STEREO
How to maximize your stereo enjoyment.
How to upgrade. How to upgrade and SAVE!
Many people have existing music systems. (Others, like my good friends Andy and Kelly, have a Bose Wave radio and are happy as clams. (Personally, I'd rather be happy as a human, but that's just me.)
This section will be broken down into regular good old stereo listening by itself, perhaps in a room away from your home theater, and then integrating what you have INTO your home theater system or room.
And what about stereo headphones? Good question. You can sneak a Backstreet Boys track or two while you ride in business class and no one will know. There's a good bit of helpful headphone detail here. You can build a HEADPHONE-BASED system and get great sound, not bother the neighbors, and save money!
Did you know that many people still believe that vinyl (RECORDS!) sound better than CDs?
Did you know that there was a new CD-like format introduced, called SUPER AUDIO CD which is pretty much dead as a mass medium even though some said it was far superior to regular CDs AND could contain BOTH stereo AND 5 surround channels of super quality music...? SACD might remain a niche market into the future, or it might just fade away, like Betamax, digital cassettes, and my hair.
Now there's DUAL disc, another attempt by the record companies to pump steroids into their diminishing revenue picture. Music on one side, video/extras on the other.
Some predict the eventual demise of CDs due to the incredible popularity of downloading select tracks via Apple's iTunes and similar schemes.
2004 was a landmark year for digital services, with more than 180 legitimate music-download services launched with more than 1 million tracks now available from major services.
The Graying of CD buyersAccording to statistics from the International Federation of the Phonographic Industry (IFPI), in 1999, music buyers over 30 accounted for less than half of all music sales. As of 2004–2005, 55% of music is bought by over-30s.
Why? The younger music consumers are downloading! (They can even buy RING TONE download subscriptions for a monthly fee granting access to so many hip new ringtones.)
With an average of 2.9 albums bought by every man, woman, and child, per capita album sales are higher in the UK than in any other country in the world.
Okay - to the basics of stereo, then we'll get into the more detailed work. (And remember I am writing this for the reasonably intelligent but non-tech person, so if you are "advanced", then skip ahead.)
A typical stereo system.
Two speakers.These should face your seated position.
Best:if they form an equilateral triangle with your seat (same distance from speaker to speaker to seat.)
Better: if they are two feet from rear wall and four feet from side walls (some exceptions, but I am generalizing and doubt you'll pull this off anyway due to room design, furniture, etc., but this is the BEST condition for stereo reproduction.
Best: if the stereo speakers are 1/3 of the room length from the front wall and you sit 1/3 out from the rear wall while you maintain the equilateral triangle (note all rooms are different so this is just a starting point and a generalization.)
Best:If the listening position is not right up against the rear wall.
Best:if the room has some carpet or other furniture to take some of the reverb out. Slap your hands together. What do you hear? If you get a prolonged decay, well, then, you have a bright room and that'll tilt the sound that way and blur it some.
Best:if your room has few parallel surfaces, or of the ones which ARE, one is draped in fabric, or sound treatment, or carpet.
Types of Stereo Speakers
Sealed box:the air trapped in the box acts to dampen (control) the bass. Not efficient = needs a lot of watts to play loud. Probably rare these days. Also called "Acoustic Suspension."
Bass reflex:A hole or port vents the bass rear wave to the air in the room, hopefully in phase with the front wave, and without port noise aka "chuffing." Common design.
Electrostatic:Very thin film surface acts as sound source. Very lifelike and delicate with incredible nuance. Usually has cone woofer or subwoofer and sometimes they don't mate well to the electrostat, producing a discontinuity. If you go for one of these, listen for that.
Planar:Like the electrostatic but accomplished differently. Highly regarded by afficianados and their amigos.
Horn:Highly efficient, can play VERY loud with little power; can be colored or honky. Best with tube amps. The great ones have an amazing sense of reality. Again, concerns are fixed on bass integration as the woofer is usually not a horn.
Other:Exotic types abound. Too esoteric for you for here for now.
Speaker stands Ideally, the tweeter is at ear level. To get it away from the wall behind it, unless it's a floorstanding speasker you'll need speaker stands for smaller stereo speakers. These should be especially stable if you have kids running around. Some you can fill with sand or lead shot for added stability.
HINT:If you have small children, leave the grilles ON. If you live in an empty nest, most speakers sound a bit clearer with the grilles off.
ACOUSTIC WARNING If you move your speakers close to the wall and floor and corner you pick up a tremendous amount of bass reinforcement which might initially seem great, but it is likely WAY over the top. Same with bookshelf speakers - they pick up bass reinforcement from the shelf and wall behind it. And also with cabinets. So stands give you a cleaner, purer tone. And that's part of the reason we say place the stands OUT from the rear wall and side wall.
A list of well regarded higher end - better performance speaker manufacturers for your research:
NOTE: If I link to these sites, The GreatHomeTheatre.com site will likely be labeled a "link farm" by the crawlers that mechanically analyze web content, and they will lower my rating. So I can't do that. But I can provide the urls for you to cut and paste. My theory is most of the general population doesn't even KNOW about many of these wonderful resources. Please bookmark THIS site so you can come back later.
Wilsonhttp://www.wilsonaudio.com/
Some say that Wilson is a fanatic about quality. Indeed, his company sprang from his dissatisfaction with recording monitors when he was producing music. Today, his designs are among the very best at producing micro and macro dynamics and imaging, letting you hear all of the music. His speaker cabinets are made from proprietary material which deadens the response of the cabinet – this allows the speaker to be less colored by vibration not of its own origin.
At least several equipment reviewers (including this one) use Wilson speakers as their reference. Revealing. Dynamic. They ARE pricey. Worth it? It’s all in the ears of the beholder. Alexandria, MAXX, WATT/Puppy 7 (claimed to be the best selling speaker over $10,000) and Sophia models are all outstanding!
Wilson Audio Specialties Sophia Loudspeaker MSRP $12,700/pair
If you shop in this price range, meet what some call a super speaker at (believe it or not) a mid-range price (Wilson’s top of the line costs 10 times as much – right – no typo – 10x)
B&Whttp://www.bwspeakers.com/index.cfm/fuseaction/global.main
The higher end of their their line uses a DIAMOND tweeter because it vibrates best (ultimate stiffness raises any nasties (resonances) way way above your hearing.) Also known for the ‘almost bowling ball’ midrange enclosure which is beautiful as well as functional!
Here’s another long-time company (founded in 1966!) with r&d behind what they do: The phenomenal success of the 801 pushed B&W to the fore of all loudspeaker manufacturers. In typical fashion, John Bowers used this success to fund even more research and development, and in 1982 he created a dedicated research and development facility for his team of engineers in the picturesque village of Steyning in West Sussex. Dubbed the “University of Sound”, the Steyning Research Establishment now houses some 20 graduate engineers and support staff with expertise in a wide range of disciplines.
Many studios (Abby Road, Skywalker Sound) use their top speakers for monitoring. And they can afford anything they want, and have ears to know what TRUE sounds like. A wide line. If you audition and aren’t knocked out, that’s likely beucase they don’t ‘editorialize’ the sound. Try turning them up! Or use a bigger amp.
Eposhttp://www.epos-acoustics.com/mainsite.asp?logging=1
The tiny EPOS ELS-3 remains an enigma. It sounds too good to be true, especially at its price point. When I first heard them, I asked the guy to turn off the subwoofer. There’s no way these should put out any bass, being that small. There WAS no subwoofer. True, the bass stops at about 80Hz, but the clear midrange and dynamics of this speaker are incredible. (About $299 the pair!) Many awards won! I can’t comment personally on the larger speakers but can say that if they are even better than the 3s, here is a line to seriously consider! They get it right!
