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Old 25th February 2020
  #7471
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Shaggy2039's Avatar
Quote:
Originally Posted by askomiko View Post
Amphion is recommending the new Amp700 for all their products now. Hmm. Two mono100s would be nice with small footprint though.
I learned a big lesson a few years back when I upgraded from my original Adam A7 to the Adam A7X. That lesson is: An upgrade to a product doesn't always mean it's better. We're dealing with sound, after all. It's subjective.

I have the Amp 500 +Two 15's in my room right now sitting next to the
Amp 700. The Two 15+ Amp 500 shows compression / dynamics much better and is punchier in the lower mids than the 700 in my opinion. It's also a tad more fatiguing. When I turn the threshold on a compressor I can hear it instantly on the Two 15 in a way I can't on the 700. Sometimes I realize "hey, don't even compress this thing - leave it". What this does across 50 tracks in a session shouldn't be underestimated -- the mixes on the 500 just seem to have more life and dynamic depth to them since I'm not squashing everything to death.

That said, the Amp 700 is more velvety. It's much smoother. It's thicker in the lower mids (less punchy) and it has a larger presentation.

I'm going to go back and forth this week with them but I'm pretty sure I'll end up keeping the 500.
Old 25th February 2020
  #7472
Gear Maniac
 
Oskari J.'s Avatar
 

Quote:
Originally Posted by Shaggy2039 View Post
I learned a big lesson a few years back when I upgraded from my original Adam A7 to the Adam A7X. That lesson is: An upgrade to a product doesn't always mean it's better. We're dealing with sound, after all. It's subjective.

I have the Amp 500 +Two 15's in my room right now sitting next to the
Amp 700. The Two 15+ Amp 500 shows compression / dynamics much better and is punchier in the lower mids than the 700 in my opinion. It's also a tad more fatiguing. When I turn the threshold on a compressor I can hear it instantly on the Two 15 in a way I can't on the 700. Sometimes I realize "hey, don't even compress this thing - leave it". What this does across 50 tracks in a session shouldn't be underestimated -- the mixes on the 500 just seem to have more life and dynamic depth to them since I'm not squashing everything to death.

That said, the Amp 700 is more velvety. It's much smoother. It's thicker in the lower mids (less punchy) and it has a larger presentation.

I'm going to go back and forth this week with them but I'm pretty sure I'll end up keeping the 500.
Amphions motto has been to minimize coloration through all stages of the signal chain. Something I truly appreciate, and try to maximize in my setup. I want to hear every single bit of that bit stream. That's why I think it's a somewhat questionable decision to put a colorful buffer stage in the new amp. At least if it makes such a difference as you describe. It may be pleasing, but it doesn't help with mixing. Perhaps it helps with producing, though, and their thought may have been "we need to move to a middle ground to please both mixers and producers". The natural question is: which is the best business model, jack of all trades or specialist? There should be a switch for selecting between a absolute transparent buffer and the class A buffer.

Let's see how this pans out and gets recieved.
Old 25th February 2020
  #7473
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Shaggy2039's Avatar
Quote:
Originally Posted by Oskari J. View Post
Amphions motto has been to minimize coloration through all stages of the signal chain. Something I truly appreciate, and try to maximize in my setup. I want to hear every single bit of that bit stream. That's why I think it's a somewhat questionable decision to put a colorful buffer stage in the new amp. At least if it makes such a difference as you describe. It may be pleasing, but it doesn't help with mixing. Perhaps it helps with producing, though, and their thought may have been "we need to move to a middle ground to please both mixers and producers". The natural question is: which is the best business model, jack of all trades or specialist? There should be a switch for selecting between a absolute transparent buffer and the class A buffer.

Let's see how this pans out and gets recieved.
I think many people complained about ear fatigue and this was their way of solving it. I know I mentioned it a few pages back when I first started with the Two 15's. Once I identified that it was, in fact, the ridiculous level of compression detail I was hearing and I just learned that certain mixes that are overly compressed will sound fatiguing on the Amphion.

Let me be clear here though -- The Amp 700 does sound better than the 500 from a listening perspective. The top end is beautiful and smooth and because it shows less compression detail, it's not as fatiguing.
Old 27th February 2020
  #7474
I wonder if anybody has tried the Amp700 with the One18's yet? I have the 100 with One18's and a pair of Rhythmik subs and it is a pretty killer setup. Would be curious to hear the 700 in comparison.
Old 27th February 2020
  #7475
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Lupez's Avatar
I am waiting for a comparison between Amp100 and Amp700.
Amp500 was too fatiguing for me.
Old 28th February 2020
  #7476
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Emanuel23's Avatar
 

If anyone is in the market for an AMP100, let me know. I have a brand new one available, the final one from my CDC stable. The manufacturer of Amphion's amplifier modules, Anaview, stopped producing the AMS0100 and AMS1000 modules. That is why these amps are being replaced by the newer model.
Old 28th February 2020
  #7477
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I’m going to try to get a 700 from one of the local dealers so I can compare it with my modded Adcom 545. The only other amp I’ve used with my two15s is a 4bst. The Bryston was a bit edgy in the mids which made it fatiguing, but the lowend was really punchy. The Adcom is not quite as punchy, but I prefer it overall. I have a Adcom 555 as well, but it’s unmodded. I currently use it with my auratones.
Old 29th February 2020
  #7478
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Shaggy2039's Avatar
Quote:
Originally Posted by dankin View Post
I’m going to try to get a 700 from one of the local dealers so I can compare it with my modded Adcom 545. The only other amp I’ve used with my two15s is a 4bst. The Bryston was a bit edgy in the mids which made it fatiguing, but the lowend was really punchy. The Adcom is not quite as punchy, but I prefer it overall. I have a Adcom 555 as well, but it’s unmodded. I currently use it with my auratones.
You will like the Amp 700 if you prefer a smoother sound. I personally thought it was a little too recessed in the mids in terms of how much punch, compression/ dynamics it gives you compared to the Amp 500 but it's a really beautiful amp.
Old 29th February 2020
  #7479
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Interesting impressions on the Amp700. I've first hand experienced as well read similar stories that are almost verbatim to Shaggy's experience. Speaking of Bryston, their newer cubed amps are also smoother sounding and less grainier with attention paid to reducing input noise. Similarly, they recently released a BP-17 cubed preamp that also pays attention to noise. They also have an older BP-26 preamp on the market from the previous decade that is well loved.

It seems that when noise is lowered, the sound does get smoother and it can feel like music is less dynamic and the punch factor goes down also. I feel this feeling does go away over time as you get used to it. However, in quick succession and comparisons, the punchier and more exciting sound can come out on top. On the other hand, the supposedly noisier component sounds more dynamic, punchier, but can be fatiguing in the long run. Of course, I haven't tried Amp700 or Amp500, but I have experimented a lot with other components in both analog / digital domain where I've made similar observations. I'm just speculating here. I've seen people in both camps and can totally understand why one would pick one over the either. Another important question that should be given attention: which is the more accurate signal?


Here were the comments from James Tanner of Bryston on BP-17 cubed vs. BP-26:

I find there are a few differences between the BP26 and the new BP-17 Cubed preamplifiers. The BP-17 Cubed circuitry is based on the new patent we received for the input stage of the new Cubed amplifiers.

The soundstage presentation is different – with the BP-26 it’s a more up-front sound with the voices or instrument tending to be at or slightly forward of the plane of the loudspeaker whereas the BP-17 Cubed has a more recessed presentation where most of the action is at the plane of the speaker and further behind. The size of the stage (left to right and front to back) as well as the presentation of the instruments (size and position) within the stage was very close so no major difference there I could detect. The BP-26 sounds a little ‘puncher’ in the mid-bass frequency area while the BP-17 Cubed is a little less forceful. If you like that ‘in your gut’ bass punch you may prefer the BP-26 in this area.

The part where I think the 17 excels is when a crescendo comes along – either voice of instrument. In some recordings where the vocalist or instrument goes from a low or medium volume level to a crescendo or maybe even approaching a scream with voice the 17 never sounds strained or has any sense of glare or stridency. Sometimes I was thinking the BP-17 Cubed lacked dynamic capability but the more I listened the more I thought – no – it’s just that it is not producing any sense of overload or strain in the music when pushed. Transients in real music are huge and the ability of the BP-17 to deal with these huge shifts of level is something it handles very well.

So if I had to sum up the BP-17 in a word it would be “organic” – less hi-fi sounding. It has a very natural sound to it with no strain or glare.

Will spend some more time with the 17 going forward but so far these are my observations.


I am not sure how much of this is relatable to Shaggy's experience, but thought it's an interesting read and might resonate with readers here.
Old 29th February 2020
  #7480
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Shaggy2039's Avatar
Quote:
Originally Posted by zoom25 View Post
Interesting impressions on the Amp700. I've first hand experienced as well read similar stories that are almost verbatim to Shaggy's experience. Speaking of Bryston, their newer cubed amps are also smoother sounding and less grainier with attention paid to reducing input noise. Similarly, they recently released a BP-17 cubed preamp that also pays attention to noise. They also have an older BP-26 preamp on the market from the previous decade that is well loved.

It seems that when noise is lowered, the sound does get smoother and it can feel like music is less dynamic and the punch factor goes down also. I feel this feeling does go away over time as you get used to it. However, in quick succession and comparisons, the punchier and more exciting sound can come out on top. On the other hand, the supposedly noisier component sounds more dynamic, punchier, but can be fatiguing in the long run. Of course, I haven't tried Amp700 or Amp500, but I have experimented a lot with other components in both analog / digital domain where I've made similar observations. I'm just speculating here. I've seen people in both camps and can totally understand why one would pick one over the either. Another important question that should be given attention: which is the more accurate signal?


Here were the comments from James Tanner of Bryston on BP-17 cubed vs. BP-26:

I find there are a few differences between the BP26 and the new BP-17 Cubed preamplifiers. The BP-17 Cubed circuitry is based on the new patent we received for the input stage of the new Cubed amplifiers.

The soundstage presentation is different – with the BP-26 it’s a more up-front sound with the voices or instrument tending to be at or slightly forward of the plane of the loudspeaker whereas the BP-17 Cubed has a more recessed presentation where most of the action is at the plane of the speaker and further behind. The size of the stage (left to right and front to back) as well as the presentation of the instruments (size and position) within the stage was very close so no major difference there I could detect. The BP-26 sounds a little ‘puncher’ in the mid-bass frequency area while the BP-17 Cubed is a little less forceful. If you like that ‘in your gut’ bass punch you may prefer the BP-26 in this area.

The part where I think the 17 excels is when a crescendo comes along – either voice of instrument. In some recordings where the vocalist or instrument goes from a low or medium volume level to a crescendo or maybe even approaching a scream with voice the 17 never sounds strained or has any sense of glare or stridency. Sometimes I was thinking the BP-17 Cubed lacked dynamic capability but the more I listened the more I thought – no – it’s just that it is not producing any sense of overload or strain in the music when pushed. Transients in real music are huge and the ability of the BP-17 to deal with these huge shifts of level is something it handles very well.

So if I had to sum up the BP-17 in a word it would be “organic” – less hi-fi sounding. It has a very natural sound to it with no strain or glare.

Will spend some more time with the 17 going forward but so far these are my observations.


I am not sure how much of this is relatable to Shaggy's experience, but thought it's an interesting read and might resonate with readers here.
Very interesting stuff here. Thanks for sharing.

I think for Amphion users it will come down to which speaker you have and whether the 700 or 500 will work better. People with the One18 and Two18's aren't going to miss any of the punch I'm describing because those two models aren't as fast / tight as the One15 and Two15's. This being said, the Amp 700 might actually take the 18's to a whole other level and really improve them. It'd be interesting to hear how 18 users like the 700. I'm pretty sure the 18's are Amphion's best selling speaker so it wouldn't surprise me if they benefitted more from the 700.

I went back and forth late last night again with the 500 and 700 and really feel like the 500 is the move to keep the speed, dynamics and mid detail of the Two 15's. Mixing on the 700 just doesn't feel as effortless as the 500. Sounds often feel like they're either too loud or present in the mix or they're too low and soft in terms of transient detail. I can't technically explain why that's happening but I think it's due to the fuller, thicker low mid presentation and smoother top end of the 700. You're constantly carving out the 180-320hz area on the 700 to get elements to sit in the mix in terms of front to back. The 500 on the other hand has leaner, tighter low mid presentation so you're often times doing less reduction in that area.
Old 29th February 2020
  #7481
Gear Head
 
fishface's Avatar
 

Quote:
Originally Posted by dankin View Post
I’m going to try to get a 700 from one of the local dealers so I can compare it with my modded Adcom 545. The only other amp I’ve used with my two15s is a 4bst. The Bryston was a bit edgy in the mids which made it fatiguing, but the lowend was really punchy. The Adcom is not quite as punchy, but I prefer it overall. I have a Adcom 555 as well, but it’s unmodded. I currently use it with my auratones.
Would love to hear how you get on - I have modded 545 On my One18s and be interested how 700 compares.
Old 1st March 2020
  #7482
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alibling's Avatar
 

Look like I will soon upgrade to some amphion one 15. Just wondering if the Amp 100 is really necessary or can u guys recommend a cheaper amp that sound good?

Thanks in advance.
Old 1st March 2020
  #7483
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lowkey's Avatar
 

I’m running a 70watt Cyrus Power Amp that sounds pretty good. They are known to be quite dynamic sounding
Quote:
Originally Posted by alibling View Post
Look like I will soon upgrade to some amphion one 15. Just wondering if the Amp 100 is really necessary or can u guys recommend a cheaper amp that sound good?

Thanks in advance.
Old 1st March 2020
  #7484
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Quote:
Originally Posted by alibling View Post
Look like I will soon upgrade to some amphion one 15. Just wondering if the Amp 100 is really necessary or can u guys recommend a cheaper amp that sound good?

Thanks in advance.
The best bang for the buck that I have found to date is a class D amp based upon the latest Infineon chip (Germany). It uses a new precision volume control chip (Japan) and is assembled in China by SMSL.

These are currently at $169.00 each on Amazon. I purchased two of them to use as mono-block amps. They can not be strapped into mono, I just use one channel on each amp. It is a trick I learned a couple of years ago that boosts sound quality to the next level, if only to keep the power supply from starving as quickly, but it also improves channel separation and overall resolution in my experience. These are rated at 80 watts per channel into 4 ohms, 40 into 8 I think.

For some perspective, I have the Amp 500, and several other nice amplifiers that I have used on my Amphion Two18. I have to pull the Amp 500 out and test it against these new amps, however memory indicates the Amp 500 being more powerful, yet less transparent than these. I retired the Amp 500 because one channel would cut out periodically, probably due to the DC coupled nature of my DACs. I will eventually send it off for repair and/or adapt some DC blocking filter to it. For now, I have been enjoying other amplifiers.

So, now we have the SMSL DA-8s amplifier. I only use one channel on each, making them mono-block style amps (but not "strapped" into mono, so no boost in power, other than the isolation of separate supplies per channel).

One thing that sets these apart from any other amps in the price range is that they have true XLR inputs as well as RCA inputs.

I run the XLR outputs of my DACs at full throttle into a passive monitor controller (2400 Audio Imperium) then into the pair of DA-8s amps set at full volume output. I am stunned by the audio quality. The entire audio spectrum is amazing, but the bass is astounding. Tight, clean, articulated. There is more bass resolution coming out of these little amps than I have ever had with some much more expensive studio amps. Deeper, more punchy, yet more resolving bass. I can play these louder than I want to listen, and these studio monitors are 4 ohm load, not very efficient speakers. Some of this is due to running only one channel per amp in mono-block style.


These new Infineon based amps have re-defined "transparent" for me. Audiophiles like to talk about a new piece of gear "lifting a veil" or some other clever description. In my case, I already had great sound, but with these new amps it was like someone opened the window. A pair of these with XLR inputs into a passive monitor controller and running the DA-8s at full volume (let the passive monitor controller set the level) brings me top quality sound at a ridiculous price. (again, only 80 watts per channel into 4 ohms)

If it sounds like I am a fan-boy, that's because I am....

Zreviews video:
https://www.youtube.com/watch?v=EzwvLolF3iA

Amazon link:
https://smile.amazon.com/gp/product/...LI22BSVA&psc=1


For the price, it is a cheap experiment, especially for those who do not want to listen LOUD. When these Infineon based amps start showing up in some more expensive gear, I will certainly give them some attention.
Old 1st March 2020
  #7485
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alibling's Avatar
 

Quote:
Originally Posted by DigitalGrease View Post
The best bang for the buck that I have found to date is a class D amp based upon the latest Infineon chip (Germany). It uses a new precision volume control chip (Japan) and is assembled in China by SMSL.

These are currently at $169.00 each on Amazon. I purchased two of them to use as mono-block amps. They can not be strapped into mono, I just use one channel on each amp. It is a trick I learned a couple of years ago that boosts sound quality to the next level, if only to keep the power supply from starving as quickly, but it also improves channel separation and overall resolution in my experience. These are rated at 80 watts per channel into 4 ohms, 40 into 8 I think.

For some perspective, I have the Amp 500, and several other nice amplifiers that I have used on my Amphion Two18. I have to pull the Amp 500 out and test it against these new amps, however memory indicates the Amp 500 being more powerful, yet less transparent than these. I retired the Amp 500 because one channel would cut out periodically, probably due to the DC coupled nature of my DACs. I will eventually send it off for repair and/or adapt some DC blocking filter to it. For now, I have been enjoying other amplifiers.

So, now we have the SMSL DA-8s amplifier. I only use one channel on each, making them mono-block style amps (but not "strapped" into mono, so no boost in power, other than the isolation of separate supplies per channel).

One thing that sets these apart from any other amps in the price range is that they have true XLR inputs as well as RCA inputs.

I run the XLR outputs of my DACs at full throttle into a passive monitor controller (2400 Audio Imperium) then into the pair of DA-8s amps set at full volume output. I am stunned by the audio quality. The entire audio spectrum is amazing, but the bass is astounding. Tight, clean, articulated. There is more bass resolution coming out of these little amps than I have ever had with some much more expensive studio amps. Deeper, more punchy, yet more resolving bass. I can play these louder than I want to listen, and these studio monitors are 4 ohm load, not very efficient speakers. Some of this is due to running only one channel per amp in mono-block style.


These new Infineon based amps have re-defined "transparent" for me. Audiophiles like to talk about a new piece of gear "lifting a veil" or some other clever description. In my case, I already had great sound, but with these new amps it was like someone opened the window. A pair of these with XLR inputs into a passive monitor controller and running the DA-8s at full volume (let the passive monitor controller set the level) brings me top quality sound at a ridiculous price. (again, only 80 watts per channel into 4 ohms)

If it sounds like I am a fan-boy, that's because I am....

Zreviews video:
https://www.youtube.com/watch?v=EzwvLolF3iA

Amazon link:
https://smile.amazon.com/gp/product/...LI22BSVA&psc=1


For the price, it is a cheap experiment, especially for those who do not want to listen LOUD. When these Infineon based amps start showing up in some more expensive gear, I will certainly give them some attention.
look like I can't buy it in Germany.
Old 1st March 2020
  #7486
Lives for gear
 

Quote:
Originally Posted by alibling View Post
look like I can't buy it in Germany.
https://shenzhenaudio.com/products/s...ower-amplifier

I have never purchased directly from them, but my Amazon order shipped from China because it was not in stock at the Amazon warehouse when I ordered.
Old 1st March 2020
  #7487
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alibling's Avatar
 

Quote:
Originally Posted by DigitalGrease View Post
https://shenzhenaudio.com/products/s...ower-amplifier

I have never purchased directly from them, but my Amazon order shipped from China because it was not in stock at the Amazon warehouse when I ordered.
Thank you very much
Old 4 weeks ago
  #7488
Gear Addict
 

Well I've read 250pages of this thread, what a rollercoaster ride! I can hear chariots of fire faintly somewhere...
Now all that is left is to demo these bad boys!
Can't wait to get some passive monitoring in my life!
Old 4 weeks ago
  #7489
Lives for gear
 

Hello,

Does anyone of you both have a pair of Genelec 8351 and a pair of Ampions one 15 ?

My room is under construction and I still have not received my new pair of Genelec 8351B.

So my question: is a pair of Amphion One 15 still useful when already having a high end speakers system like the new Genelec 8351B. My acoustician tends to say no, it will not be useful: because he says that my room is going to be treated on the reference of the Genelec.

Thank you for sharing your experience.
Cheers
Sergio
Old 4 weeks ago
  #7490
Gear Guru
 
Karloff70's Avatar
 

Quote:
Originally Posted by sergioelectro View Post
Hello,

Does anyone of you both have a pair of Genelec 8351 and a pair of Ampions one 15 ?

My room is under construction and I still have not received my new pair of Genelec 8351B.

So my question: is a pair of Amphion One 15 still useful when already having a high end speakers system like the new Genelec 8351B. My acoustician tends to say no, it will not be useful: because he says that my room is going to be treated on the reference of the Genelec.

Thank you for sharing your experience.
Cheers
Sergio
Your acoustician is a fool if he says that, sorry. As speakers are at the very least very personal, so he wouldn't know how YOU will react to them.
Old 4 weeks ago
  #7491
Gear Addict
 

Quote:
Originally Posted by sergioelectro View Post
Hello,

Does anyone of you both have a pair of Genelec 8351 and a pair of Ampions one 15 ?

My room is under construction and I still have not received my new pair of Genelec 8351B.

So my question: is a pair of Amphion One 15 still useful when already having a high end speakers system like the new Genelec 8351B. My acoustician tends to say no, it will not be useful: because he says that my room is going to be treated on the reference of the Genelec.

Thank you for sharing your experience.
Cheers
Sergio
Give it up son! When your room is ready, mix on this sh*t, then you will know, everything else is just an anxious circle jerk, I am in a similar situation, room build underway, you won't know until you know, you know!?
Anything at this level of spend will be dope, no doubt.
Old 4 weeks ago
  #7492
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Shaggy2039's Avatar
Quote:
Originally Posted by sergioelectro View Post
Hello,

Does anyone of you both have a pair of Genelec 8351 and a pair of Ampions one 15 ?

My room is under construction and I still have not received my new pair of Genelec 8351B.

So my question: is a pair of Amphion One 15 still useful when already having a high end speakers system like the new Genelec 8351B. My acoustician tends to say no, it will not be useful: because he says that my room is going to be treated on the reference of the Genelec.

Thank you for sharing your experience.
Cheers
Sergio
I heard the 8351 in my room and they sound very similar in terms of the overall vibe to the KH310's if you've ever heard them. They perform very well and go very low but they also sound really clinical and not very "musical". I can't explain why that's the case but that's how they came across. It was similar to listening to music at the dentist office for me. There's nothing wrong with the 8351's (or even the 310's) but I didn't catch any vibe off them that made me want to buy them.

The Amphion sound the opposite of the Genelec. They're not clinical. They're very truthful, yet also musical.

If I were you I'd sell the 8351 and One 15 and just get a single pair of the Two 15's with an Amp 700 (or 500 if you like more mid range punch at the cost of distortion).
Old 4 weeks ago
  #7493
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Quote:
Originally Posted by alibling View Post
Look like I will soon upgrade to some amphion one 15. Just wondering if the Amp 100 is really necessary or can u guys recommend a cheaper amp that sound good?

Thanks in advance.
Get a used adcom 545 mk1 and send to Jim Williams should be less than $400 total and its as good or better than any other option period.
Old 4 weeks ago
  #7494
Here for the gear
 

Have anyone actually did a proper blind test, between those amps? If not, its just another subjective hi-fi topic.
Old 4 weeks ago
  #7495
Gear Guru
 
Karloff70's Avatar
 

Sometimes I think people need to just make friends with the fact most things in this studio lark are subjective, but therefore no less important. Only means you have to have the confidence to make a decision/choice that works for YOU based on your OWN findings, and not be reliant on fishing around for 'the objective truth' about tools. There isn't one. There is popularity numbers, which give an idea about how many people might think a tool is subjectively useful, ad that's it. And that still has no bearing on whether YOU might find that tool useful.
Old 4 weeks ago
  #7496
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Shaggy2039's Avatar
Quote:
Originally Posted by alibling View Post
Look like I will soon upgrade to some amphion one 15. Just wondering if the Amp 100 is really necessary or can u guys recommend a cheaper amp that sound good?

Thanks in advance.
I think the Amphion amp is necessary, yes. It's a part of the complete system and they designed their products based around the sound of the amp.

Case in point - there's another fellow Two 15 + Adcom user here who was saying how his Trinnov system was measuring a big drop off after 10-11K. However, my Two 15 + Amp 500 actually goes the opposite direction after I measured. They're flat up until about 9K and then ramp up to about 13-14K and then start rolling off. That's all because of the amp and how it's coloring the signal, for better or worse.
Old 4 weeks ago
  #7497
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Shaggy2039's Avatar
Quote:
Originally Posted by Karloff70 View Post
Sometimes I think people need to just make friends with the fact most things in this studio lark are subjective, but therefore no less important. Only means you have to have the confidence to make a decision/choice that works for YOU based on your OWN findings, and not be reliant on fishing around for 'the objective truth' about tools. There isn't one. There is popularity numbers, which give an idea about how many people might think a tool is subjectively useful, ad that's it. And that still has no bearing on whether YOU might find that tool useful.
I agree overall here. The only thing I'd say though is that folks should probably just factor in the cost of the Amphion amp as part of the overall package like it was an active system since the products were designed to work together. At that point there's a consistent sound that everyone is basing opinions off and it's not quite as subjective as comparing the sound of the speakers with the Adcom vs Bryston vs Amphion amps.

These monitors are super transparent and they will absolutely show subtle and big changes in the amp they're connected too as evidenced by my whole back and forth situation with the Amp 500 vs the Amp 700.
Old 4 weeks ago
  #7498
Gear Guru
 
Karloff70's Avatar
 

Quote:
Originally Posted by Shaggy2039 View Post
I agree overall here. The only thing I'd say though is that folks should probably just factor in the cost of the Amphion amp as part of the overall package like it was an active system since the products were designed to work together. At that point there's a consistent sound that everyone is basing opinions off and it's not quite as subjective as comparing the sound of the speakers with the Adcom vs Bryston vs Amphion amps.

These monitors are super transparent and they will absolutely show subtle and big changes in the amp they're connected too as evidenced by my whole back and forth situation with the Amp 500 vs the Amp 700.
I agree they do show any small differences, even in the line level cables before the amp. But to me I also know that using a set of one15 running off an amp100 and using a set with a modded GFA-545 both creates a similarly useful scenario for me, with slightly different slants on certain details.
Old 4 weeks ago
  #7499
Gear Nut
 

Quote:
Originally Posted by Karloff70 View Post
I agree they do show any small differences, even in the line level cables before the amp..
What cables have you come to use?

Last edited by mcgilroy; 4 weeks ago at 05:21 PM.. Reason: missing word.
Old 4 weeks ago
  #7500
Gear Guru
 
Karloff70's Avatar
 

Quote:
Originally Posted by mcgilroy View Post
What cables have you come to use?
I have Grimm TPR between the converter to monitor controller to amp now. Not my favourite elsewhere, but in those slots it is great.
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