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To Hans Wetzel,
I just read your review of the Arcam FMJ A19 integrated amplifier. I have Sonus Faber Venere 2.5 loudspeakers and a Pro-Ject 1XPression III turntable. Would you choose the Arcam (with its lack of digital inputs, but with a good MM stage) or would you choose the Peachtree nova65SE (with its limited [number of] digital inputs and lack of phono stage)?
That is an interesting question. For a few reasons, I would lean towards the Arcam. You don’t mention having a digital source, and the Pro-Ject would obviously link up nicely with the A19. Further, having just reviewed the Sonus Faber Venere S, which I’m guessing is voiced pretty similarly to the rest of the Venere line, I think the Peachtree might not be the best option. I admittedly haven’t heard the nova65SE, but I have heard multiple other Peachtree products and found their sound to teeter towards the lively, vibrant end of the spectrum -- so much so that some might find the sound bright. The Arcam, meanwhile, is a bit more cultured sounding, with a fuller midrange and a touch of warmth to it. Moreover, a good digital-to-analog converter (DAC) can be had very cheaply these days, so adding an external DAC in the future would be quite easy. For these reasons, and a few others, I’d take the Arcam and not look back. . . . Hans Wetzel
To Hans Wetzel,
I read your latest article on the matching of speakers and listening room and I recognize much of what you write regarding bass problems. I have a rather large listening space, but it is our living room so I am constrained by this; i.e., I cannot place the speakers in an optimal position. The speakers have to be close to the wall behind, and one of them is in a corner as well, which of course is not optimal for good bass reproduction. Like you, I do not want to give up the bass since it is a vital part of the musical experience, so for a long time I lived with bass-related problems. My PMC speakers’ in-room response is down to 20Hz, but my main problem has been the 80-120Hz region. Therefore (while skeptical), I finally purchased the Amarra-based license for Dirac Live room correction and I now stream music through Amarra from Tidal, and watch TV and Netflix using Amarra SQ+. Both of these applications have the Dirac room correction integrated.
After doing the room measurement and activating the correction filter, I followed up with about two weeks of rather difficult habituation to the new sound. The Dirac room correction involves both amplitude and impulse-response correction, so a lot happens when the correction filter is activated. At first I did not like what happened and I felt that I missed something. Actually, I did according to the measurements: two 15-20dB nodes at 70Hz and 90Hz, and one 12dB suck-out at 100Hz. I simply missed the exaggerated bass and the time smearing of bass transients that made the bass sound really powerful. I was almost ready to give up the room correction. However, after about two weeks of habituation and making a slight change of the target frequency curve by smoothly increasing the bass from flat to +5dB below 100Hz and back to 0dB at 20Hz, my impressions have changed fundamentally. Everything is dramatically improved, while I no longer have the exaggerated bass around 100Hz, I can hear and feel the really deep bass below 30Hz clearly for the first time, and the cleaning up of the impulse response has a significant effect on the audibility of bass lines that previously were diffuse and smeared. And there is no boominess whatsoever. If I turn off the correction filter now, after getting used to how it should sound, I can really hear how bad things were previously. Interestingly, I have compared the corrected sound from my speakers to the sound I get when plugging my wife’s B&W P5 Series 2 headphones directly into my Benchmark Media Systems DAC2 HGC and it sounds VERY similar, which I interpret as the room-correction filter doing exactly what it should do.
Regarding good speakers for smaller rooms, I can, by my own experience, recommend PMC’s smallest floorstanding model, the twenty.23. While rather small and only having a 5.5” midrange-bass woofer, they have real deep bass (below 30Hz) thanks to the transmission line. Really worth an audition . . .
