speaker analysis
when you listen to a pair of speakers for the first time what is the first thing you listen for?
for me, i zero in on tonality first then balance, extension, pace, imaging, and soundstage width, height and depth.
how about you?
for me, i zero in on tonality first then balance, extension, pace, imaging, and soundstage width, height and depth.
how about you?
Amplifiers: MasterSound Compact 845, Ayre v6xe, Consonance Cyber 800, Usher R1.5
Preamp: deHavilland Ultraverve 3
Transport/Dac: Cayin Venus cd-100i, Musical Paradise mp-d2 mkI
Speakers: Rosso Fiorentino Volterra
Speaker Cables: Analysis Plus Black Mesh Oval 9, Cerious Technologies Graphene Extreme
Interconnects: Analysis Plus Copper Oval-In Micro, MG Audio Design Planus Cu2,
Cerious Technologies Graphene Extreme
Power Cables by: Cullen Cables, 6sons Audio, Swiss Cables
Preamp: deHavilland Ultraverve 3
Transport/Dac: Cayin Venus cd-100i, Musical Paradise mp-d2 mkI
Speakers: Rosso Fiorentino Volterra
Speaker Cables: Analysis Plus Black Mesh Oval 9, Cerious Technologies Graphene Extreme
Interconnects: Analysis Plus Copper Oval-In Micro, MG Audio Design Planus Cu2,
Cerious Technologies Graphene Extreme
Power Cables by: Cullen Cables, 6sons Audio, Swiss Cables
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Yamaha a-s2100 Amp, CD-2100 CD player, T-S500 tuner
Loudspeakers: Harbeth p3esr, Polk RT7
Cables: Aural Harmony Sonnet Interconnect II, WireWorld Equinox 7 speaker,
Black Cat silverstar 75 ohm digital, Signal Digital Power Cord, PS Audio Perfect Wave AC-3,
Pangea SE14, Voltz supplied interconnects
Optional: Arcam DV88 DVD/CD (HDCD) player, Polk SDS-400 speakers
Desktop rig: LSi7, Polk 110sub, Dayens Ampino amp, W4S DAC/pre, Sonos, JRiver
Gear on standby: Melody 101 tube pre, Modwright LS100, Unison Research Simply Italy Integrated
Gone to new homes: (Matt Polk's)Threshold Stasis SA12e monoblocks, Pass XA30.5 amp, Usher MD2 speakers, Dynaudio C4 platinum speakers
I start with overall presentation, then frequency, clarity, then I look for any congestion and evaluate overall coherancy. At this point, if I am impressed, I'll get into the finer subtlties, bass and mid-bass response, sound staging and imaging, texture, natural rolloff, tone and a pristine upper most top end reproduction.
I'll inquire about what's upstream, what cabling and power components are used as well as the ohm rating of the speakers and wattage and type of the amplifier. At this point, if the speaker is impressive enough, I'll ask to listen to a track or tracks that I am intimately familiar with.
Here is where I get into the intricacies of the reproduction, I.E., height, depth, width, spatial locational cues, aura of individual instruments and singers, the separation thereof and how they all lay out within the sound stage.
I ask myself if they are good enough for casual listening listening or critical listening? Could they perform exceedingly well on both or just one? Do they sound good at low listening levels as well as when you crank it up or are they somewhat limited to a particular volume? Is the size of the recording venue accurate, bloated or smaller than it should be?
Can you clearly distinguish when multiple drum kicks are represented during busy passages and is the impact of a drum strike equally, yet separately distinguished during the same bust passages? During these busy passages, is the bass guitar and strike of a guitar separate and still distinguishable from the rest of the instruments or singer? Does the shimmer of a cymbal strike shimmer and fade off naturally or do I just hear a quick "Tsst" and that's it? Can I distinguish if it's an unwanted artifact or a finger sliding or lightly plucking a guitar string?
I look for accuracy but there is a line here that can (in my book) be crossed. After evaluating these and more aspects of a speaker I audition for the first time, the most important question I ask myself is this;
Do the speakers move me to the point of wanting to tap my toes or do I just sit there and listen?
Tom
The best way to enjoy digital music reproduction is to never listen to good analogue reproduction.
Ya' GOTTA be comfortable when listening for hours on end, otherwise, your enjoyment level drops considerably.
One last thing and I swear I'll shut up. If the speaker involuntarily gave me goosebumps? I'm ploppin' my big ol' but down and enjoying the music.
Tom
The best way to enjoy digital music reproduction is to never listen to good analogue reproduction.
Is the speaker good at one genre of music or does it only shine on one? Can it do heavy rock music as well as a simple jazz ensemble? Is it as enjoyable to listen too with an orchestra as it is with listening to an organ or drum solo? Do musical genres and silent passages sound just as crisp and clear or enjoyable as others or is the speaker a one genre aspect type speaker?
Sorry but this is almost a non-ending question and the more I think about it, the more comes up. I'm sure something else will pop into mind as soon as I hit "enter".
Tom
The best way to enjoy digital music reproduction is to never listen to good analogue reproduction.
Some of my favorite female vocals, usually will pinpoint, the good, the bad and the truly great or ugly!
B+W-
Epos-
Infinity-
Advent-
Current Gear:
Emm Labs DAC2x and TSDX Transport -> Cary SLP-05 preamp -> Boulder 2060 stereo amp (w/ Audioquest WEL Signature
Rotel RA1592 Super Integrated -> Sonus Faber Olympica 3 ->
Rotel RC1570 preamp -> Rotel RB1582 amp -> B&W PM1 ->
Old Gear:
Speakers: Rockport Aviors (5/5), Sonus Faber Stradivari (5/5), BW 802D2 (4.5/5), Martin Logan Summits (4.25/5), Martin Logan Vantage (4/5), Sonus Faber Cremona Auditor (3.75/5), AV123 Strata Mini (3.5/5), ML Mosaic (3.25/5), Onix Ref1 (3/5), Sonus Faber Concerto (2.75/5), SF Concertino (2.5/5), Axiom M22ti (2/5), Polk LSi9 (3/5), LSi7 (2.9/5)
Source: Squeezebox 3 -> PS Audio Digital Link III -> Cary 306/200 CDP -> Cary 306 SACD -> EMM LABS DAC2X/TSDX
Preamplification: Rotel RC1070 -> Rogue Perseus -> Cary SLP98 -> Cary SLP98F1 -> Cary SLP05 (sold and then repurchased)
Amplification: HK AVR330 -> Rotel RB1070 -> Rotel RB1090 -> Plinius SA102 -> Cary 211FE -> Classe M600 -> Boulder 2060
Subwoofer: Infinity Entra2 sub -> SVS 25-31PC+ sub
Don't ever demo speakers with Tom unless you have all day and half the night.
"A doctrine fostered by a delusional, illogical minority and rabidly promoted by an unscrupulous mainstream media, which holds forth the proposition that it is entirely possible to pick up a t-u-r-d by the clean end."
Theater: Denon 3808 - B&K 7500/Emotiva XPA-3- RTi12, CSi5, RTiA7x4, PSW505
Sleeping: Marantz 70005 - Harman Kardon 2400 - SDA 2
2 Channel: Cary 306 SACD - Canary Audio 906 - Pass Labs x250 - PS Audio Perfectwave DAC, Polk LSiM705, SVS SB13 Ultra
Office: Dell Optiplex, Emotiva XDA-2, Adcom 5500, LSiM 703
Spares: Yamaha CA-810; LSi 15; Kenwood Basic M2a, Yamaha M60/M80, Polk Monitor 7, SVS SB13 Ultra
I might add, when auditioning speakers you have to take note of the upstream electronic and cabling. You really have no idea what a speaker is capable of until the upstream gear is of decent quality.
Pioneer elite vhx 21
Sony BRP
Tad bookies
Polk 500 surrounds
Polk s35 center
SVS SB-2000
Sonos
Music-
Joule la-100 pre
B&k 1403 amp
Cary xciter dac
Cullen modded Sonos
ERA D5 bookies
Cables-
Acoustic zen Satori speaker cables
Analysis plus crystal oval ic's
Wireworld eclipse 7 ic's
Audio metallurgy ga-o digital cable
Pay attention, Tony. Grab another cup o java and reflect.
I'm too broke to even pay attention Russ. lol
Pioneer elite vhx 21
Sony BRP
Tad bookies
Polk 500 surrounds
Polk s35 center
SVS SB-2000
Sonos
Music-
Joule la-100 pre
B&k 1403 amp
Cary xciter dac
Cullen modded Sonos
ERA D5 bookies
Cables-
Acoustic zen Satori speaker cables
Analysis plus crystal oval ic's
Wireworld eclipse 7 ic's
Audio metallurgy ga-o digital cable
I can remember in the 70s's when I asked my dad what a tweeter was, he had no idea. Of, course now it means something entirely different to some.