Martin-Loganhttp://www.martinlogan.com/
At the heart of every Martin Logan speaker—the patented CLS (curvilinear electrostatic transducer)—lies an ultra-thin transparent diaphragm. Driven by charged electrons and weighing less than the air it moves, the diaphragm is so responsive it reproduces sound at levels only associated with the finest audio electronics. Since the diaphragm of an electrostatic speaker is uniformly driven over its entire area, it can be extremely light and flexible. This allows it to be very responsive to transients, thus perfectly tracing the music signal. As a result, great delicacy, nuance and clarity is possible. The bass, however, is from a cone speaker in a separate enclosure. If you fall under the spell of an electrostatic, you’ll enjoy the effortless sound. These won’t thunder. Not for rock. Due to the physics involved these are less sensitive to the room in which they play than other speaker types.
Avalonhttp://www.avalonacoustics.com/
KEFhttp://www.kef.com/
After 40 years, believe it – they build contenders! The Uni-Q is KEF’s unique audiophile technology - it is not a driver, but two drivers - an array. The Uni-Q array has undergone a dramatic design review for the Reference 207. The MF and HF units have been symbiotically designed, leading to much improved ‘single-source’ performance. By relieving the cone driver of any low-frequency obligations, the reduced excursion requirement allows the use of a flat surround (patent pending), thus diffraction effects are completely removed. This continuous cone and surround acts as an optimised waveguide for radiation from the tweeter dome.
The Uni-Q tweeter has been through a radical metamorphosis. At the outset it was decided to employ a metal dome for improved mechanical performance. It is well documented in the literature that well-designed metal diaphragms retain mechanical integrity to beyond 20kHz, whereas fabric or plastic devices typically enter ‘breakup’ (resonance) around 10kHz. The starting point for the new tweeter was an existing high-performance titanium dome device. This dome, in common with other 25mm metal dome devices, goes into mechanical 'break-up' resonance at or around 25kHz, causing some sub-20kHz artifacts. The design team believed that it was possible to raise this resonance to beyond 30kHz, resulting in unblemished performance up to 20kHz. Extensive virtual prototyping was carried out using Finite Element Analysis. This work resulted in a 32kHz main dome resonance and a patent application for the pure ellipse dome profile. The requirement for a deep-drawn titanium dome raised new challenges for the KEF production team. The next step was to optimize the cone profile. The MF diaphragm acts as an acoustic waveguide for the radiation from the tweeter. Again Finite Element Analysis was employed to gain an understanding of the propagation of wavefronts along the waveguide.
The midrange performance of the cone is then controlled by careful choice of the material properties and a varying thickness along its radius. This variation, in combination with the geometry of the diaphragm, provides an optimized ‘stiffness profile’ leading to mechanical integrity in the operating bandwidth.
The Injection-Moulded copolymer polypropylene cone and surround are produced as one entity by a (patented) co-moulding process, improving manufacturing consistency. The surround is made of a thermoplastic rubber and has high damping to terminate traveling waves propagated through the cone from the voice coil.
The two magnetic circuits required for the MF and HF units are provided by a Compound neodymium magnet assembly (patent pending) which ensures optimum flux profiles for both MF and HF coils. The small magnet size and open chassis design ensure minimal acoustic reflections behind the midrange cone. The significant reduction in mass of the Uni-Q afforded by the use of neodymium motors allows for effective decoupling from the cabinet, preventing excitation of panels in a frequency band where cabinet resonance could otherwise occur.
The audible results of this extensive re-design are greatly improved imaging and integration and lower colouration.
The company has a wide, wide range of speakers at virtually all price points and are certainly worth a listen for any use. Note the “eggs” for home theater. Egg shaped to dampen or eliminate internal reflections, these include wonderfully adaptable mounts. But also try to get to hear their floorstanders.
Infinityhttp://www.infinitysystems.com/
Wisdomhttp://www.wisdomaudio.com/products.html
A 50” or 75” Line source planar magnetic driver actively mated with one, two, or four 12” underhung 3” coil low frequency regenerators create the ultimate sound experience. As beautiful to look at as they are to listen to, the Adrenaline series are also speakers where room placement effects are different from normal “box’ speakers.