Misery loves company, Ake. I am glad to hear that I am not the only one with a less-than-ideal listening setup, and equally glad to hear you’ve found a successful solution. Using room-correction software would, I think, complicate my ability to fairly evaluate loudspeakers in my listening space, but it certainly sounds promising as a long-term solution. As for your happiness with the PMCs, that doesn’t surprise me. We reviewed the larger twenty.24 on our sister-site SoundStage! Hi-Fi in 2012, and reviewer Doug Schneider seemed enchanted by them. . . . Hans Wetzel
To Hans Wetzel,
I have read your review of [Monitor Audio’s] Bronze 6 loudspeakers and I wonder [if they] are they too big for my listening room. I know that it is not so easy to answer, but, in short, [my room] is 22 square meters. My dilemma is [whether to purchase the] Bronze 5 or Bronze 6.
Great question. I did some quick math, and 22 square meters equates to about 236 square feet, or roughly a 15’ x 15’ room. As you seem to suggest, that’s not the biggest of listening rooms around, but you can certainly justify a floorstanding speaker in such a space. The Bronze 5s will certainly be no problem, but I think you can get away with trying the 6es. When I reviewed the Bronze 6es, I had them set up roughly 18” away from my front wall without much of an issue. I did use the included port bungs to seal the rear-facing ports, which decreased ultimate bass output, but still allowed me to enjoy clean, solid bass extension down to 40-45Hz without overloading my room. I suspect that you would also need to use the port bungs for the Bronze 6es to work best in your room. I say spring for the Bronze 6es -- I loved those things. . . . Hans Wetzel
To Roger Kanno,
I am writing to ask for your professional advice as I am in the market for a new 5.2-channel speaker system. Below are my options and I need you to select the best one based on your experience:
Option 1: Definitive Technology Mythos ST-L (four towers plus CS-8080HD)
Option 2: KEF R900 (four towers plus R600c)
Option 3: Paradigm Reference Prestige 95F (four towers plus 55C)
Any of the selections will be combined with SVS PB13-Ultra, SB13-Ultra, or GoldenEar SuperSub XXL subwoofers. (I will also need your advice on that.)
As for my home setup, it will be mainly for home theater (80%) and less for music listening (20%).
In my opinion, each one of the systems you mentioned would be excellent for both movies and music. Of course, a lot of that will depend on the electronics that you use, but I’ll assume that you are using at least a very high-end receiver or good separates. That being said, there is no “best one,” as they are all excellent, but there will be differences between them.
The Definitive Technology system has the advantage of having built-in subwoofers, which will make that system more forgiving of lower-powered receivers and amplifiers. They are also very slim towers that should be easier to place and, in my opinion, look the best of the ones you mentioned (even better than the Paradigm Prestige in its gorgeous Midnight Cherry finish). One of the disadvantages is that the CS-8080HD won’t be a perfect match as a center-channel since it uses midrange drivers more similar to those in their BP series of speakers.
On the other hand, the KEF system has a very nicely matched center-channel speaker and a very smooth sound overall, but the R900 lacks some of the bass of the Mythos ST-L, especially if you do not have a powerful amp (an advantage of the Mythos ST-L self-powered bass section). The R900 is not super power hungry, but does require an amp that can ably control the bass.
I have not had the Paradigm Prestige system in for review, but have really liked what I have heard from them at shows. I suspect that the 95F is not that hard to drive either, but again would require good amplification to deliver the best peformance.
As for subwoofers, the ones that you have mentioned are excellent and have impressed me at shows and demos, but I have not spent any time with them in my own system, so it would be difficult for me to comment more directly on any model. I would also add JL Audio subs to that mix since they now have their reasonably priced E-Sub and Dominion models available. Also, a system based on the Revel Performa3 F208s, with the excellent matching C208 center-channel speaker, would be at the same high level of performance as the other systems you mention, for around the same price.
Sorry I could not give you a more definitive recommendation, but these are all great systems and you will have to be the one who ultimately decides. . . . Roger Kanno
To Hans Wetzel,
I am replacing my old system and can use a hand in narrowing the field of amp and speaker pairings for my situation. My room is about 20’ x 25’ with a 12’ ceiling. Due to the room arrangements, I am limited to a speaker of 12” in height or less. Yes, not ideal, hence the request for some guidance.
