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That's not the point. All of her videos, are about her. Not her playing. Like I said, she's playing along with the recording. CASE IN POINT STORY: Many decades ago when I was a young man one of my guitar buddies got out of the service so naturally we decided to start another band. We put an ad in the newspaper for a drummer. This guy responds but wants us to come over to his place. He said he had a rehearsal space in the basement so went there to check it out. The guy gets on his kit to show us his chops. But before he does anything on the drums he puts on a record, and then starts playing, along with the record. Great. We drag our amps out of the cars and setup in his basement. We try a tune. Same thing the guy played on the record. Me & Gary look at each like WTF? He couldn't even keep a steady beat by himself. You can practice along with a recording all you want. But at some point that becomes a liability more than an asset. Playing live with other musicians is something very different than just ripping off some notes by yourself, or especially with a record, that plays everything exactly the same every time, backing you up. The other point I'd like to make is that the very few moments Sophia Lloyd plays by herself, it's lifeless. It has little or no Feel. No feeling. Just notes.

Or, if you prefer the young hot chick type check out this REAL girl Musician

She's a Posser Watched several of these. All of them have her "playing" along with the (original?) recording. Even the Fender Performer Strat Solo & review. The little bit she plays by herself at the end isn't very good. Armature eye candy though, for sure. Playing along with a recording is very different from playing with a live band, or just ****ing around by yourself. Here's a REAL girl MUSICIAN. Gramdma smokes the guitar!!!

No it won't. All it will do (to some extent) is dial it in for ONE particular location/listening position. That's it. There's is no "electronic" substitute for a proper acoustically sized, proportioned & tuned room.

Yes, it is. For some reason "purists" tend believe tone controls add distortion and that their precious recordings (and other playback equipment) are perfect, or at least "the reference". Which of course of course is absolutely not true. Decades ago I was guilty of such stupidity. And yes, it seems to be a "trend". I recently took a look & demo for several weeks of the newest McIntosh integrated amps. Hard to believe, but only the lowest price ones had bass & treble control available via remote control. On all the other more expensive ones McIntosh expects me to get up out of my chair, walk 15 feet to the equipment racks, turn a knob or two, walk back, sit down, listen, if it's not right, repeat. What's with that crap on a $10k or $15K integrated amp? Even more astounding the MA5300 didn't even have any outputs! ZERO! And then I had to spend another $500 for a NAD product to get hi-res streaming into it!. Decided to just go with an NAD M32. Even though the amp is a true all digital thru-put amplifier you can still bypass the tone controls if it really bothers you. I can't hear any difference. But I do use the bass control frequently - for fine tuning a recording according to my room and tastes.

And also the type of speaker. Line source speakers, for instance, SPL does not decline at the same rate with distance as a more conventional direct radiator. Horn-loaded speakers are often designed with a different "throw" in mind - long throw (farther distances) or short throw. And, in most residential rooms, there's not much decline in SPL after a few feet because of all the reflections. Seems I remember responding to this same thread not too long ago.

Another reason is because at those low frequencies the room (size and proportions) have the most effect on frequency response "flat-ness". Making a speaker that is "perceptually flat" would just exaggerate that, actually making the in-room speaker response less flat at low frequencies. And then, we have the human ear. Not everyone hears "perceptually flat" the same.

That's a well thought out, honest solution and selection. Indeed, in the end it's about YOUR ears and what what YOU like and what You are enjoying. 👍

First of all, if you’re going to stream from Tidal, hopefully you’re not going to use your phone/Bluetooth as the “source”. Even using a PC/browser will not allow you to stream the highest quality (hi-res) files from Tidal. As far as Bluetooth streaming goes, in general, I’ve found that things have greatly improved the last few years. For instance, I used to use an AM/FM tuner which also has digital streaming capability. When listening to “FM” I now stream it rather than get the signal off-the-air via outdoor antenna. In the case of FM, I’m streaming via Wi-Fi to my phone (android), and the phone connects to the amplifier via Bluetooth. This is yielding better quality sound than using the separate tuner, connected to the amplifier digitally via optical Toslink, coax or traditional analog cables. To get the best quality from sources like Tidal or Qobuz you really need to use an amplifier/receiver that can accept the stream directly (like BluOS). I use an Ethernet cable from the router plugged directly into the amplifier.

For the most part, I think you've answered your own question Mighty Mc. Most of the preceding answers are correct - replace the network caps or replace the networks, make sure the Mc240 are operating properly, use the 8 ohm taps, etc. but........................ You're never going to hear what those speakers can really sing like in that room under those conditions. The Heresy's sounded better to your ears for a reason. You can't stuff an Allison aircraft motor into a Volkswagen and expect to get the same results as what it was designed for. Many times, less is more.