From their ‘White Paper:” Line Source speakers behave distinctly different than point source speakers (cones, domes, horns, panels, etc.). Point source speakers produce sound from a single point expanding in all directions, floor to ceiling and side to side. When various drivers are mated together (mid-bass, midrange, tweeter, etc.) as closely spaced point sources, the sound from each driver is projected forward in ever widening overlapping patterns intersecting and reflecting the listener at different times and intensities. This causes hot spots, dead spots, distortion, beaming, and contamination of a clear image.
A Line Source radiates sound as that of an expanding cylinder and not that of an expanding sphere. Hardly any energy is radiated above or below the driver except low frequencies, which are omnidirectional, by physical nature. Natural vertical directivity eliminates floor and ceiling reflections, without the use of multiple tweeters or other controversial techniques.
Because of the lack of emission of energy past the ends of the drivers, this nonwasted energy is propelled forward causing sound to attenuate (drop off) at only 3dB for each doubling of distance from the driver instead of 6dB as in conventional point source speakers. This provides much more consistent coverage and less listener fatigue. The cylindrical coverage minimizes lost acoustic and amplifier power not to mention less room interaction by providing a broader, non-beaming first wave reflection. This offers unprecedented control and intelligibility.
Quadhttp://www.quad-hifi.co.uk/
Magnepanhttp://www.magnepan.com/
The planar speaker is not to be confused with other sound devices. I suggest that if you are about to buy a great sound system you listen to horns, dynamic speakers (they are the ‘regular ones’ you think of when you think of speakers), and planars. Each produces a different sound. From that taut, clean bass to the silky highs, full-range dipoles can create a seductive illusion of the original event. Once a listener develops a taste for dipole sound, few go back to conventional dynamic speakers. Planars are tall and wide, and sometimes send wives into shoe-buying ‘get even’ trips. They can be wonderfully clear and the top Magnepans are even revered.
Revelhttp://www.revelspeakers.com/
Their Studio and Salon models are almost sculptures. Acoustically they have the benefit of their parent company’s research wing to assure top quality. As with all the best of the best, your mileage may vary depending on your room, your tastes, your upstream equipment, and the music type you prefer. I spent a wonderfully enjoyable weekend at a friend’s home listening to his Revels late into the night.
Piegahttp://www.piega.ch/
Kharmahttp://www.kharma.com/
Proachttp://www.proac-loudspeakers.com/
Von Schweikerthttp://www.vonschweikert.com/
PSBhttp://www.psbspeakers.com/
Dynaudiohttp://www.dynaudio.com/
Usherhttp://www.usherusa.net/
Avantgardehttp://www.avantgarde-usa.com/home.html
Here are big horns that look like tubas. What they do, however, is transform electric to sound with such ease and efficiency that sound is LAUNCHED. Dynamic range to be experienced to be believed… this is QUITE a ride, and unlike the sound of other speakers types by a wide margin. You will be wowed. Try to listen beyond that. Issues: the look, the placement, and, unless you go for the huge bass cabinets, possibly bass integration due to the use of speaker cones rather than horns for the bass. They keep working on that, however, so give a listen – just be aware of the bass and if you think it fits the rest of the sound. Very low distortion. Like nothing you’ve heard unless you know hornspeakers.
Amplifier/sThis provides power for your speakers. It takes your CD player, for example, and makes it powerful enough to make sound out of those speakers.
Best:More power is better than less power even if you don't use it. Distortion, called clipping, takes place when an amplifier is driven beyond its capability. THAT blows out more speakers than having more power than the 'speaker can handle.'
Tube based amps seem to give out more power at the same rating than transistorized amps.
Efficiency of speakers (the higher the sensitivity number, expressed in db/watt/meter - example: 93db) means the speaker can go louder than one with a lower number. 88db would be typical 93db would be capable of LOUD with a lower power amp.
