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robert_kc

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  1. If you want the capability to try newer "hi-res" recording formats, and try audio/video (e.g., hi-definition classical concert videos), and possibly multi-channel (which is very useful in larger listening rooms), you need to carefully consider the bewildering range of options for music playback. (Ripping CDs to a hard drive (or converting them to FLAC) won’t improve their audio quality. You can’t make a silk purse from a sow’s ear. Garbage-in / garbage-out. If you want top-quality audio, you need to start with a top-quality hi-res recording.) If you want the capability to play newer "hi-res" recording formats, you need a “universal player” – i.e., a player that supports all modern digital recording formats. If your receiver has an HDMI connection (which I don’t think your current unit does), you can buy an inexpensive player that supports only an HDMI connection. I have no experience with the Sony UBP-X700, but it appears to support all modern hi-res disc formats (audio and video). I have no affiliation with Crutchfield; they sell the Sony UBP-X700 for $180. If your receiver does not have an HDMI input, then you’ll need a universal player with analog audio outputs (i.e., red & white RCA connections). (I suggest that you be very wary of outboard DACs. Can you use an outboard DAC to play the SACD layer of an SACD (i.e., NOT the CD layer)? Can you use an outboard DAC to play the DTS-HD MA 5.0 track of a Blu-ray disc? How many outboard DACS support multi-channel (e.g., 5.1)? FWIW, I would not invest in a technology solution that only plays the 30+ year-old Redbook CD format.) I use Oppo UDP-205, but they’re no longer manufactured. For stereo only (i.e., not multi-channel), consider the Sony ES UBP-X1100ES. (You might be able to get a deal on the previous model Sony UBP-X1000ES.) A universal player is where I’d start in your quest for better audio quality. And then start buying hi-res classical recordings. If you’re interested in this path, I can recommend Blu-ray audio/video classical recordings. Following are just a few examples that might whet your appetite. Rafael Frühbeck de Burgos Danish NSO Ludwig van Beethoven: Symphonies Nos. 1–9 Joaquín Rodrigo: Concierto de Aranjuez Hector Berlioz: Symphonie fantastique, Op. 14 Richard Strauss: Eine Alpensinfonie (An Alpine Symphony), Op. 64, TrV 233 Audio options: · PCM Stereo · DTS-HD MA 5.0 Video: 1080p Excellent performances. State-of-the-art audio and video quality. ----------------------------- Jean Sibelius: Complete Symphonies Audio options: · PCM Stereo · DTS-HD MA 5.1 Video: 1080i Excellent performances. State-of-the-art audio and video quality. -------------------------- "Tchaikovsky, The Complete Symphonies". Audio options: · PCM Stereo · DTS-HD MA 5.1 Excellent performances. State-of-the-art audio and video quality. ----------------------- I also have Blu-ray audio/video box sets of symphonies by Brahms, Bruckner, Schumann, and Mahler. Plus several other classical concerts on Blu-ray. Plus numerous modern opera and ballet audio/video recordings on Blu-ray. (And a few in Ultra HD Blu-ray.) After experiencing modern audio/video concert videos featuring high-def video, and hi-res audio featuring surround-sound (played via my vintage tube amps, large hi-end Klipsch speakers, plus 2 powered subwoofers), I greatly prefer this to listening to CDs. And the audio quality is fabulous. Often, I’ll find new hi-res recordings (e.g., SACD, Blu-ray, Pure Audio Blu-ray) just by searching Amazon. There are several web sites that catalog hi-res recordings. https://www.hraudio.net/ lists some, but certainly not all hi-res recordings. https://www.nativedsd.com/ https://www.channelclassics.com/ http://store.acousticsounds.com/superhirez https://www.prestomusic.com/classical
  2. One if the most important ways to improve the audio quality of classical music reproduced in the home is to focus on the quality of the recordings. Classical music lovers sometimes must decide which is more important: performance quality, or audio quality of a recording. I’m not a music scholar, and I’m not hyper-critical of a performance. However, I have no tolerance for poor audio quality. I therefore choose modern performances of classical music that were recorded in hi-res (i.e., 24bit/192kHz PCM, or DSD). (In contrast, some classical music fans are willing to tolerate less-than-state-of-the-art audio quality in order to enjoy what they regard as the best performance of a classical composition – which may have been recorded decades ago.) My goal for the sound quality of recorded classical music played via my home hi-fi systems is to have the illusion that I’m in the symphony hall or opera house where classical music is performed live, with no electronics involved (i.e., no sound reinforcement system). My preferences for consumer deliverables: My favorite is Blu-ray audio/video (featuring DTS-HD MA 5.0 surround-sound). (A few Ultra HD Blu-ray opera recordings are starting to become available.) High-definition audio/video is particularly relevant for ballet and opera. Additionally, I think that high-definition audio/video is very enjoyable for classical concerts. My second choice in formats are SACD and Pure Audio Blu-ray that feature surround-sound. (No video.) My third choice are 24bit/96kHz or 24bit/192kHz FLAC stereo downloads (e.g., HDTracks). In all cases provenance of the recording is critical – i.e., modern recordings that were captured and mastered as hi-res. (In a few cases high quality analog master tapes have been digitized at hi-res with fairly good results - e.g., some RCA Living Stereo - however these pale in comparison with modern hi-res recordings.) I use Oppo UDP-205 universal players to directly drive vintage tube amps (i.e., using the Oppo’s built-in DAC, pre-amp, and bass management) for surround-sound, and stereo. Following are some posts relevant to the reproduction of classical music that might interest you.
