I agree with an earlier post regarding Reference 3a speakers and toe in. I've had a couple of pairs of Grand Veenas over the years and any toe in whatsoever and the magic is gone.
Toe in is crucial
I’m like the rest of us, obsessing about the smallest tweaks in power supplies, USB cables, cable risers, room acoustics, etc. But an underrated (or discussed) speaker tweak is toe in.
in my system (SF Amati, Mc components, Cardas, Weiss) adjusting speaker toe in by as little as ¼ inch has greater impact on SQ than many cable and other tweaks I’ve made at the tail end of refinement. The impact (and trade off) on sound stage, imaging, and treble presentation, by the smallest adjustments is profound.
I wasn’t quite satisfied with my system tonight—a little too forward; a narrower soundstage than I like. A ¼ inch toe in adjustment took me from hifi to the concert.
Not sure if others have experienced this, but thought I’d share.
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"Toe" is a term from automotive wheel alignment referring to wheels' geometric relationship to straight ahead on the vertical axis. Zero degrees is straight ahead. Some loony reviewers cannot figure it out. Speakers are for ambiance and pleasure. If toe makes you post here make your next speakers something that radiate nice and wide. And use plenty of power. |
@12many But don't we want the singer to be point source? I mean, isn't a singer's mouth a defined, localized space about 2" wide? And isn't the challenge with the other instruments in the orchestra/band, where they are spread over the sound stage? This was my problem with the Bose 901s, that the singer's mouth seemed as large as my front wall. Shouldn't the stereo localize the singer as a point source somewhere on the stage between the left and right speakers? Even if she is moving across the stage? |
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