2. speakers
  3. 143809-9458

What are the best speakers you have ever owned and why?

I just recently recieved my long awaited Shahinian Diapason 2’s from Vasken And they are absolutely spectacular! This got me thinking about my long journey to get here. Bless my wife for putting up with the many many many speakers that have passed through. The lifelong saga began with Magneoan MG 1’s back in college which were replaced by Dahlquist DQ 10’s. Then we traveled down a long road of speakers and systems. Magnepan Tympanis, Misson 770, Randall Rsch DQ10’s, Quad ESL single and stacked, Acoustat II, rogers LS3/5A’s, Linn Isobarik’s (2 pairs) B&W 801 Matrix, Hales Signature, Martin Logan Monolith2, Apogee Scintilla (1 ohm) Apogee Full Range, Theil SC 5A, Egglestonworks Andra, B&W Nautilius 801,Quad 63 and some I’m sure I forgot! Each speaker had its virtues and flaws but oh what a fun and a times frustrating trek! I think I have finally found my speaker to take me to retirement they do everything that I value wonderfully . They are detailed without sounding so, very dynamic, they have great low end reach, power and detail, are open sounding like a planner, their tonality and timbre seem spot on and they sound wonderful on any kind of music. Tell me about your journey!
hamr
silvanik's avatar
silvanik
26 posts
 
Thiel CS 3.6 for me, still  with me and I'll never get rid of them.
audioman74
11 posts
 
I have owned in the past, but no longer have these four favorite speakers:
#1) (fav)  B&W 802's S2

#2) Snell B-Minors

#3) Totem Acoustic Hawks

#4) Klipsch LaScalas
richopp
88 posts
 
@prof1Now your're talkin'!  This is exactly what we did and even though the sounds produced by amplified instruments were controlled by the musician, the sound live and the sound recorded was compared and found either lacking, changed for the worse, changed for the better, or pretty much identical.  Non-amplified instruments sound differently depending upon mic placement, of course, but in a recording, as you know, one is trying to capture the ensemble as heard mid-far center, so it can be a challenge.  Obviously in a studio, one has elaborate mixing equipment to end up with the dynamic range and mix per instrument on the final recording, but just using a Stellavox and a couple of good mics, our Miami dealer, Peter, was able to do some pretty impressive live recordings back in the day.

Keep doing what you are doing, go down to your dealer and listen to a pair of Maggies--the new ones are all over the place with the number of panels, etc. (I personally prefer multiple panels per side) but make your own decisions.

Finally, funny how all high-end speaker manufacturers are now making 6' tall speakers all of a sudden.  I WONDER where they got that idea???

Cheers!
falconquest's avatar
falconquest
480 posts
 
Back in the late 70's I started with a pair of McIntosh XR-16's which I kept far too long. Finally got back into the audio system game and bought a pair of Paradigm Studio 100's that are actually very nice sounding with quality electronics behind them. I then moved up to Legacy Audio Focus which I have been in my system for a while now. Recently, I started reading about open baffle designs and just ordered a pair of Spatial Audio M3 S Turbo's. It's a big leap from the Legacy's with their three 12" woofers to an open baffle speaker but everything I have read indicates they should be very open with a large soundstage. Can't wait until they arrive!
rflick
3 posts
 
Audio Note AN-E SEC Silver. I bought these used 15 years ago and have been extremely happy with them for my favorite type of listening.  I think they shine best on mid-range stuff, like vocals, sax, acoustic guitar, etc.  Sinatra's voice sounds amazing on them; round, full, live, emotive.  Also acoustic bluegrass, chamber music, and jazz are wonderful.  Every string pluck is distinguished and every blend is smooth.  Probably not my favorite for hard-hitting electric rock or full orchestra, but I've never heard a speaker that did everything well.  Horns probably come closest. 
More to discover