Quote:
Originally Posted by Soundmig
Marsalis .... sorry the F228Be's did not work out for you. No speaker works for "everyone" that's for sure.
My experience is very different as I selected the speaker based on extensive audition, because it has tremendous soundstaging and transparency (important to me) without being bright or strident. Other speakers that I like that seem to have similar warmth AND transparency are the Harbeth 40.2's and the Vandersteen 7MkII's. I'd describe none of the above mentioned speakers as "bright".
At some point it may depend on perspective. I grew up playing piano, trumpet and French Horn in bands and Orchestras. So my aural memory is based on an "on stage" perspective. There is definitely more HF energy on stage than there is 15 rows back in the audience. There is also more "detail" and a more defined "attack envelope" present on stage, so I have a tough time listening to speakers that don't provide that information. Some instruments get a little dirty when played loud at a close distance and that is "natural". Reproducing the "edge" of a trumpet at 6 feet without it sounding harsh is a real feat. To me the F228Be's have that ability and I very much enjoy the sound.
The F228Be's are also very sensitive to what is upstream from them. I use a Schiit Gungnir MB DAC which is "warm" sounding and I drive them with a MC modified Hafler which is on the Mosfet warmish side as well. Perhaps the upstream warmth helps my situation?
Anyway, sorry to hear that they did not work for you in your system and room. That has to be very disappointing.
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Interesting perspective, Soundmig. Not trying to highjack this thread, but would be interesting to hear your perspective on orchestral recordings and how 'natural' or desired by you might be different (or not) from what most recording engineers are trying to achieve.