My listening tastes run from jazz to vocals to classical to blues, as well as some rock’n’roll. I enjoy a warm, non-fatiguing sound; perhaps more musical than the ultimate in detail (heart or head?). At this point, I’ve narrowed the speakers to two; however, I am open to suggestions. The two: Harbeth P3ESR and Dynaudio Excite X14.
As for integrated amps, I am a bit all [over] the map. The ones I am considering include: Rega Brio-R, Hegel Music Systems H80, Bel Canto Design C5i, Rogue Audio Sphinx, and NuPrime Audio IDA-8. I’ve enjoyed reading the reviews of some of these on the SoundStage! sites, but would like a few suggestions as to pairings best suited for my situation.
Lot of variables there, Jim. Let’s start with your requirement for a “warm, non-fatiguing sound.” I like the idea of potentially one of your two components sounding a bit warm, but the other being as neutral as possible. Of the two speakers you mention, the Dynaudio will be the more neutral, faithful transducer, while the Harbeth will err on the warm, natural side of the spectrum. Both loudspeakers have a great reputation. Another no-brainer to consider would be KEF’s LS50 -- it is exceptional for the money, with a broadly neutral profile, and a flash of musicality in the midrange and upper bass.
I’m not entirely sure where to start with your amp suggestions, as two are analog-based integrated amp-DACs, two are pure analog integrated amps, and one is a digital-only integrated amp-DAC. Each comes from a manufacturer with a sterling reputation (NuPrime excepted, if only because it’s such a young company with a limited track record), and I don’t think there’s a “wrong” choice here.
That said, fellow reviewer Roger Kanno raved about the NuPrime IDA-8, and I have been eager to get my hands on one. If you can live without analog connectivity, that looks to be THE amp to have for under $1000, and would constitute my starting point for you. Rogue Audio’s Sphinx has a pair of Russian tubes in it, but they don’t manifest themselves in the way you might expect, with a really rich, warm, liquid midrange. Actually, the Sphinx has a livelier, exciting sound to it. Rather, the tubes offer the Sphinx a certain three-dimensionality that is difficult to find at its sub-$1500 price point. And you can’t go wrong with Hegel’s H80, but at $2000, I’m not sure it is twice as good as the NuPrime. I’m not familiar enough with the Rega or Bel Canto Design amps to offer meaningful advice on those models. The only other integrated amp I’d suggest in your price range that might meet your requirements is Arcam’s A19. It’s a sweet little amp with a dense, hearty sonic profile to it.
All that said, I’ll offer two suggestions. First, I’d try the NuPrime IDA-8 and partner it with the Harbeths (or alternatively, the KEFs). That combination should get you the warmth you’re looking for, with an abundance of resolving ability and power. If you’re leaning toward the Dynaudio, however, I’d partner it with the Rogue Audio Sphinx or Arcam’s A19. The Rogue isn’t exactly tonally warm, but it has a lovely sense of midrange presence. The Arcam, on the other hand, offers that velvety tonal density, which should complement the Dynaudio’s neutral sound. Good luck! . . . . Hans Wetzel
To Hans Wetzel,
I enjoyed reading your reviews on the Rogue Audio Sphinx and the Parasound Hint [Halo Integrated] integrated amps. Those are the two amps I am most strongly considering purchasing. You didn’t mention one vs. the other in your reviews, so I was wondering how you thought they stack up? The Parasound is a complete system, but the Sphinx coupled with a high-end external DAC (probably the Arcam irDAC II for around $800) comes out to nearly the same price. Given the near price parity, would you give the edge to one of these setups in terms of sonics and longevity?
I really enjoyed my time with the Rogue Audio Sphinx, back in 2013. It was, and to my mind still is, a great integrated amp for the money. Your suggestion of partnering it with Arcam's irDAC II is also interesting, as I use the original irDAC as my standalone digital-to-analog converter of choice. I think the tandem would have terrific synergy together. The Sphinx has a lively, dynamic sound, but with a touch of midrange bloom and dimensionality that I can readily attribute to its pair of Russian vacuum tubes. And Arcam’s DAC (at least my original irDAC) is excellent for the money.