Quick search found this online that might be helpful to some of us:
If you’re not an audiophile, you’ll discover that a lot of the language you read in trade magazines or hear at retailers is somewhat esoteric. An understanding of some basic terms should make it easier to establish a dialogue with your salespeople and help them help you.
TREBLE: We’ve all experienced speakers that overemphasize the treble—the result is a sound we often refer to as “thin” or “tinny”. Well-defined treble integrates with the rest of the sound, providing fullness. If the treble lacks power, the sound is dull and lifeless.
MIDRANGE: What we tend to hear most clearly and distinctly occurs in the midrange. It stands to reason that imperfections here will generally stand out. Clear, powerful vocals will generally indicate a good midrange; if you’re uncertain, it might pay to listen to a spoken word recording and listen for a muffled or nasal sound quality, which would come from poor midrange response.
BASS: Despite what you may hear on the city streets, good-sounding bass should not overwhelm treble and midrange. Clarity is the key; the bass notes should not be too heavy or too thin. Remember, though, that, if you like the sound of the treble and midrange on a given speaker, a weaker bass sound can be enhanced using a subwoofer.
A couple of other considerations enter into the mix…and you’ll get bonus points for being able to discuss them intelligently with your salesperson!
SOUNDSTAGE: The best thing about great speakers is that they give you the sense of listening to the music in a concert hall, arena or coffeehouse. If the speakers accurately reproduce the soundstage, you should be able to pinpoint the location of the individual musicians from left to right…and even derive a pretty accurate sense of depth.
DYNAMIC RANGE: Virtually any speaker can play loudly. Excellent speakers can play loudly—or at a whisper—without losing the clarity of each instrument. That ability defines its dynamic range.
It's a journey more than a destination. Enjoy the travel.
Theater: Denon 3808 - B&K 7500/Emotiva XPA-3- RTi12, CSi5, RTiA7x4, PSW505
Sleeping: Marantz 70005 - Harman Kardon 2400 - SDA 2
2 Channel: Cary 306 SACD - Canary Audio 906 - Pass Labs x250 - PS Audio Perfectwave DAC, Polk LSiM705, SVS SB13 Ultra
Office: Dell Optiplex, Emotiva XDA-2, Adcom 5500, LSiM 703
Spares: Yamaha CA-810; LSi 15; Kenwood Basic M2a, Yamaha M60/M80, Polk Monitor 7, SVS SB13 Ultra
"Some amps run on self bias, some amps run on fixed bias. But his amps run on confirmation bias." -- seen on audioasylum
My personal quest is to save to world of bad audio, one thread at a time.
^^ nailed it for me, at first listen for me its always about how balanced they are, top to bottom ^^ Many things come in later, but it starts with balanced.
9 times out of 10 I use Dire Straits - Making Movies to evaluate.
VA 2 Channel ,Dodd 50W Dual Mono EL34 Amp, MFA based Cocci Tube Preamp, Polk SDA2BTL (fully modded), A/L 1000VA Dreadnought, Canare 4s11 SDA cable, Sony S9000ES CD/DVD/SACD, Music Hall mmf 5.1 Turntable, Vincent Pho-700 Phono Pre, MIT S3 IC's / MIT Shotgun S3 Speaker Cables / Pangea & Signal Cable MP power
Noggin Schiit Valhalla, Pangea, Phillips Fidelio X1, Polk UF8000
LA Pass Labs X150.5 Amp, Eastern Electric MiniMax Preamp, Polk LSIM705, Marantz DV8300 SACD, Audioengine B1, MIT AVt3 Speaker & RCA Cables, PS Audio Power Punch power cables
Dodd Mid Level Preamp ("on the bench" w/Charlie)
Polk SDA1c modded
Polk CRS+ 4.1TL modded (need veneer)
Soundcraftsmen PCR800
Yamaha YP-D6
Signal Cable Silver Resolution IC's
Audible Illusions L1 Preamp
McCormack DNA-1 Power Drive Amp
Eastern Electric Minimax CDP
Infinity RS5b Speakers