  3. There's been a lot of discussion in other threads about what terms like “accurate reproduction", or “true high fidelity”, or "audio nirvana" mean. It seems to me that the $64k question for a hi-hi system is this: What is your benchmark for the quality of sound you are hearing from your home hi-fi system? My goal for the sound quality of recorded classical music played via my home hi-fi systems is to have the illusion that I’m in the symphony hall or opera house where classical music is performed live, with no electronics involved (i.e., no sound reinforcement system). I’ll clarify what I mean: Classical Symphonic Music vs. Pop Musicians Performing with Orchestra vs. Outdoor Performances My local symphony orchestra performs a Classical Series, plus a number of “pop concerts”, and a few outdoor concerts. For the Classical Series – which involves classical music performed live in the symphony hall, there is no use of a sound reinforcement system. I’ve confirmed with the symphony’s Executive Director that the microphones that can be seen hanging above the stage are used solely for recording, NOT for amplifying the sound in the symphony hall. My local symphony hall has world-class acoustics, and the natural sound is amazing. OTOH, when pop music is performed in the same hall, electronics are often used. An example is when a pop singer uses a microphone to sing. And for some pop concerts, electric guitars and/or electronic organs are sometimes used. And, of course, on the rare occasion when the symphony performs an outdoor concert (e.g., outdoor Memorial Day concert), then of course a sound reinforcement system must be used. Opera vs. Musicals One of the hallmarks of opera is that the singers do NOT use microphones. And the orchestra does NOT use a sound reinforcement system. No electronics are involved when an opera is performed by an opera company in an opera house. OTOH, musicals typically involve signers using microphones. And, of course, on the rare occasion when an opera singer performs the National Anthem at the baseball park, then they must sing into a microphone. Chamber Music Chamber music performances generally do not involve a sound reinforcement system. (I’ve been to one concert by a string quartet that used sound reinforcement because the venue had poor acoustics. I won’t attend another concert at that venue.) For classical music, the artists are the composer, the conductor, and the musicians - and IMO the “work of art” was the live performance (i.e., musicians performing together in the symphony hall). I’m using the term “work of art” in terms of what represents a benchmark for the sound quality of the recording when played via a home hi-fi system, not in terms of Intellectual Property law. The same might be true of other genres that involve natural music performed live, such as some big-band, some jazz, some folk, etc. I’m not knowledgeable about these genres, so I can’t say. (OTOH, reportedly some pop music is completely different – particularly if there never was a live performance, and electronic sounds were cobbled together by recording engineers, or deliberately distorted.) For those of us who regularly attend live classical performances (I attend more than 20 classical concerts each year), we have a pretty good memory of what a violin should sound like – independent of whether we were at a particular recording session. We have a pretty good memory of what a string quartet should sound like – and a pretty good memory of what a symphony orchestra should sound like – when performing live with no sound reinforcement system. (Recognizing some variance due to the acoustics of the venue, and the listener’s seat location. For my season tickets at the symphony and opera, I sit in the first elevated tier, front row, near center of the hall.) No recording is perfect, and no hi-fi system is perfect. And my memory isn’t perfect. Nonetheless, for classical music, my benchmark for the sound quality of music reproduced via one of my home hi-fi systems is based on my memory of the sound of classical music performed live in its intended venue. I want the inevitable imperfections in the sound from my home-hi-fi to sound pleasant vs. unpleasant. One of my priorities is for the timbre of the orchestra instruments to sound natural. (This is why I generally prefer tube amps.) And I like to achieve dynamic range that approaches the live concert experience. (This is why I like Klipsch speakers.) Here's a link to one of the relevant discussions:
  4. The quality of recordings is extremely important. Provenance of the recording is critical. Modern recordings that were captured and mastered in hi-res (24bit/192kHz PCM, or DSD), and delivered in a hi-res format (e.g., Blu-ray, SACD, 24bit/192kHz download) will generally deliver the best audio quality. Poor quality recordings, and recordings in low-bit rate formats, can sound harsh. If you decide to try a new amp, I suggest that you audition tube amps. I greatly prefer tube amps with my Klipsch speakers. 6L6GC sound great with RF-7II. 7591 sound good with my Palladium. (I have no experience with RP-8000f.) FWIW, I like vintage amps. I experience no listener fatigue, and no harsh brightness, when listening to modern high-quality hi-res recordings of classical music via my Klipsch speakers and the right tube amp. Tone controls can be very useful IME. Simply turning down the treble might solve the problem. Is your system stereo? 2.1 (i.e., stereo with subwoofer)? 5.1? If stereo, there are a few universal disc players that have analog stereo outputs that can connect via red & white RCA connections to a traditional hi-fi amp. (Traditional analog line-level RCA connections to the amp. HDMI to the HDTV.) You don’t need an AVR (or pre-processor) to play multi-channel digital music recordings (e.g., SACD, DSD download, Pure Audio Blu-ray, Blu-ray audio/video, Ultra HD Blu-ray). An Oppo universal player (e.g. UDP-205, BDP-105, or BDP-95) will decode any digital recording. The Oppo UDP-205 has built-in "pre-amp" functionality (i.e., analog RCA line-level connections), including selectable downmixing (e.g., 7.1, 5.1, 5.0, 2.1, 2.0), bass management (i.e., configurable subwoofer crossover and RCA line-level connection), trim levels for each channel, and remote volume control. Additionally, you can simply not connect the rear channels and have 3.0 or 3.1, or combine the rear channels for 4.0 or 4.1. IME, the combination of an Oppo universal player, vintage tube amps (I own a bunch), and Klipsch speakers can sound excellent. Bottom line, some people are satisfied with an AVR and Klipsch speakers, but some people aren't. Synergy between the amp and speakers is important. Where do you live? A forum member near you might be willing to let you hear different equipment combinations.
  5. Rafael Frühbeck de Burgos | Danish NSO Ludwig van Beethoven: Symphonies Nos. 1–9 Joaquín Rodrigo: Concierto de Aranjuez Hector Berlioz: Symphonie fantastique, Op. 14 Richard Strauss: Eine Alpensinfonie (An Alpine Symphony), Op. 64, TrV 233 Audio options: • PCM Stereo • DTS-HD MA 5.0 Video: 1080p Excellent performances. State-of-the-art Blu-ray audio and video quality. ----------------------------- Jean Sibelius: Complete Symphonies Audio options: • PCM Stereo • DTS-HD MA 5.1 Video: 1080i Excellent performances. State-of-the-art Blu-ray audio and video quality. -------------------------- Tchaikovsky, The Complete Symphonies Audio options: • PCM Stereo • DTS-HD MA 5.1 Excellent performances. State-of-the-art Blu-ray audio and video quality. ----------------------- I also have Blu-ray audio/video box sets of symphonies by Brahms, Bruckner, Schumann, and Mahler. Plus numerous other classical concerts on Blu-ray. Plus numerous modern opera and ballet audio/video recordings on Blu-ray. And a few in Ultra HD Blu-ray. (Plus many excellent quality audio-only surround-sound recordings on SACD, and Pure Audio Blu-ray.) After experiencing modern audio/video concert recordings that feature high-def video, and hi-res audio featuring surround-sound (played via my vintage tube amps, Klipsch RF-7II speakers, plus 2 powered subwoofers), I greatly prefer this to listening to CDs.
  6. IME, “good product(s)” (i.e., recordings captured and mastered in a “hi-res” format) that are delivered in a hi-res consumer format (e.g., Blu-ray, Ultra HD Blu-ray, Pure Audio Blu-ray, 24bit/192kHz FLAC download, SACD) generally sound the best. The $64k question is this: What is your benchmark for the audio quality of the recorded music that you listen to in your home? Because I listen to classical music and opera, my benchmark is clear: The live performance of classical music in its intended venue - i.e., a symphony hall or opera house with world class acoustics – where no electronics are employed. (In other words, no sound reinforcement system is used when classical music is performed in its intended venue.) OTOH, for some electronically produced music, there never was a live performance, and no one knows how the music “should” sound. In which case it seems to me that the concepts of “hi-fidelity sound reproduction” and “accurate sound reproduction” are meaningless. For me, “the music that sounds good” is the live performance in the symphony hall or opera house. That’s my benchmark for evaluating the quality of sound reproduced via recordings and my home hi-fi system. IME, modern recordings that were captured and mastered in a hi-res format, and delivered to the consumer in a hi-res format, are usually best at creating the illusion that I’m in the symphony hall or opera house.