Here’s the rub, though. As I suggested in my review, Parasound’s Halo Integrated is THE integrated package to have for around $2500. Compared to the Sphinx, the Halo offers greater power, superior connectivity, balanced inputs, bass management, tone controls, and a headphone amplifier, among other features. It is also dead-neutral sounding and should be bulletproof when compared to the Sphinx, since its solid-state innards don’t have a limited lifespan like the Sphinx’s tubed preamp section does. In terms of resolving ability, I’d say the two options are broadly similar, but I’d ultimately give the nod to the Parasound.
Now, it could well be that you don’t fancy a dead-neutral sound, in which case, the Sphinx-Arcam pairing may well tickle your fancy -- that would be a seriously engaging midrange. But if you’re looking for a “set it and forget it” package, the Parasound is an easy choice. . . . Hans Wetzel
To Hans Wetzel,
So glad to finally read a proper review of [Devialet’s Silver] Phantom, one that evaluates it critically in the context of high-end stereo systems. At the risk of sounding like a snob, I was getting a bit frustrated by the plethora of uninformative reviews simply rehashing Devialet’s claims without any critical listening, or declaring Phantom amazing because it sounds so much better than the reviewer’s Sonos [system].
This being said, on my side I’ve been quite disappointed by the Phantom story so far, and this from a guy who was (is?) really, really very favorably predisposed to the whole thing. Here’s why:
Hyperbole: Devialet is never shy when it comes to promoting the virtues of its own products, but with Phantom they overdid it. They pegged Phantom not just as great sounding for its price, but as a speaker that could go head to head with state-of-the-art speakers costing much more. Remember the whole “the best sound in the world” thing? Well, maybe I was naive in getting my hopes up, but it’s now clear that Phantom may sound competitive for a $5000/pair system, but it does not sound remotely as good as a top Magico or Vivid.
Lack of multichannel capability: Frankly, I have yet to understand Devialet’s logic when they decided it would be more useful to sync 24 Phantoms in mono or stereo mode, than to have five of them playing multichannel (MC) audio. Yes, I know, the guys at Devialet told you MC is part of their future plans, but they’ve been saying this since day one, and we are all still waiting. Moreover, Devialet has been saying their MC solution will be software based. As far as I know, there isn’t a single Blu-ray player that will output MC audio content at full resolution via USB or TosLink. They all do it via HDMI. In other words, there won’t be useful MC capability if Devialet does not add HDMI to Dialog, or an analog input to the speaker (which many of the new digital speakers have).
Bugs: You mentioned some, but quickly dismissed them. On my side, I have read too many reports of too many people spending too much time chasing after hiss, “un-freezing” Spark, getting Dialog to work when the audio system that is connected to it is some distance from the Wi-Fi router, etc., etc. When I buy a music system, it is to relax into the music, not to [go all] OCD about the system.
In short, I see Phantom as a somewhat missed opportunity. The product could have been revolutionary, but in the end it promised more than it delivered on the performance, functionality, and user experience fronts. The new Kii Audio Three or Dynaudio Focus XD [models] may be a bit pricier, but they have all of the advantages of Phantom with better sound and greater functionality. Color me disappointed.
I am glad that I could deliver the first “proper review” on the Silver Phantom, and many thanks for your thoughtful response. Like you, I have been quite disappointed with the press coverage of Devialet’s baby, but as I posited in my January editorial, that might be attributed more to the French firm’s public relations decisions than anything else. Also like you, I have been predisposed to the Phantom since its announcement at the tail end of 2014.
