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No, I don't think I believe in same brand synergy - I think what you get is an accentuation of the particular quirks of a brand. It's like room resonances, they can't be avoided so it's better to spread them out rather than increase just one. :)Quote:
Originally Posted by User211
Yes, I agree with this Jerry. Looking at my system I have chosen each component individually and I don't display any brand loyalty except for acknowledging the particular strengths of a brand, for instance Nelson Pass is god when it comes to preamps which explains why I'm on my third.Quote:
Originally Posted by jandl100
Yes, I have a diy B1 buffer pre which is very good.
I would agree when it comes to full systems from the one manufacturer (Naim and Linn come to mind here in particular), but there are instances where combining the use of certain products from one manufacturer can produce significant sonic dividends, especially in the analogue/vinyl domain.Quote:
Originally Posted by jandl100
I've certainly achieved that with the use of Ortofon products, namely my RS-212-D tonearm, SPU and ST-80SE SUT, where the sonic synergy gained is obvious and immediately recognised (and appreciated) by everyone who has heard it :)
Marco.
I think I agree! At one point, I had two lots of pre/power amps in the house, one from Naim, other from EAR. I enjoyed the results best when I decided to try them 'mixed'.Quote:
Originally Posted by jandl100
I tend to agree as well even though I am probably the poster boy for one make systems. But if you find the "quirks" or sonic signature of one company quite appealing, it does make some sense to first look through their line for additional gear. In my case it worked well, but only as far as the other individual components I was able to compare them to were concerned.Quote:
Originally Posted by jandl100
I both agree with Jerry (:eek:) and also with Marco. I know Jerry probably doesn't agree with me here, but my experience of late 90s Krell showed me that even they couldn't decide on a "family sound" for their products as the cheaper models were poles apart (not necessarily worse) than the bigger and more desirable models. Naim too went from valvey-musical but slightly sloppy (bolt-up 250 and 120), to harsh and "dynamic" with the CB models, to beefy, punchy and ever-so-slightly-grainy with the current crop on the whole in my expoerience with the current models, which is a sort-of evolution I suppose? Linn went from bland, to hideous to lean-n-sharp with their mid period amps, although I don't know about the current crop, which doesn't seem to feature on anyone's radar for some reason (over-pricing?).
The thing is, with so much used stuff around at almost sensible prices now, it can be fun to play around with combinations and move on should you not like what you've done.
Yes, the KRC-3 pre I used to have had a different sonic flavour to the KAV-250a power amp I am now besotted with.
The KRC-3 was slightly warm and dark, the 250a is very open and a bit brightly lit (but I love it with a passion!). I prefer things brighter rather than darker, it's just a personal preference.
Justin / user211 has heard my MBL-based system several times driven by a variety of valve and solid state amps, he'll be visiting Jerry Towers this Friday, I'm sure he'll be happy to post his impressions here of its Krell 250a-amped performance. :)
I'll be interested in his (and your) comparison between the Parasound and Krell. I'm wondering if the Krell is a little more towards the gruntiness of my Chord, or is it different again?
I'll wait for Justin to have a listen before giving my views on the Parasound / Krell comparison. :) ... not that he'd take a blind bit of notice what I thought, he's a chap not easily influenced by others! :eyebrows: