh. Or mid forward. Or bad sound, It must be related to old monitors that the industry long ago abandoned for critical listening, such as horn based big two ways with crossover points at 800Hz, or giant bad sounding amplifiers like old Crowns. Some of those combinations can be so harsh as to rip your head off. Honestly NO ONE credible uses them as a sole reference anymore. All that really good sounding stuff that we call high end recordings was done on a very very good system. Its scary that some people think those recordings like Fleetwood Mac or Steely Dan where an accident or something. No, a lot of people spent months or even longer building those recordings piece by piece and making them as perfect as humanly possible. Actually these recording engineers have the same passion for audio that audiophiles do, they live for it. From my way of thinking a speaker that the artists use because they can finally hear it like it is would represent something an audiophile would want. Do we really think that Tom Petty doesn't know what sounds good, or Fleetwood Mac, or Hiromi or Joni Mitchell? Brad PS, mglik, love to talk to you about ATC sometime. When we took over, we got zero information from Flat Earth. We literally started from zero. |
@millhomes, I love big speakers for the same reason as you suggested. Big speakers present dynamics big and effortless. And I have listened to a lot of ATC, Tannoys & Altecs. Here is one simple thing you need to know. ATC SCM150 is a big speaker and it needs VERY BIG room or at least a very well treated big room. It has a prodigious bass which takes over the room. In comparison the SCM100 is much more easy to use. It sounds like a monitor and fills a big room "nicely", without overwhelming. And sonically the 100 and 150 are in the same level. The bigness of 150 is just too much. On the contrary the big speakers from Altec, JBL, Tannoys do not overpower the room even though they have big drivers. They can sound intimate in a 250 - 350sqft room, just like SCM100. Careful with 150! |