Back to the original question though, I have still yet to see or hear any meaningfull evidence of amps being particularly good or bad with one particular style of music.
That in turn depends on the amps you have heard and the type of music they were playing.
I suspect if you did a detailed evaluation of the type i was talking about, you would find the difference clear enough.
IMO. An Audio Note system sounds completely different to say a Linn one, which in turn sounds different to a Naim one.
The reason I rate the 35i, is because it seems to marry some of the "liquid" qualitiy of valves, with the iron grip of SS.
"Everything has been said before, but since nobody listens we have to keep going back and beginning all over again." André Gide
Electrocompaniet EMC 1UP / Musical Fidelity AMS 35i / Focal Electra 1028be / MIT AVt MA speaker cable-Matrix 12 xlr / Chord powerchord / GIK acoustics/ Sennheiser Momentum
I give up. We are getting dangerously close to descriptions like ...
"It's like living in a mouse's ear lined with silk, eating grapes and drinking chateauneuf du pape." *
..and the comparisons with liquid chocolate that used to plague the forum!
*That is not invented. Someone here once said it about their Unison valve CD player!
Marantz M-CR603 + AirPlay • Rega R3 loudspeakers • iPhone 5 • iMac • Apple Airport Extreme 802.11n • Apple iPad Mini • Panasonic TX-L32D25B • Sony BDP-S390 • Ruark Audio R1 Deluxe • Humax HDR-Fox T2
But all of that implies that none of those amps are audibly transparent and they all colour the sound in some way and would therefore be far from perfect. I suppose one could be neutral out of the pack, but such noticeable differences between the others would make me want to turn around and walk out of the door.
I can understand a manufacturer trying to create a house sound to differentiate their equipment, but then that stears away from the fidelity part of hifi. OK for some if you like to have the sound coloured in some way, but not not for me certainly.
I still maintain that if you want to tinker and adjust tonal colouration in a system, then you may as well buy an equaliser and put that in the system. In fact, if DSP was used, you could probably recreate the house sound of pretty much any audio item.
Have you carried out a double blind evaluation of this equipment yourself by the way?
Mac mini > AVI ADM9Ts
Ok then what music is Naim best at playing?
Overdose, or anyone else vaguely interested,you're welcome to pop round my place where I have an 8 watt SET valve amp, a 300 watt solid state amp, 103 db efficient corner horn speakers, 84 db efficient conventional 3 way coned and domed speakers. That's 4 different amp and speaker combinations. For music we can play a live 2 men with their acoustic guitars recording and a bass heavy disco track to make a total of 8 different music / amp / speaker combinations.
You would also be welcome to bring any amp and speaker combination that you wished to bring.
We wouldn't be talking about huge differences between the amps as both my amps are good examples of their genres. But there would be icing on the cake differences between them, with the best choice of amp depending on the music.
BS is my speciality.
That's a kind offer and something I would be very interested in, but probably unlikely to happen due to geographical situation. If you're ever in the westcountry though, you would be welcome to listen to the ADMs, but I would imagine you'd be leaving your system behind for your hols.
The problem here is "art brain" vs "science brain"......in other words trying to apply objective critera to a subjective topic. Appreciation of music is an art, not a science, like the appreciation of a painting or a photograph.
What I think sounds good, someone else may not (and vica versa), so everybody has to find out what works for them.
Out of your list, I don't like Cyrus, Naim, Linn (amps) and Audiolab for anything
Roksan is OK for everything
Rega, Creek, Arcam and Musical Fidelity are good across the board, with Arcam often sounding a little safe
Musical Fidelity (AMS) and Audio Note are outstanding, with the AMS range being a little more versatile
This doesn't mean anything, other than what I think. Trouble usually comes when folk insist that they are "right", when in fact they are only expressing an opinion.
From my limited experience I would have thought Arcam and Rega are better for classical, jazz, vocals and pop rather than hard rock. I tend to agree about RK and MF .
It would have been totally impractical to have done so, as this equipment has been heard in a variety of situations like shows and musical evenings.
Instead of getting hung up on all this testing, I have gone out and experienced stuff first hand (for nearly 40 years). FWIW. I am certainly not claiming to have a monoply on the truth, but at least i have generally heard the stuff that I talk about.
I try to make my contribution proactive, positive, supportive and relevant...but personal bias always creeps in.
I wouldn't disagree.....as this is more where my taste lies, which colours my judgement.
The two groups on here will never agree ie Accuracy to the recording vs Accuracy to the real thing (Neutral vs Natural, as I like to call it...which i know is a little simplistic).
I've got a revelutionary idea... how about amps with tone controls?
For years I've had amps without, constantly struggling to fine one that just sounds right and now I've come full circle I wouldn't be without them.
Accuphase E350 amp, Electrocompaniet EMC1UP CDP, Siltech 25th Classic anniversary 330I XLR Harbeth Super HL5 on Sound Anchor Quod ELS63 stands, Chord Odessey2 speaker cable. Grado SR60 headphones.
I have tone controls but never use them, always use the direct button. But if I didn't have them?
I really don't get what you're saying - surely the recording engineers objective is to get as close as possible to the real thing therefore accuracy to the recording is the same as accuracy to the real thing?
Additionally, any non acoustic music is amplified anyway; on live gigs the music, including acoustic is amplified and played through the PA so what are you trying to achieve? What is the real thing? The live sound is dictated by the acoustics of the venue, they are all different and the job of the sound engineer is to remove as much of that 'difference' as he can.
© 2013 Haymarket Publishing