Parasound JC1's vs. Sim Audio W10


I am looking for amps to drive some MBL 101d's and wonder which of these two monoblocks would work the best. Or any other suggestions that you might have.
husk01
Hey anyone out there, can Denf or myself borrow about 7 grand?? Pretty please? I promise we will pay it back sometime in our lifetimes! lol.
Denf, Zormi. For what it is worth I have now listended to the Pass X350.5's, JC1's one more time, bryston 7bsst and the cj premier 350.

In my system, the cj prem 350 sounds overall the best. It has the tightest (jc1 was pretty tight as well) and most natural bass out of all of the amps. the bass with the pass was just a little loose. mofsets vs bipolar??. The high end has a degree of dynamic top to bottom life that the others don't have. Musically they are the most satisfying.

The Pass X350.5 sounds good, but in my system the bass was a little overwelming and seemed not to have the speed in the top end the cj has.

Bryston sounded very controlled, but lacking a little dynamic life and extension in the high's.

JC-1's sounded a bit gray and lacking in dynamics unless you really cranked up the volume. Micro dynamics were not as good as the Pass of cj. My personal opinion is that sound wise it was on par with the Rotel 1090, which for its price sounded great.

anyway, I am buying the cj prem350 to mate with my Vienna mahlers.
Thanx Downunder,

Your judgement into such a strong competition have not been easy job obviously...
One of major advantages of Halo JC1 should be very affordable price, recently raised, unfortunately (plus recovered USD vs Euro). Almost reaching territory of giants like Pass, Krell FPB, Mac..., Parasound Halo JC1 is still OK, but stops being ultimate choice. That's why I gave up from upgrade my Halo A21 to JC1.
BDW, damn right that Rotel RB-1090 fights very well for money.

Congrats for choice. Enjoy.
Zormi. I really wanted to like the JC-1's. The bass was definately better the second time round, but it had no life in the upper mids and top end. Just plain boring. I really think parasound need to change there caps as no one in their right mind can expect to wait 1200 hours for the amp to sound better.
The Mac 501's and Pass 350.5 sounded good after 50 hours, Krell 300cx was starting to sound better after 150 hours but still a little strident in the highs for my taste. cj after 120 hours, still improving. All these amps sounded at 95% plus at these hours, which is what high end hi fi should be like.

Interesting the low or no feedback designs ( prem 350, Pass 350.5, Sim W5) were to my ear the better sounding amps compared to their high feedback cousins like Parasound, Mac and Bryston. It was if the high feedback amps had a limiter on the expressiveness and natural tones in the upper mids/and treble. The high feedback amps had arguably the bigger bass thou. But it is top to bottom conherence and musicality that rule the day with my listening biases.
Downunder: I would not have expected the Pass amp to be a good match with your speakers. Most Pass amps are a little "round" sounding in the bass, albeit in a pleasant manner. The problem is that, when you combine it with speakers that lack damping, suffer from ringing and are round sounding to begin with, you've got WAY too much of a good thing. The Vienna's definitely fall into that category, at least in my opinion.

As to the high feedback amps sounding "closed in", this is what i predicted that the JC-1 would sound like after learning that it used gobs of negative feedback. While i was initially eager to hear this amp, after finding out more about the technical aspects of the design, i knew that i would not like it sonically. Somewhere in the archives, you'll find those comments, along with what i posted above. That is, high negative feedback designs tend to sound less liquid and sterile. They measure good on the bench, but simply don't sound "magical" or "musical".

As such, i don't doubt your results at all. In fact, a couple of them simply confirm previous observations that i've already made, all without hearing the gear or combo of gear in question.

There is one thing i'd like to add though. That is, you guys really need to check into using low impedance speaker cabling ( 20 ohms at MAX ) with amps of this calibre. The benefits with amps of "marginal" build quality are noticeable, but when you've got a real "powerhouse" of an amp using good quality parts, the benefits become even more apparent. That last level of "musical accuracy" i.e. "detailed notes that float in the air, dripping liquidity and impact" become a reality. That's because the amp can finally "load up" into the speakers and the power transfer characteristics are improved. Better power transfer characteristics means increased control, reduced reflections and improved sonics.

In my Dad's system, i changed his preamp, power amp, DAC, modified his speakers, changed interconnects, etc... When i finally installed some low impedance speaker cabling, he told me that those speaker cables made more of a difference than all of the other changes combined. What he didn't seem to take into account was that the change in speaker cables simply allowed him to hear all the benefits of the upgrades that had already taken place, which his other speaker cables simply didn't let through. After all, the cables aren't doing anything magic, they are simply reducing losses in the system.

By minimizing the losses, you get to hear more of what the system is truly capable of. So long as you have a good system, you should like what you hear. If you don't have a good system, you'll get to hear just how bad certain aspects of the reproduction really are. Don't blame it on the low impedance speaker cable though, because it's not an active part of the reproductive chain. It's simply a conduit for the signal that already existed. Now you get to hear the system, warts and all. Sean
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