Regarding hyperbole: I agree. It’s worth noting, though, that just about every audio company in the high end lays claim to something “revolutionary” or “groundbreaking” that no one has ever done before. I’m sure, like me, you can think of several high-dollar class-AB amps and folded-cabinet loudspeakers with off-the-shelf drivers that promise to fundamentally alter your worldview and offer you glimpses of divine clarity. I don’t like these kinds of grandiose claims any more than you do, but, unfortunately, I think it’s part and parcel of this industry.
Regarding a lack of multichannel capability: Multichannel may have been a hot segment back in the late 1990s and early 2000s, but for the average consumer, I don’t think it’s a priority these days. That “average consumer” bit is important, because I think it’s pretty clear that Devialet is emphatically not gearing the Phantom towards audiophiles. Rather, I think they’re pitching it as a luxury consumer-audio product. In light of its gulp-worthy price for the average consumer, $1990 or $2390 each, for the Phantom and Silver Phantom, respectively, I’m guessing it was important for them to keep the price of entry reasonably accessible.
I can’t speak to the technical hurdles that Devialet may be facing in bringing multichannel support to market, because, frankly, I’m not well-versed in home-theater equipment and formats. I may sound like an apologist for saying this, but considering the progress in functionality that Devialet has made with its Expert line of amplifiers, through software alone, I would bet that the company will deliver on its promise(s) eventually. The question, of course, is when. If I had a home-theater setup, I’m sure I would be just as antsy as you, and no doubt many other potential buyers out there. Five Phantoms in a surround-sound setup is a delicious prospect, and kind of obviates the need for a subwoofer for all but the most bass-hungry listeners.
Regarding bugs: I can understand you feeling a bit dubious about my user experience, especially if one glances at some of the Devialet forums. From the looks of it, early firmware was far from smooth and reliable. That said, I stand by what I wrote in my review. Prior to Spark version 1.4 being released, the Spark app failed to find Devialet's Dialog on my Wi-Fi network on two occasions, resulting in my having to set the whole system up again. I wasn’t happy. But after installing the latest firmware update, I had three weeks of flawless operation, running Spark from a laptop, my iPhone, and my iPad, as well as running my television (with connected cable box, Xbox One, and Apple TV) through Dialog. Like you, I don’t want to have to fight with something to make it work, and with the latest firmware, I did not encounter a single blip. Take that however you’d like. I’ve been direct in some of my product criticism over the past couple of years, and don’t intend on softening my stance soon. And, for the record, my review samples were sent back to Devialet weeks ago, so they could move on to another reviewer, so I can’t speak to any longer-term software reliability.
Finally, regarding a missed opportunity: I actually disagree with you on this one. There is no question that Devialet promised a world-beating experience for a couple of thousand dollars, and fell short. But it’s worth re-emphasizing the assertion that I made in my review, which is that a pair of Silver Phantoms are, on sonic aggregate, as impressive to my ears as any pair of loudspeakers around the $5000 price point.
The Kii and Dynaudio loudspeakers you tout as having “all of the advantages of Phantom with better sound and greater functionality” are more than twice the price of a complete Silver Phantom system. I can’t speak to the sound quality of either the Kii or Dynaudio offerings, though I’ve read strong reviews on each, particularly the former. In terms of traditional functionally, I think you’re right, the Phantom clearly lags behind. But when you look at, and more importantly, listen to, what a pair of Silver Phantoms can do, I think it must be acknowledged as revolutionary. I can’t tell by your comments whether you have actually heard a pair or not, but if the answer is no, I’d suggest trying to hear a pair. I won’t (and didn’t) tell anyone that it’s perfect, that it’s a world-beater, or that Devialet should unfurl a “Mission Accomplished” banner. Clearly they have some more work to do on the software front to make the thing bulletproof for all users, and to bring additional functionality online, such as multichannel support, Spotify compatibility, and pure NAS compatibility, among others. That Kii Audio Three speaker, in particular, may well prove to be a better fundamental loudspeaker, but for a variety of reasons it won’t find its way into a fraction of the homes that Devialet's Phantom models will. Make of that what you will. . . . Hans Wetzel
To Hans Wetzel,
I was very happy to learn of your upcoming review of the [Devialet Silver] Phantom. I’ve been following the product since I first heard about it, but, as you say, all the reviews have been of a single Phantom, and not by audiophiles. It seems it could be just what I’m looking for, but I was reluctant to take a chance on it because, as you also say, there’s nothing else like it, so I just didn’t know what to expect. When a local dealer finally got a pair, the audition didn’t go well because of problems with the Spark app. So I’m very eager to read your review, particularly because you plan to make it so thorough.