  7. Comparing LPs vs. CDs is like comparing VHS vs. Beta. None of these technologies are state-of-the-art, and none of these technologies deliver the best available audio quality. Moreover, none of these formats deliver advances such as video, or surround-sound (which is useful in large rooms, and/or when the main speakers must be far apart). My favorite format for classical music: modern Blu-ray or Ultra HD Blu-ray recordings that feature DTS-HD MA 5.0. The availability of modern high-quality hi-res (e.g., DTS-HD MA 5.0, 24bit/96kHz or 24bit/192kHz PCM, or DSD) recordings varies by music genre. For the classical music I love, modern high-quality hi-res recordings are commonly available. Provenance of the recording is critical – i.e., modern recordings that were captured and mastered in a hi-res format - and delivered to the consumer in a hi-res format. (NOT CDs that were ripped to FLAC.) Dismissing all digital recording formats because you are dissatisfied with poor quality CDs would have been a relevant discussion 30 years ago. Relevant today: compare LPs with a modern high-quality hi-res consumer deliverable. Regarding loudness levels, my modern hi-res (e.g., Blu-ray, Pure Audio Blu-ray, SACD) classical recordings do not suffer from the “loudness wars” – they are not compressed. OTOH, pop music is usually compressed, and mastered MUCH louder. On the rare occasion when I play something other than a hi-res classical recording, I must turn the volume WAY down.
  8. Dean HTD: Welcome! I own RF-7II, and in my average size room, a 30 wpc push/pull tube amp works great for classical music at sane listening levels. Here’s a quick summary of my thoughts – off the top of my head - regarding the need for amplifier power: Speaker sensitivity is specified on a logarithmic scale, as garyrc explained. RF-7II (and RF-7III) are fairly sensitive (101dB), meaning they require relatively little power to produce satisfying volume levels. To put this in perspective, some owners of highly sensitive speakers (e.g., Klipschorn, 105dB) are satisfied with a 2 wpc tube amp. The RF-7III require at least double that power - and possibly much more power - depending on the following considerations … Speaker/amp synergy. This is black magic, as far as I’m concerned. IMO, you basically have to audition amps and speakers together to hear if they “play well together”. (Others can offer some technical explanations.) Tubes vs. solid-state. Analogies are dangerous, but in a sense, this is like the difference between a diesel vs. gas engine when pulling a heavy load. Tube watts “go farther” than solid-state watts. Room size. If you double the length, width, and height, the room has 8 times the volume, meaning much more acoustic power is needed to fill the room. Distance from listening chair to speakers. Sound level is inversely proportional to the square of the distance – i.e., if you sit far away, you need more power. Listening volume. Some people listen at volume levels that causes hearing damage. Again, logarithmic – meaning if you want insane volume level, it takes a lot of power. FWIW, I don’t recommend that people damage their hearing, or be inconsiderate of neighbors. (If you want “ear bleed” volume levels, then I suggest you read about Klipch’s products designed for commercial application (e.g., speakers designed for a movie theater or auditorium). Some people install these in their home. Hopefully their neighbors are miles away.) Genre of music. Large scale orchestral music can have tremendous dynamic range (e.g., Mahler Symphony 2), and powerful bass (e.g., bass drum, double bass, pipe organ), and therefore can place a relatively large demand on an amp and speakers. Folk music – and most pop music - not so much – because it’s all the same volume level. Mastering of a recording. Modern hi-res recordings of classical music typically are not compressed. OTOH, a lot of pop music is highly compressed, resulting in less dynamic range and less demand on an amp and speakers. (In other words, you can listen at a lower volume level and hear everything, because there are no soft passages. And there are no fff loud passages that require power reserves.) Technology of the consumer deliverable. Modern hi-res consumer deliverables like Blu-ray, 24bit/192kHz download, and SACD are capable of tremendous dynamic range. OTOH, some consumer formats (e.g., LP) are capable of less dynamic range, and therefore place less demand on an amp and speakers. Whether or not a subwoofer cross-over is installed before the amp, thereby off-loading power-hungry bass from the main amp and speakers. (I use my Oppo UDP-205’s bass management feature, and line-level subwoofer connection.) Surround sound 5.1 vs. stereo. If you have 3 identical speakers (LCR) across the front, plus rear speakers, and subwoofer, you’ll have more acoustic power than 2 speakers. In my basement system (average size room), I have no problems with dynamics or deep bass, for any music. Front, center, and left speakers are Klipsch RF-7 II. A single rear speaker is a Klipsch RF-7. Subwoofers: SVS SB16-Ultra, Klipsch R-115SW. Source: Oppo UDP-205 universal player, playing hi-res recordings of large-scale classical music. (The Oppo provides the bass management function, meaning that the power-hungry bass is off-loaded from the main amp and speakers.) I have multiple tube amps in this system. If I use, for example, a Scott 296 to drive the left and right channels, and a Fisher KX-200 (or Scott 272) to drive the center and (single) rear channel, there is dynamic range and frequency range approaching symphony hall experience. (These tube amps each produce approximately 30 - 40 wpc. If I want real muscle, I’ll use my Scott LK150 which produces about 58 wpc.) No problems with dynamics, or deep bass, for any genre of music. For big-band music or folk, my 8 wpc single ended-amp is satisfying. Bottom line, the answer to the question “how much power is needed” is “it depends”. That’s my 2 cents. Hope it helps.
