Bi Amplification for RTiA7 - Suggestions?

62caddy
62caddy Posts: 137
I was wondering if anybody has any firsthand experience bi-amplifying the RTiA7 (or possibly the A9)? Is there any noticable improvement in SQ? I was considering using McIntosh MAC 4300 receiver (100W) and MC 2125 amp (120W) for this. At present the A7s are run from the 4300 in normal mode and it has no trouble making them sing; nevertheless any improvement is worth considering. But before I start tearing into the job I thought I'd check with the Polkers here. Any suggestions/experiences much appreciated.
Main:
McIntosh: MC 2155, MC 2125(x2), MR 80, C 32, MQ 101; Snell J7; Polk: RTiA7, RTiA9;
Pioneer PL-518; A/T 440 MLa; Yamaha CD
Vintage:
McIntosh: MX110Z, MC 2505, MC 240, Thorens TD 145; Shure V15III; Altec 14, Boston T1000; Yamaha CDX 393 CD; Yamaha Cass
Post edited by 62caddy on

Comments

  • 62caddy
    62caddy Posts: 137
    edited December 2011
    As a follow up to the previous post, is an external crossover necessary for the bi-amping scheme? The OM is vague on the subject and wouldn't want to risk damaging the tweeters.
    Main:
    McIntosh: MC 2155, MC 2125(x2), MR 80, C 32, MQ 101; Snell J7; Polk: RTiA7, RTiA9;
    Pioneer PL-518; A/T 440 MLa; Yamaha CD
    Vintage:
    McIntosh: MX110Z, MC 2505, MC 240, Thorens TD 145; Shure V15III; Altec 14, Boston T1000; Yamaha CDX 393 CD; Yamaha Cass
  • tonyb
    tonyb Posts: 32,983
    edited December 2011
    An external crossover in use is the usual way to go about it. Using the receiver and a seperate amp to bi-amp can lead to different speeds of power being delivered to the speakers. In my opinion, try the amp from the receivers preouts first to see if you notice an improvement. Though there are no absolutes in audio, one has to experiment alittle to find what floats your boat. There certainly isn't any harm in doing it your way, but your making things more complicated than it needs to be. Getting the most from your speakers is more so a combination of things such as your source, cabling, the room, and so on.
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