Regarding thoroughness, could I please ask you to address some issues that are very important for me (and, I suspect, other readers)? First, I’m interested in reducing cables and boxes, so what’s the simplest way to store, connect, and play local files? Second, I want to use Roon to integrate my local files with Tidal, but I’ve heard it isn’t compatible with the Spark app, which is required to use the Dialog. Is there a way to make it work? Finally, how’s the sound quality at low volume? I live in an apartment, so I can’t listen at loud levels.
Another point while I have your attention: I’m happy to see a site dedicated to reasonably priced gear. I consider $5000 a lot to spend (two Phantoms, Dialog, and two Branch stands), so I’m grateful for your site’s focus. Fewer boxes and cables reduce clutter and complexity, but can also lower prices, and it looks like we’re seeing more of those options -- active speakers paired with minimalist sources, wireless systems, etc., so please keep us informed of their quality.
Thanks for your consideration. I look forward to reading your review.
My review will be thorough, but I am happy to answer some of your questions now.
Regarding the reduction of cables and boxes, and what the easiest way is to store local files, Devialet promises NAS support at some indeterminate point in the future. Long term, that seems like the best solution.
Given the Phantom’s (and Silver Phantom’s) current functionality, you’re limited to whatever compatible content currently resides on devices that can run the company’s Spark app. Currently, there are Mac, PC, iOS, and Android applications available. In my case, that meant that when Spark was up and running on all of my devices, I could wirelessly access and play all local content on my iPhone 6, iPad Air 2, older MacBook Pro with external USB HDD, and my newer MacBook Pro. In short, if there is content on (or attached to) a computer or mobile device, you should be able to seamlessly see and play such content through the Spark app. At one point during the review period, I was sitting on my couch playing music off the laptop in my hands, and within the Spark app on that computer, able to queue up and play content from my iPhone, iPad, and older MacBook Pro, all from the original Spark client. I have heard that Spark was buggy when it was initially released, and it was not quite perfect during my time with it, but after the latest firmware update, I can confirm I haven’t run into a single issue with it. I found it to be an intuitive, competent, and reliable software client.
Roon might be an issue. I can’t be 100% certain, but I don’t think Roon and Spark will play nicely together. That said, with Spark it was easy to navigate between local content on my networked devices, and my Tidal subscription. With a single, unified playlist across all Spark clients, it was a breeze to add songs from multiple sources. Spark does not offer the complete integration of Tidal content with local content the way that Roon does, but going back and forth between the built-in Tidal interface and local content was a one-step process. I’m generally highly critical of a product’s user interface and the end-user experience. To me, Spark is not quite perfect, but I have happily lived with it on a daily basis for the last few months. The thing to remember, though, is that Devialet releases software and firmware updates on a consistent basis, so I would expect continual, iterative improvement on that front.
Low-volume sound quality is excellent. Broadly speaking, I think the Phantom or Silver Phantom is most at home as a stereo pair attached to a television (and its associated devices, such as a cable box, Blu-ray player, or game console) in up to a moderately large living space. When your neighbors are royally annoying you, however, rest assured, two Phantoms or Silver Phantoms are up to the challenge of keeping them wide awake into the early morning hours. Like you, I value consolidation, minimalism, and high-performance products that are plausibly attainable by the average, hard-working audiophile. To my mind, Devialet is definitely heading in the right direction – more to come. . . . Hans Wetzel
To Hans Wetzel,
Great review on the [Monitor Audio] Bronze 6! Since you mentioned the [Parasound] Halo Integrated, can we expect a review soon? I have mine matched with the [KEF] LS50s as well, and cannot go past quarter volume without my wife giving me a dirty look. Looking into the Auralic Aries Mini to complete my system, too. Have you had a chance to play with that one? Keep up the good work!