  9. robert_kc

    45 amps

    Off the top of my head, IME there are several factors that affect whether a tube amp has adequate power, in addition to speaker sensitivity, speaker/amp synergy, room size, and listening volume: Genre of music. Large scale orchestral music can have tremendous dynamic range, and powerful bass (e.g., bass drum, double bass, pipe organ), and therefore can place a relatively large demand on an amp. Folk music, not so much. Mastering of a recording. Modern hi-res recordings of classical music typically are not compressed. OTOH, a lot of pop music is highly compressed, resulting in less dynamic range and less demand on an amp. Technology of the consumer deliverable. Modern hi-res consumer deliverables like Blu-ray, 24bit/192kHz download, and SACD are capable of tremendous dynamic range. OTOH, some consumer formats (e.g., LP) are capable of less dynamic range, and therefore place less demand on an amp. Whether or not a subwoofer cross-over is installed before the amp, thereby off-loading power-hungry bass from the main amp and speakers. (I use my Oppo UDP-205’s bass management feature, and line-level subwoofer connection.) Unfortunately, I’ve never heard a 45 based amp. My “Inspire ‘Fire Bottle’ SE Stereo Tube Amplifier HO” single-ended amp by Dennis Had, equipped with 6L6GC (probably 8 wpc), sounds good driving my Klipsch RF-7II for folk and big-band music, but doesn’t have the oomph to deliver large scale orchestral music at concert hall levels. (RF-7II is rated at 101dB sensitivity, vs. 105dB for Klipschorn.) I’m aware that Dennis Had makes a FIRE-BOTTLE 45 SET amp that puts out about 2 wpc. I wish I could hear it with Klipschorn, when playing hi-res recordings of classical chamber music (e.g., a string quartet). With that said, even though Klipschorn require about half the power of my RF-7II, I’m skeptical that a 2 wpc amp can fill an average size room with concert-level volume, and concert-level dynamics, for a hi-res recording of Mahler Symphony 2 (i.e., a modern recording delivered on Blu-ray, SACD, or 24bit/192kHz download). If you’ve heard Mahler 2 performed live, you know that the opening of movement 4 (Primal Light) has a solo alto singing softly (with no sound reinforcement system), and then the opening of movement 5 has a large-scale orchestra playing at maximum fff volume – i.e., an explosion of sound. If you’re playing a modern hi-res recording of Mahler Symphony 2 (i.e., a recording with unrestricted dynamic range), and you set the volume level on your hi-fi to be able to hear the opening of movement 4 at an appropriate volume level, then the opening of movement 5 requires some serious oomph – i.e., probably more than 2 wpc – even with Klipschorn.
  10. The assertion that “the standard’s used on CD is already above what's needed for super-high fidelity” is hotly debated. I won’t beat that dead horse other than to express my skepticism that science understands all facets of human hearing as it relates to music, and express my skepticism that Red Book CD can’t be bettered in terms of audio quality. (FWIW, I learned about Nyquist Theorem long before CDs were invented.) Modern high-quality classical recordings are released every month on SACD. SACD is not a dead format. And modern high-quality classical recordings are currently sold in several PCM hi-res formats. (Perhaps this isn’t true for all music genres.) Older recordings (including LPs) can deliver significant enjoyment, and are of course the only choice for historically significant performances - in all genres of music. With that said, if you only listen to decades old recordings, you are limited to what was state-of-the-art recording technology decades ago. Many older recordings have been remastered and delivered on SACD - however, garbage-in/garbage-out – i.e., a hi-res consumer deliverable won’t perform magic on a decades old recording. You can’t make a silk purse from a sow’s ear. Provenance of a recording is critical. Some remastered analog recordings as old as 1950s era can sound pretty good - e.g., a few RCA Living Stereo recordings. For example, I have a 1950s LP pressing of this 1950s recording that sounds surprisingly good, but IME the SACD also sounds surprisingly good when played via my Oppo UDP-205 universal player and tube amps, and Klipsch speakers. (The Mendelssohn Violin Concerto was originally recorded in 3 channels (left, center, right) on analog tape, and the SACD delivers the original 3 channels. The Technical Notes state: “In remastering these tapes, we kept the signal path as short as possible.” “No signal processing was necessary to ‘improve’ these extraordinary tapes.”) However - IME – these older recordings (whether in LP or SACD format) pale in comparison to modern hi-res recordings when delivered in a modern hi-res format. I mostly listen to modern performances of classical music that were captured and mastered in hi-res (i.e., 24 bit/192kHz or DSD), and delivered in a hi-res format. My favorite format for recorded music is Blu-ray or Ultra HD Blu-ray, featuring surround sound (i.e., 5.1), hi-res audio recording quality, and high-definition video. Hi-def video is particularly relevant for opera and ballet (because these are visual as well as musical artforms), and I also greatly enjoy watching the conductor and musicians perform orchestral music. Blu-ray’s video capability delivers another benefit: displaying the libretto of an opera on the HDTV screen, so that I don’t have to turn on a reading light and use reading glasses to try to follow a language I don’t understand in a printed libretto (with tiny print) in order to see the English translation – which is a huge PITA. I think that the creative community has only scratched the surface regarding what can be done with hi-def video to enhance the enjoyment of music. There are numerous Blu-ray audio/video recordings of classical music that are excellent, as well as many Blu-ray (and a few Ultra HD Blu-ray) opera and ballet recordings. And more are released every month. I like the combination of vintage tube amps and state-of-the-art recordings. On rare occasion I’ll spin an LP as a novelty when someone is visiting and they’re intrigued by LPs. I agree that it’s a miracle that LPs can sound as good as they do, considering the technology. However, IME - for classical music - particularly large-scale orchestral music - there is no comparison between LPs and modern high-quality hi-res recordings when they’re delivered in a hi-res format, such as Blu-ray, Pure Audio Blu-ray, Ultra HD Blu-ray, SACD, or 24bit/96kHz or 24bit/192kHz download. IMO comparing CDs with LPs is like comparing Beta vs. VHS – i.e., none of these technologies is state-of-the-art. Again, music can be enjoyed when reproduced at less-than-state-of-the-art audio quality. And LPs can be very enjoyable. I’m just trying to share a perspective that includes modern hi-res recordings.
