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Quad Listener Contemplating Horns

I have reemerged into this mad pursuit after a nine year hiatus, and just got my existing system back up and running (Crosby Quads, ARC SP-10, Classic 60, semi-tweaked Well-Tempered TT, Lyra Parnassus) after that many years (freshly gone over, retubed, TT readjusted, etc.)
The thing makes music, no doubt, but I'm still left with the complaint that I always had about this system, and earlier variants- the whole illusion seems to collapse on large scale pieces- not talking about volume here, but a combination of other things going on, including distortions that have to do with the overall spacing of the instruments- it is like the image is constricted even if the program content is not. (OK, enough of my psycho-babble).
Here's the question- I know that there is a long established school for horns, very low wattage tube amps. Need to know how liveable these systems are- not as a substitute, but in addition to, the more 'conventional' electrostatic system I'm running. I know I have some auditioning to do- I want to hear the Avantgarde speakers with the Lamms or Audio Notes, perhaps a Carey amp. I'll probably use the same front end, and at least for now, the SP-10 (which, by anybody's standards, may just be too noisy to tolerate over a system with a very low noise floor). I'm particularly interested in the insights from folks who use these types of systems as one among several-
128x128whart
914nut
100 posts
 
Essentialaudio:

You, of course, are correct. I overlooked the fact that the discussion was with regard to the use of Quad electrostatics.

My apologies.

Lacee:

My original point was, nevertheless, that the series connection you proposed, for two speakers---regardless of the nature of transduction---cannot possibly present the same load (as you asserted) as that presented by a single speaker of the same type, at least without internal mods. It may very well work to your satisfaction, but it still presents a different load at the amp's terminals, dependent upon the resistive/capacitive/inductive components of the speaker's impedance.

Jim
914nut
100 posts
 
Lacee: I just had a thought which may make this whole exercise a waste of my time, your time, and that of Essentialaudio.

When you stated: "This will make your amp see the same load as 1 pair of Quads(sic)57.", did you mean a stereo pair (one speaker per channel,which is how I interpreted the statement); or a pair connected to each channel of the amp?

If the latter, I agree and case closed.

If the former, we continue to disagree.

Jim
whart's avatar
whart OP
1,930 posts
 
I'm not going to wade into the series/parallel discussion on the Quads. But I would like to come back to the Golden-Ear's question, which is a fair one. I am making the assumption only because I know the characteristic sound of the Quads, which is a bit 'polite.' Yet, I've heard the same thing I am describing on a big system that I had a fair amount of seat time in front of, using Dunleavys and Krells with what was then a first rate front end. So, it ain't just the speakers, I agree. But, the thing that does intrigue me about the horn approach is the ability to render big dynamics, and create that 'alive' feeling that you get in live performances.
My front end currently consists of the Lyra Parnassus, running into an ARC SP-10. (I am currently using a Sugden phono stage, but the same constraint existed with other, higher output MC cartridges run directly through the SP-10 phono section- The Well Tempered Classic, somewhat tweaked, is the front end). I don't know if these components impose a straight jacket on the music- I was actually thinking about upgrading preamp next, rather than TT (I'd keep the Sp-10 for funk value). The amp, as noted, is currently an ARC Classic 60, which provides ample power for the Quads, and has loads of 'image depth' if not a 'whitish' upper range. I have not tried a digital front end, and doubt I will....
THanks again, for all the good input. MOre updates soon on the progress of my Quest...
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