Thanks for the kind words on the Bronze 6 review; it is a heck of a speaker for the money! As for the Halo Integrated, my review will go live here on January 1. I have inquired about a review sample of the Auralic Aries Mini, but didn’t get a response from their North American distributor -- tough crowd. Can't win ’em all! . . . Hans Wetzel
To Hans Wetzel,
I’m from Thailand and have read your reviews of speakers on SoundStage! Access. Right now I’m looking to buy [a pair of] speakers and it comes down to Magnepan’s 1.7, or MartinLogan’s ElectroMotion ESL. Which one do you think is a better speaker? Or if it’s not clear cut, at least please help tell me in what area one does better than the other so I can decide which one to get.
That’s a tough call, Kitipat. I have reviewed the MartinLogans and admired the Maggies at a show a few years back. While I generally liked the ElectroMotion ESL, I do recall that the dynamic bass driver was not as well integrated with the electrostatic panel as I hoped that it would be. Unlike the larger MartinLogan electrostatic designs that make use of built-in bass amplification and digital signal processing, the ElectroMotion ESL’s 8” bass driver is passive, and sounded a little loose and disconnected from the main panel. I only heard Magnepan 1.7s for around ten minutes, but I was very impressed with what I heard. As a matter of fact, I recall being particularly enamored with the bass performance, which is handled by a large ribbon, not a dynamic driver. A ten-minute listen in a crowded hotel room, however, is no substitute for a proper review. Based on what I’ve heard, though, I'd grab a pair of Maggie 1.7s. . . . Hans Wetzel
To Hans Wetzel,
I just bought a Hegel Music Systems H360 integrated amplifier-DAC, which for the time being will be connected to an Arcam CD37 (doing transport duties) via a Nordost coaxial cable. I understand that you own a Hegel H300, which may be an H360 by now. Here’s the question: I’m looking for speakers to pair to this and before I go on an extended search, I thought I’d ask you about possible matches. I’ve got the following list so far: Revel Performa3 F206 and F208, Focal Aria 936 and 948, Dynaudio Focus 340, and at a higher price (at least here in Canada), the Aerial Acoustics 6T. Any of these strike you as having any particular synergy with the Hegel? Any other recommendations at a comparable price point? Thanks for your time.
As you suggest, I have made the jump from the H300 to the H360, so I am going on greater than three years with a Hegel product as my reference amplifier. During that time, I have partnered the Hegel amps with a wide variety of speakers. Given the H360’s output of 250Wpc into 8 ohms, and substantial power supplies, I think the number of speakers that wouldn’t work well are few.
That said, I believe you have compiled a great list here. The Revel Performa3s, for instance, are superb, and a couple of our writers use the F206es as their reference loudspeakers. I haven't heard the Dynaudios or Focals that you reference, but other SoundStage! writers have reviewed products from the Focus and Aria ranges, respectively, and Reviewers’ Choice awards were bestowed on each of them. Aerial Acoustics also has a very good reputation.
I do have several suggestions to add to your list, however. GoldenEar Technology’s Triton One is a monster of a loudspeaker for the money, and truly full-range, if you can get past its somewhat pedestrian appearance. KEF’s R700 and R900 offer the top-to-bottom neutrality and high performance akin to Revel’s Performa3 line, via a slightly different approach and design aesthetic. Finally, Monitor Audio’s Gold 300 and Paradigm's Reference Prestige 85F and 95F are all solid options from two companies with decades of experience between them.
The takeaway is that you have many options in the price range that you are looking at, and each of them is excellent in their own way. Try and listen to as many of these as you can and trust your ears. I assure you, there is no wrong choice here. . . . Hans Wetzel