Anyone compared GoldenEar Triton 7 with Triton Reference?


Hi folks -- newbie here.

Has anyone compared GoldenEar Triton 7s with GoldenEar Triton References?

Asking because I have Triton 7s + subwoofer, and am looking to upgrade. So I auditioned [7’s + subwoofer] and References side by side at 2 different dealers, playing my own music, and switching back and forth repeatedly between the two sets. To my ears, the References provided maybe 40% bigger soundstage, and maybe 5-10% better detail and clarity. This was surprising to me, given the large difference in price points: $8.5K for Reference vs. maybe $3K for Triton 7 + sub. (Maybe my ears aren’t experienced enough to appreciate the differences...?)

Has anyone directly compared the 7s and Refs in similar listening environments? How did you think they compared?  (How much better did you think the Refs were...?)

Thanks!
otinkyad
Hello all -- thanks for the many interesting perspectives.

helomech, and kosst_amojan, thanks for your thoughts on the comparison with Revel/MA, and on the GE range.

ieales, thanks for the continued input.  One thought I did have: I think your perspective is: "If you can't optimize the listening experience, it's not worth buying the audio equipment", or something like that.  Here's how I see it: All of the elements that go into an optimized listening experience require resources: tweaking the equipment and its positioning extensively (resources: time, energy; capital for cables/interconnects; acquiring knowhow); modifying the room setting (resources: time, energy, disruption of living arrangements); special listening room (various kinds of resources); acoustic treatments (resources: time, energy; capital; acquiring knowledge).   In my case, I do not have any of those resources except some limited ability to upgrade some of the equipment itself (speakers).  If that gives me substantially greater enjoyment of the music, even if far from optimized, I would consider that money well spent.

misstl, thanks for the thoughts on the comparison.  You mentioned the T Refs being too large for your room (and ieales also mentioned them as being overpowering for his/her space).  Do you mean physically too big?  Or sonically too big?  If the latter, that ties in with something I wondered about at my dealer auditions: whether they were overpowering the rooms (I'd estimate the room were approx 500 sq ft).  Also, your description of the Ohm Walsh's has had me looking into those today.

stereo5, the reason I am trying to get a sense of the comparison is because I have the 7's, feel they are lost in my open-floor-plan room (approx 8000 cu ft.) and am looking for something bigger.  My ears did not find nearly as much difference as I'd expected between 7s and T Refs in my dealer auditions, so I'm asking for input from much more seasoned listeners.  You seem to say that it's invalid to compare speakers at such different price points.  Could you explain that a bit more?  I don't understand how in that case, it would be possible to figure out big upgrades.  Also, may I ask what size room your T Refs are in?

schubert, your point about not moving around at a concert is well taken, and I wish I could listen to music like that!  In my case, though, my listening situation is that about the only time I can listen to music is when preparing dinner in the evenings.  I wish it weren't, but it is, and so for me it would be listen then, or not at all.  (Hope I didn't just get myself banished from audiogon :)  That makes misstl's mention of a large sweet spot interesting to me... 

@otinkyad...……………………………………………

When I say its not a good comparison, you are comparing a pair of 8.5K speakers to a pair with a sub that are less than 3K. The T7 use two 4.5 inch midrange drivers compared to the T Ref which uses 2 six inch drivers. The midbass punch is real with the T Refs, not with the T7. I have compared the T ref in my main system with my T 1 in my other system. I did it side by side with the same amp and I could hear a BIG difference in clarity, detail, air and much better bass on the T Ref. I am lucky as I have a pair of each on 2 different systems. Don’t get me wrong, both the T Ref and the T One are my "forever speakers".

This is a decision only you can make. I am pushing my T Refs with a McIntosh MC152 150wpc and the Triton 1 with a McIntosh integrated at 200wpc. I don’t know what you are using for an amp and pre and front end equipment so I really can’t comment. The T refs are in a 16 by 20 living room with a 10 foot ceiling. The Triton Ones are in a50 by 50 room with dormers and high 16 foot ceiling in the center. I can really fill the room with sound but use this system for mostly background music  while I am on the computer and such. Are one of the dealers willing to let you borrow their demo units for a home trial? There is a level control on the back of each speaker to adjust the volume of the woofers in the room.
@otinkyad

Take a look at the Spatial X-2 as it will easily fill your room without a constrictive "sweet spot." And contrary to myth they don’t need to be 5 feet plus from the back wall. I am using the model below, M3 Triode Masters, with a pair of Rythmik subs in a room over 5500 cubic feet that opens into a combo Kitchen/Breakfast room.

http://www.spatialaudio.us/x2-modular

I've also owned the Triton 5 with the Rythmik subs in the same setting and the Spatial does what your are looking for with greater ease.  

I get your point regarding the size of the sweet spot, but that in and of itself is unnatural. That's not how one hears things when one is at a live acoustic event when one moves around. The Ohms are much closer to the live experience with this one aspect.
All HiFi is unnatural.

As one who has mixed live sound, recorded large orchestras in great studios, attended concerts in the worlds finest halls, continues to produce live productions in our local 450 seat venue, I categorically state that NO HiFi anywhere anytime is anything but an extremely poor simulacrum of any live performance, acoustic or otherwise.

IMO, the flaw in the Walsh theory is that sound from instruments is not omnidirectional. An acoustic guitar sounds very different as one walks around a seated player. The Walsh driver takes the frontally recorded sound and flings out 360° to bounce and absorb erratically in the listening space. One may like the effect, but it is in no way similar to any live performance.

To hear a recording as made requires a system as good or better focus than the recording studio monitors.