Well - if the Dave can do both, I guess that puts paid to my theory!
Is that with your Empryeans, or with your ATCs, or the Acoustic Energy actives?
Also, if the Dave does collapse the detail-coherence continuum, how come you didn’t buy it when you tried it previously (I haven’t yet read the thread you opened on that)?
I was about 10 weeks from order to delivery, the Dave and the Etude arrived yesterday. Got off to a bad start the Etude right hand channel was down, so new amp on the way from Chord, fortunately not the same supply issues for the Etude, should be here Thursday.
Great service from my dealer he made an 80 mile round trip and brought back his demo Etude and got me up and running. I love the sound, so much of everything, detail is superb, doesn’t seem to get loud just bigger if that makes sense.
Seemingly delays are with the casings, black in particular.
Interesting what speakers are you using.
Yes I heard the issue was with cases, but that was many many months back… if it still is the issue, then they are having problems
I suspect that your ATC speakers are holding back the Dave and 552.
I’ve only heard the Dave show it’s 8,500 GBP asking price with it’s jaw dropping 3D soundstage capabilities with very expensive speakers like the Dynaudio Confidence C2 and the Sonos Faber Futura Amati - both were floor standers, and the performance of Dave was superb.
On my much lesser cost speaker such at the Dynaudio Focus 260, the sound just isn’t in that league.
You have upgraded all the way to a 552 - but I suspect that your speakers maybe not allowing to hear the level of electronics you have purchased?
Possibly, but I doubt it, as some of the drivers in my ATCs are used in production suites and are arguably some of the best in the world at what they do (such as the iconic and phenomenally heavy bass mid dome driver) … That is the nice thing about ATC, they are accurate and ideal in my setup for the near field, and used in many production studios. The ATCs allow to really hear the benefits of the 552 in my current setup… hence all the posts over the years. I think ATC and Naim have a wonderful synergy and thoroughly recommend it to anyone. The only downside with ATC, once you have used and appreciated, moving onto other speakers is almost impossible, they nearly all sound lacking to various degrees (in the near field) … believe me I have tried… through curiosity if for no other reason.
I think it’s more likely DAVE / 552 synergy or lack of it… and possibly or even probably not helped with my room acoustics. Next weekend I might be able to confirm that.
It’s interesting you talk about jaw dropping soundstage, I am not that bothered with such things, as sound stages don’t tend to be jaw dropping, they should feel natural… unless it’s one of those 60s mixes. And indeed when I listen to my Empyreans through DAVE I get an equally natural soundstage.
They key thing is feel, dynamics, nuance and detail… that is it allows you to savour the recording and hear the musicality, production techniques, the singer moving in front of the microphone etc… this is what it’s all about for me and the ATCs deliver this with 552/250
What I mean about the soundstage is instruments floating in 3D space away from the speakers… as you found out it isn’t only the Dave… as from my experience sympathetic speakers are needed to achieve this
My Dynaudio drivers are ok I think but the much more expensive Dynaudios have much better parts on their crossovers but the price of those confidence speakers is way too high for my wallet.
The bigger soundstage of Dave is due to small signal resolution of Dave which is the big difference in price between Dave and its lesser brethren
Thom Jurek says this in his All Music review of the Miles Davis LP: ‘The Cellar Door Sessions 1970’:
“Disc two opens with Jarrett, Henderson, and Airto locking horns in a ferocious groove on “What I Say” that has the members of the audience showing their appreciation with shouts of “Yeah!” and “Blow!” and “You Go!” Jarrett’s solo at the beginning is unlike anything he has ever played – before or since.”
I think this refers to the 2nd instance of the track ‘What I Say’ on that album. Which is track 6 on the copy on Tidal (or track 1 on disc 2 of the CD).
Can anyone hear those members of the audience calling out those words?
Well, I’ve just tried. I can hear a “Yeah!” and a few other female whoops that could be something else, perhaps if I were listening on headphones. But I kept being drawn into the music, which distracted me somewhat.
Maybe Thom Jurek has an extremely revealing system or is listening on headphones?
Anyway - as you say, who cares when the band is that good - Miles, Jack DeJohnette, Keith Jarrett letting rip on electric organ and Fender Rhodes, and other brilliant musicians jamming in a smoky 163-seater Washington, D.C. club.
I’ve no idea myself on this track as I will never play it to hear, but it is worth observing that the reviewer may of course have imagined imagined what people are calling out, simply putting a word to a vague sound, subconsciously or otherwise (“blow!”??). Personally I prefer audiences to be silent except in rapturous applause after a piece has finished, so it could be seen as negative, a distracting intrusion…
It could be, but it does depend on the venue and music, often the audience participation is a key bit of live music, otherwise you might as well listen to a studio recording.
Sure many classical music recitals are best silent…, but that is the only music I can think of where no noise or participation from the audience is usually preferential.
When a jazz band that specialises in improvisation plays a gig, there is a sheer sense of exhilaration that stems from the fact that the band members and the audience know that the concert could be a complete mess or it could result in something truly unique being created on the spot.
Indeed a normal part of live music, but that doesn’t mean all spurious sounds are enjoyable. Personally when at a live gig I dislike it intensely when people call out or wolf-whistle etc in the middle if a song, which seems a habit of some when a rock band plays a quiet number, worse when playing a recording of a gig. Other things can add to atmosphere at the time. Whether a distraction or unwanted intrusion depends on the sound and how loud as well as the music, and of course varies by listener. Not having heard the piece concerned is why I said ‘could be’ not ‘is’!
Well yes, I would say a wolf whistle is really disrespectful, and not participation. Can’t say I have ever heard a wolf whistle in the middle of a quiet song at a concert…
coughing in classical concerts, is my pet hate… I know probably one can’t help, but I find that annoying… and it’s probably fair to say coughing is hardly participation
A cough on a crescendo is fine! OK if you can hold it, but I was once at a concert when suddenly my throat started ticking, and tried to stop from becoming a cough but was a losing battle, and no crescendo imminent - fortunately I was only two seats from end of row and not far from an exit, and, with disturbance only of those two people and those with sightlines behind, got out - just in time for a coughing fit loud enough to wake the dead, but outside the auditorium. No problem after, though the rest of that half was spent standing just inside the door. I dread to think the annoyance I’d have caused to orchestra and audience if it had happened without warning or if I had been in the middle of a long row.
Yep, I have been there… the more you try and stifle the cough the more intense it becomes, resulting in an intense coughing suite.
I find the same thing in business meetings, (pre COVID) at tense moments, where any distraction would not be welcomed.