But you probably can't hear the difference between 50 and 100 watts. Go with the higher number. There will be greater dynamic cleanliness (loud things will be clearer.)
Transistor amps usually double down to lower impedances. Most speakers are 8 ohm, some are 4 ohm (some between) and impedance will vary with frequency, so it's an average you get. A transistor amp usually will double 100 watts at 8 ohms to 200 watts at 4 ohms. A tube amp probably won't.
Amplifier types
As we explore the various major kinds of amplifiers you can know that there are 'camps' of apostles of each type, and that they aren't necessarily right or wrong, as it all boils down to system synergy; i.e.: this amplifier with that speaker sounds better than that one does. And personal taste. Amen.
Tube AmplifiersWhy a TUBE amplifier? Isn't that OLD SCHOOL? Yes it is, but the characteristics of tubes are seductive to many for two or three reasons. First, versus transistors, when tubes distort, they do so softly, with primarily even order distortion (more pleasing to the ear than transistor distortion which is odd order and sounds more harsh). Secondly, tube lovers know that by substituting compatible tubes from different manufacturers they can change the sound, possibly for the better, or better for system synergy. This is called "tube rolling." Some say for transparency and realistic 'you are there' sound, nothing beats a good tube amp.
Why NOT a tube amp? Heat. They put out heat. Sometimes LOTS of heat. And the tubes wear out, typically after 2000 hours for power amps and maybe up to 5000 hours for preamps. So, there's replacement costs. And then some amps require biasing (setting the current to the tubes, so they are carefully matched in pairs of tubes.)
However, a major penalty must be paid in the tube-based power amplifier. Tubes are simply not designed to couple directly to today's modern low impedance speakers, and a transformer must be used to match the power output to the load. But the output transformer remains the weakest link, robbing power in the low and high frequencies It seems logical then, that if an amplifier can be no better than its output transformer, eliminating the transformer altogether should result in superior performance. This led to a tube amplifier design that has fascinated audiophiles for over 40 years the
TransformerLess(OTL) amplifier (Tube)
 Three factors, heat, reliability, and the inability to drive conventional dynamic speakers have kept OTLs from widespread use. A great deal of current flows through the output tubes at idle causing them to run very, very hot. The hotter a tube runs, the shorter its life. Furthermore, the high heat and stress may cause tubes to fail spontaneously. These amplifiers can consume tubes on a regular basis and devour themselves. Some OTL's have heat outputs of 1200 to 1800 watts. A portable space heater has a heat output of 1500 watts. Some have been designed around that with significantly lower heat dissipation. And tube life. A company to check out would be: Atma-Sphere - they claim long tube life, estimated to be at least 10,000 hours from the power tubes and 10-50,000 hours from the input/driver tubes.
SET (Single Ended Triode) Tube
 Different Strokes for Different Folks Typically low power, audible distortion SET power amps are famous for their rich, musical midranges, but most are notoriously weak at capably extending their reach up into the trebles and down into the bass. Most SET power amps have bass that is too warm, prominent, and flabby in the upper bass while being too weak in the lower bass, and trebles that are dull, rounded, and soft (as well as distorted). But for many listeners the rich, warm midrange bloom that SET power amps bestow upon music is part of the charm that makes them attractive and addictive. You'll find these amps especially popular with horn speaker fans, because they are so efficient (can play loudly) that the SET amp can be used in its linear operating range where it sounds best.
Solid State (Transistor)Capable of high power. Sometimes high heat when in Class A, sometimes not that much heat.
Heat can destroy a transistor (that's why there are fans or heat sinks to get the heat the heck out of there!) The transistor has a tendency towards "thermal runaway". This means that as the device gets hotter, it will draw more current, which makes it get hotter still. This continues until the maximum operating temperature is exceeded, and the transistor(s) fail, like the hefty woman (usually wearing too much perfume) in church, who fans herself in the summer heat furiously, creating more heat, till she swoons right off the kneeler.
When a transistor amp goes into overload, it does so with startling clarity. The harmonics produced are such that tweeters can be destroyed very easily, and the sound is altogether unpleasant!
That's why I keep telling you that more power is better than not enough.
DigitalThere are several implementations of digital amps. They are the cresting wave. Why? Because they can be small, light, tremendously efficient, generate almost no heat, and can sound fantastic. The downside is that this IS the new kid on the block and many manufacturers don't yet have the experience to build the most mature version. There seems to be quite a lot of interest in the power supply TO the amp module and how that is implemented, and an emphasis on rejection of interference created within the amp chip (which would be pickup up elsewhere in the stereo system as noise or hash.)
Amplification classes:No need for technicals... just know
Class Ameans more heat - a LOT of heat. There are tube and transistor amps that can run in Class A. It's basically full-on all the time.
Class ABis most common.
Class Bhas less quality and isn't very common.
Class D/G/Tamps are digital; that field is developing quickly for high efficiency and great power output. While old analog amplifiers burn off up to 50 percent of their power in heat, well designed digital amplifiers are more than 93 percent efficient. Digital amps are lighter and can be very small in comparison to the other classes.
Best:There is no best. It's a matter of system synergy and personal taste.
Best:Removeable power cord. Cords can tailor the sound.
Better:5 way speaker connectors. MUCH more convenient, fit a variety of circumstance and make better connections than others.
(Some) highly regarded high-end names to know for search: Company name/main equipment focus/ website
Rowland- transistor, digital http://www.jeffrowland.com/
VTL- tubes - http://www.vtl.com/
Audio Research Corporation- tubes, transistors, digital http://www.audioresearch.com/
Classe- transistor http://www.classeaudio.com/
Bryston- transistor http://www.bryston.ca/
Krell- transistor http://www.krellonline.com/index.php
Linn- digital http://www.linn.co.uk/
Halcro- digital http://www.halcro.com/home.asp
Theta- transistor, digital http://www.thetadigital.com/
VAC- tube http://www.vac-amps.com/
BAThttp://www.balanced.com/
Conrad-Johnson- tubes http://www.conradjohnson.com/
Cary- tubes http://www.caryaudio.com/about.shtml
Cary Audio Design Cinema 5 Amplifier MSRP $4000 (this one NOT tubes as they've expanded their line quite a bit!) This award-winning multichannel amplifier puts out 5 x 200 watts at 8 ohms, 5 x 350 watts at 4 ohms. The unit takes a while to break in (which means it has to be played for at least 100 hours (one time, not every time) before you’ll hear what it is capable of putting out.) It’s just amplifier – that means no controls – you need a receiver with preamp outputs or a preamp to mate with it.
Mark Levinson- transistor http://www.marklevinson.com/products/index.asp
Plinius- transistor http://www.pliniusaudio.com/
Threshold- transistor http://www.threshold-audio.com/about.html
Rotel- transistor http://www.threshold-audio.com/about.html
Bel Canto- digital http://www.belcantodesign.com/
Nagra- tubes http://www.nagraaudio.com/
Spectral- transistor http://www.spectralaudio.com/
McCormackhttp://www.mccormackaudio.com/
McIntosh- tubes, transistors http://www.mcintoshlabs.com/
Blue Circlehttp://www.bluecircle.com/
Edgehttp://www.edgeamp.com/
PREamplifier The preamp is the control center. Where the amplifier might not even have ANY controls beyond a on/off switch, the preamp has a VOLUME knob, input selectors, tone controls (some do some don't). It doesn't really amplify - it passes your selected source to the amplifier.
Names, as above
INTEGRATED amplifier An integrated amp combines the preamp and amp in one box. Some think compromises are necessary for this as it combines switching functions and power amplifiers. General advice is the pricier ones are very very good. Cheaper ones, not so good. Home theater receivers are often integrated amps.
Names, as above in amplifiers
Wire and cable This always stirs reaction. Wire can make a difference in sound. "How can it?" say some. These would be guys who say the electrons don't know better. I'll spare you the theories (non-tech, remember) but there are many. Bottom line. AFTER you settle in with whatever you get, borrow on a demo basis some 'better' cables or wire, listen, and you decide. That way you learn for free. Most stores will allow this.
I suggest you explore The Cable Company, which will let you borrow various cables, wires, and power cords to TRY before you buy. Their lending library and database of what matches well with specific gear is very helpful! Click Here for The Cable Company Website
Cable names to know:
Kimberhttp://www.kimber.com/
Cardashttp://www.cardas.com/
Audiencehttp://www.audience-av.com/
Nordosthttp://www.nordost.com/
Shunyatahttp://www.shunyata.com/
PS Audiohttp://www.psaudio.com/
MIThttp://www.mitcables.com/
Audioquesthttp://www.audioquest.com/
Siltechhttp://www.siltechcables.com/
Synergistic Researchhttp://www.synergisticresearch.com/
SourceThis is what originates the sound you play. CD, DVD, Tuner, SACD player, MP3 player, etc.
HOW TO GET A BETTER DEAL ON HIGH QUALITY STEREO EQUIPMENT
TIP: There's quite a market in used better gear - research it at
www.audiogon.com
Good Used Stereo GearIf you do go check out Audiogon.com, then you'll find thousands of pieces of gear for sale at great prices. (No, I am not an affiliate - I have no financial reason to tell you this! I simply want to pass along knowledge you can use!) But I have bought and sold on the 'gon, and I can assure you you'll find some of what would serve you well, at essentially half or more off the price if new.
Here are just a few pieces worthy of a search. Skip the auctions and go to the classifieds. You can check on a member's feedback (happy or unhappy folks who transacted with that person.) Arrange to speak with them - get all the terms of the deal up front. Local is always better becuase you can go see and hear. But digital photos are also very helpful.
Not every item below is always available but over time you are likely to find one or several offered.
Preamplifiers:Audio Research Corporation LS5 MKIII One of the classics - only takes LINE inputs and only on XLR balanced cables. About $3000 or less used. Ten tubes. Count on getting new ones unless you trust the seller. If I remember, a tube set from Audio Research costs about $300 or so (call them - in Plymouth, Minnesota - they are user friendly.) Tubes last about 5000 hours of play. I have one and love it.
AmplifiersAudio Research VT-100MKII The second (and may say best) of three iterations, this 100 watt per channel tube amp has been highly regarded since it came out. Used now $2000 - $2500. Again, tubes... they wear out after about 2000 hours of use, and a new set costs about $800. Check with Audio Research. You have to be very handy to rebias the new tubes or get a qualified local shop to do it. I have one and love it, though it puts out some heat, and tube replacement is an expense and chore. Tube lovers tend to be those who will put up with this though because they love the sound.
Integrated AmplifiersCreek 5350se about $900 used. Do your research - it is well regarded. 85 watts per side. Preamp output also.
SpeakersTry to get to hear them. I am keeping these in the sane price ranges. Each is approximately half-price versus new. Owners tend to be obsessive about their gear, so all are usually in reasonable shape. Still, worry about shipping. Local pickup is always preferred!)
ALL typical PRICES PER PAIR not including shipping.
Vandersteen 3A Signatures - about $2000 full range flloor standing
Von Schweikert VR4.5 - full range - VERY well regarded - about $2000.
Von Schweikert VR4 - about $1500
Von Schweikert VR4jr - about $2600
Anthony Gallo Reference 3s - about $1800
Smaller speakers
Paradigm Studio 100 - $900 to $1600 depending on which version. You'll need stands.
B&W DM302/C C3 - $350
Class D Digital Amplifiers
A new breed of cheaper, more efficient digital amplifier is sweeping the industry!
INTEGRATING Stereo systems and Home Theater
Video audio versus Audio audio!
HEADPHONES: turning the world of music outside-IN!
Discover the types of headphones: ON the ear, IN the ear, wireless and noise-canceling. And if you think you heave heard everything, we'll bet you ain't heard nothing yet!
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