Hey Chris, you had me going there for a while. The ESL-63 picture caught my eye, I saw the "quote", and assumed it was you referring to one of your usual long posts (not saying that's a bad thing). And then I'm reading, thinking, wow, I didn't know Chris worked at Intersonics and worked on acoustic levitation devices. He must have worked with Tom Danley. Chris knows Doug Jones? I've spoken with Jones. Also, my niece was studying opera at DePaul and switched to Columbia to study audio recording instead and had Jones as a teacher for a couple courses. Read on a little further and I'm thinking wow, this sounds more and more like Tom Danley and the Synergy horns like my SH50. THEN, I go back and read your first couple of lines. ROTFLMAO. Duh, Duh and DUH. It so much fun to feel stupid sometimes. 🤩

Exactly. They go hand in hand. We need to realize that even in "large" dedicated residential rooms, the rooms are "acoustically" small. And in turn causes a lot of reflection, short-term delay problems. This is very unlike outside or in large auditoriums were the delay between the source (instrument or voice) and any reflections is much longer (time).

When I was in college and working at the bike shop we used to use (Scwhinn) LPD-9. It's an aerosol lubricant with one of those little spray tubes. We'd light a lighter and hold it near the end of the spray tube and voila!! Instant blow torch 🤪 Worked real good on spiders too. Had a lot of spiders hiding in the radiators.

Give the NAD M32 a listen, especially if you stream Hi-Res digital audio. I have (and had) plenty of tube & SS (Luxman, Audio Research, McIntosh, Wright 2A3 etc) and IMHO the M32 trounces them all. The tube amps actually sounded grainy in comparison.

That is a very interesting paper Chris. Thanks! Any software developed from this?

Preaching or not, he's right, Charles. And, as long as one remains on the "system synergy" trail, on the road to the holy grail, I guarantee you will never even get close to hearing what's possible, regardless of the price or quality or combination of components.

In NYC or NJ yute = youth everywhere else.

I would eliminate the CD player all together and go Hi-Res streaming. Think about it. Every component in the signal chain adds it own anomalies - distortion, noise, phase errors, error correction (especially with CD - errors on the disc, laser reading errors), more cables, more breaks in the signal path. How is any of that going to make anything "sound better"? It won't. And it also makes a bad case for "system synergy" component matching as well. Especially since we no longer need the extra steps regarding the media itself as well as the components. You may find out that your speakers aren't so harsh after all. Besides, the recording itself and the room you are listening in have much more to do with how everything sounds than even the speakers themselves much less a CD player. But if you must, just get an Oppo that plays everything. Some even stream, although that still won't be as good as streaming directly to the amplifier. EDIT: I notice that you have an NAD amplifier. FWIW NAD is at the forefront when it comes to Hi-Res streaming/Direct Digital Amplification.

It was 1973. I had a pretty good stereo system for a young college kid. Crown D-60/IC150, Thorens turntable w/B&O pickup, JBL L-100 speakers. I also used JBL in my guitar/bass amps. I was a big JBL fan. One day I decided I wanted to get a radio tuner to round out the system. Off to Hi-Fi Hutch because they carried McIntosh and McIntosh made one of the best tuner. They also happened to be the only Klipsch dealer in the Chicago area at the time. I had never heard of Klipsch. At Hi-Fi Hutch, the usual sales person approach asking what’s my system like, etc. Then the guy says “Why do you want to spend that much money on a radio? If instead you use that money and trade in your speakers or sell them and put that toward a better pair of speakers you’ll have a much better sounding system. HFH was also a JBL dealer so my attention turned to JBL L-200. The dealer says listen to these……….(Klipsch Cornwalls). I tried a few things that altered the sound balance, different preamp/power amp gain settings, EQ, etc. But no matter what I did, I couldn’t get the JBL to sound like the Klipsch. I could make the Cornwalls sound very similar to the L200, but not the other way around. The L-200 obviously had some sort of coloration that I couldn’t get rid of. I ordered a pair of Cornwalls on the spot (3 month wait back then) for little more than what the McIntosh tuner would have cost me. The rest is history.

And if you don't want it? 1. Don't opt in. 2. Turn off Bluetooth on your phone. Turn it back on when you need it.

Have you tried floating the grounds? I'm sure you know how to do this, but..... I always use just ONE ground point. Everything/anything that has a third ground pin gets "lifted", in the case of 3-prong plugs I use a 2 prong adapter. Only the main power source/supply that everything else is plugged into for power at the wall electrical outlet gets grounded. BTW Cal, I still have the mustard rub B-B-Q recipe you posted here years ago. Great stuff! Thanks!

I N S A N E C L O W N P O S E E TILT-A-WHIRL

That is an interesting and important point! Think about it. One large full range speaker, in a room corner, with wide enough polar response to cover, basically the entire "listening area" equally - just like if you were sitting in a concert hall - looking at the stage. Everyone hears basically the same "source". When stereo came along, it destroyed all that. Now we have the proverbial "sweet spot". There is really only one "ideal" listening location. And that's why PWK referred stereo as "diluted". And it's also probably why some people still prefer mono sound reproduction.

Keep in mind that the room proportions Klipsch was referring to affect mainly the bass frequencies. As the wavelengths get longer at lower frequencies, the wavelengths become longer than any dimension of the room and begin to interact with the room "modes" - resonances - causing exaggerated anomalies in frequency response. As the frequencies get higher, the wavelengths grow shorter and don't interact with room modes as much if at all.