  11. I'd like to learn more. I thought I had all of the classical on-line sites bookmarked, but I'd like to hear about more. Can you provide a link to the seller? Is the download uncompromised DTS-HD MA 5.0 audio and 1080p video? Here's another Blu-ray box set that I think is excellent: Jean Sibelius: Complete Symphonies There are other Blu-ray box sets of symphonies, plus of course many Blu-ray opera and ballet. I've downloaded some 24bit/192kHz FLAC classical recordings from HDTracks, but last time I checked they're audio only (no video), and stereo (no multi-channel). I've seen a few DSD multi-channel classical downloads on other sites, but I haven't tried any.
  12. Where can I download the following? Rafael Frühbeck de Burgos Danish NSO Ludwig van Beethoven: Symphonies Nos. 1–9 Joaquín Rodrigo: Concierto de Aranjuez Hector Berlioz: Symphonie fantastique, Op. 14 Richard Strauss: Eine Alpensinfonie (An Alpine Symphony), Op. 64, TrV 233 My point is that the availability of downloads and streaming depends on genre.
  13. That depends on the genre of music. For the classical music and opera I love, Blu-ray audio/video discs featuring DTS-HD MA 5.1 surround-sound are my favorite consumer deliverable. Ultra HD Blu-ray classical recordings are slowly becoming available. (Pure Audio Blu-ray and SACD featuring surround-sound are my second choices.) The state-of-the-art audio/video recordings of classical music that I like are not available via streaming. Also, it's been a few years since I investigated streaming movies, but last time I checked there was a small fraction of titles available via streaming compared with discs. Similar to music, it depends on the genre of movies you like. Moreover, IME, discs are much more reliable than streaming, and provide uncompromised audio and video quality.
  14. For the classical music I love, high-quality hi-res audio/video recordings are commonly available. Many operas, ballet, and a growing number of classical concerts are available on Blu-ray, featuring DTS-HD MA 5.1. Blu-ray audio/video (featuring hi-res surround-sound and hi-def video) is my favorite way to enjoy classical music. A few classical recordings are available on Ultra HD Blu-ray. Provenance of the recording is critical – i.e., modern recordings that were captured and mastered as hi-res. If you haven’t experienced classical music via Blu-ray, IMO the following is a very enjoyable high-quality set of all Beethoven symphonies (plus 3 other works) for a very reasonable price. (I bought the deluxe box set for approximately $50. Apparently the Blu-rays discs are now also available with “non-deluxe packaging”.) Rafael Frühbeck de Burgos Danish NSO Ludwig van Beethoven: Symphonies Nos. 1–9 Joaquín Rodrigo: Concierto de Aranjuez Hector Berlioz: Symphonie fantastique, Op. 14 Richard Strauss: Eine Alpensinfonie (An Alpine Symphony), Op. 64, TrV 233 I can make other Blu-ray audio/video classical and opera recommendations if anyone is interested.
  15. OP: Please help me understand. Does "F&F" mean "Friends & Family"? Am I correct that with F&F the buyer would be wiring you money with no commitment from you that you will deliver any product or service - i.e., they're just sending money to a "friend or family member" - and they have no recourse if you don't deliver any product or service? Unless I'm missing something, wouldn't it make more sense for you to send the buyer a PayPal invoice, clearly stating what you're selling (including product condition), and PayPal buyer protections would therefore govern? From PayPal's web site: "If you don't receive the item that you ordered, or it shows up significantly different from its description, you may qualify for Purchase Protection, and we'll reimburse you for the full purchase price plus any original shipping costs, subject to terms and limitations. If you are charged for a transaction that you didn't make, let us know within 60 days, and we've got you covered. What’s covered with PayPal Purchase Protection · You bought a book, but received a DVD · You bought an item described as “new,” but received something that was used · You purchased 3 items, but only received 2 · The item was damaged during shipping · The item is missing major parts (that the seller didn’t report) · You purchased an item described as authentic, but received a knockoff instead What’s not covered with PayPal Purchase Protection · Real estate · Motorized vehicles · Custom-made goods that are significantly not as described · Industrial machinery · Prepaid cards · Items that violate our policies · Anything bought in person (not over the internet) · Send Money transactions to friends or family · Disputes filed more than 180 days after the purchase for item not received and significantly not as described claims · Unauthorized transaction claims reported more than 60 days after the transaction date of the transaction · Items that were described accurately by the seller" ----------------------------------------------------------------------------------- FWIW … unless I’m missing something … I’d never buy something from a seller who asked me to just send them money via “F&F”. According to UCC, and long-standing principles of business, don’t you as a seller have an obligation to deliver to the buyer the product as advertised, and isn’t the buyer entitled to protections if you don’t deliver? If you are honest and thorough in describing and documenting (e.g., photos) the item’s condition, and you ship with delivery confirmation, then you will be protected (as much as possible) from false claims. You can somewhat mitigate your risk of loss due to shipping damage via insurance (if you meet the shipper’s packaging standards), but if you ship the item you are responsible for delivering the item to the buyer's address in the same condition as advertised. (Make certain that the shipping box is stamped with the strength rating. FYI, I bought a box from FedEx that didn't have the stamp, and my insurance claim was denied.)
  16. Hey @Codyred, I just realized that we shared some thoughts in another thread: You've obviously done extensive research on modern integrated amps, and I'm certain they are good products. I wish I could hear them all. I'm a fan of vintage tube amps. Additionally, I have one modern single-ended-pentode amp that was hand-built by Dennis Had called Inspire “Fire Bottle” SE Stereo Tube Amplifier HO. I drive it directly from an Oppo UDP-205. (No pre-amp – I’m using the Oppo's built-in "pre-amp" functionality.) With 6L6GC, my Inspire amp is probably putting out 8 wpc, which isn't quite enough for large scale orchestral music, but sounds good with jazz and big band - especially if augmented by powered subwoofers connected to the Oppo (which off-loads the power-hungry bass from the main amp and speakers). My only point is that for music that doesn't have a lot of dynamic range, in an average size room, at moderate listening levels, a lot of power isn't needed for the RF-7II. OTOH, for the large-scale classical music that I like, a PP tube amp with 30 wpc plus dual powered subs will deliver a near-concert-hall-experience for large scale classical music and opera. Of course, in a large room, and/or at “ear bleed” loudness, exponentially more power would be needed. Where do you live? Perhaps it would be useful for you to hear your music on someone else’s RF-7IIs. I encourage you to listen to a variety of tube amps with the RF-7II. (FWIW, I think 6L6GC sound good with RF-7II ...)
  17. OP: $64k question: What genre(s) of music do you listen to?
  18. My favorite integrated amps with my RF-7II: Scott 296 Scott 272 Fisher KX-200 P.S. I have other integrated amps that I like, but they're in other systems (i.e., not paired with the RF-7II): Fisher X-1000 Scott 299C Scott 299B Altec 353A
  19. Kathleen Battle singing "Lovers" from The House of Flying Daggers.
  20. I discovered this movie because Kathleen Battle sings the song whose leitmotif is featured throughout the movie. I think this movie would surprise a lot of people - it's not really about martial arts. This scene where we first see The Echo Game is pretty cool - Mei can't resist the challenge of The Echo Game, and it becomes apparent that she is not the "poor helpless blind girl" she pretends to be. Zhang Ziyi is gorgeous ...
  21. I think there’s been good discussion in this thread. I’ll be interested in hearing the OP’s results if he tries a different amp. FWIW, following are my thoughts. OP: You say that you listen to “classic jazz from the 50's”. It seems to me that this is one of the least demanding music genres for a hi-fi system to recreate. Is your goal to feel your body being assaulted by low frequencies (i.e., “kick your chest”), or recreate in your home a live performance of 1950s era jazz? FWIW, I’ve never experienced “natural music” (i.e., classical, chamber music, jazz, big band) “kicking me in the chest”. I attend more than 20 live classical music performances each year, including large-scale orchestral music - and I’m in awe of the power of large-scale orchestral music. However, large scale orchestral music doesn’t involve “kicking me in the chest” – even though a bass drum (and six double bass) in the symphony hall can be very powerful. As a point of reference, I’ve heard live performances in a world-class symphony hall of Mahler Symphony 2, Saint-Saëns Symphony No. 3 (Organ Symphony), Beethoven Symphony 9, Brahms German Requiem, and many other large-scale powerful works that greatly exceed the power of a jazz quartet. I suggest that if you want to challenge your hi-fi system with powerful music, get a hi-res recording (e.g., 24bit/192kHz FLAC download) of Bach’s Toccata and Fugue in D minor and crank it up to the volume level of a live performance from a large pipe organ (e.g., the Wanamaker organ). In terms of demand on a hi-fi system, “classic jazz from the 50's” is far less demanding in comparison. (No disrespect intended towards you by calling your music wimpy. 😊 ) $64k question: Do you attend live performances of the music you like? Does this form your benchmark for music reproduced via your home hi-fi system? How does your RF-7II perform in comparison to your recollection of live jazz? FWIW, this is how I think you should judge the sound from your home hi-fi system. FYI, there are people on this forum who use Klipschorn with 3wpc SET amps to listen to jazz. RF-7II are 4dB less sensitive, so – painting in broad brush strokes - double the power required. In an average size room at sane listening volumes, I’d say that the RF-7II can deliver a realistic simulacrum of a live jazz performance with a tube amp rated at 10wpc, because there’s little dynamic range to jazz. (I don’t listen to jazz, but my RF-7II can successfully recreate big-band music with an 8wpc single-ended-pentode tube amp. For large-scale orchestral music (which has far greater dynamic range), a 30wpc tube amp works well.) If you’re dissatisfied with the bass from RF-7II for jazz, then something seems amiss with your hi-fi system, or you have a problem with room modes (try moving your listening position backwards or forwards), or … candidly … perhaps the problem is with your expectations. (No offense intended.) In light of the fact that RF-7II are – relatively speaking - “big boy” speakers, they should provide ample acoustic power in an average size room for 1950s era jazz without worrying about a “high current” amp. My advice: get a 6L6GC based PP tube amp with tone controls, and you can enjoy natural timbre, and tailor the frequency balance to your liking. OTOH, a subwoofer is useful for hi-res recordings of large-scale orchestral music, and pipe organ, particularly in a large room, and/or if you listen at “ear-bleed” listening volumes. And, multiple subwoofers are indicated if you want to “feel” the concussion of explosions in a Blu-ray movie “slamming against your body” - or feel the room shake during a buffalo stampede or earthquake scene in a movie. Where do you live? Perhaps it would be useful for you to hear your music on someone else’s RF-7IIs that are “dialed in”. Bottom line: If you’re happy with your RF-7II with a subwoofer, why not just “crank up” your sub? Your thoughts? P.S. In my basement system I have no problems with dynamics or deep bass, for any music. Front, center, and left speakers are Klipsch RF-7 II. A single rear speaker is a Klipsch RF-7. Subwoofers: SVS SB16-Ultra, Klipsch R-115SW. Source: Oppo UDP-205. I have multiple tube amps in this system. If I use a Scott 296 to drive the left and right channels, and a Fisher KX-200 (or Scott 272) to drive the center and (single) rear channel, there is dynamic range and frequency range approaching symphony hall experience. No problems with dynamics, or deep bass, for any genre of music. As I mentioned above, the subwoofers are useful for hi-res recordings of large-scale orchestral music, and pipe organ.
  22. OP: What genres of music do you listen to? Is the same system used for movies? I listen to classical music and opera. I use RF-7II (left, center, and right) with tube amps. IME, RF-7II deliver fairly powerful bass when driven with a 30wpc tube amp. However, I use subwoofers (SVS SB16-Ultra and Klipsch R-115SW), crossed-over via an Oppo UDP-205, in order to deliver the full dynamic range, and frequency range, of a large-scale symphony orchestra. I believe that each person must define their goals for their hi-fi system (or home theater system). Is your goal to reproduce the natural timbre – and the full dynamic range and frequency range - of orchestral instruments at realistic sound levels (i.e., concert hall levels) in an average size room? For a string quartet? For Mahler’s Symphony No. 2? Do you want to reproduce the lowest pedal notes of a pipe organ? Different genres of music place significantly different demands on a hi-fi system. For movies, do you want to feel the impact of explosions, and the rumble of a buffalo stampede? In an average size room, at reasonable sound levels, IME for most music RF-7II perform OK without a sub. However, large powered subs help deliver the full impact of hi-res recordings (e.g., SACD, Blu-ray) of music that contains significant dynamic range, and significant low frequencies. I don’t think a different amp “with more grunt” is the answer. I’d stick with a main amp that delivers “musical sound quality” (IMO a tube amp), and if you want full dynamics and full frequency range, then off-load the main amp and speakers with a crossover before the amp (e.g., Oppo universal player), and use large powered subs. IME, this works great for hi-res recordings of large-scale music, and for movies with LFE (low-frequency effects).
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