The Best Midrange in the World Right Now



There seem to be a growing number of posts which lament the fact that hi fi has gotten too hi fi, too neurotic, and just doesn't sound good.

As I thought about this, I realized that many of the most enduring, classic audio products (Quads? LS35a's? ARC tube amps & preamps? Apogees?) were noted not for their "transparency", thunderous bass, "resolution" or high frequency "extension".

No, what seems to have stood the test of time was old fashioned, middle of the road MIDrange. Is midrange the best benchmark for our hobby?

In many threads, a mention of midrange seems almost quaint and/or apologetic:

" the classic ________ doesn't have the "resolution" of many of today's products in the $150 to $200,000 category, but it still boasts MIDrange which will put all of them to shame!.."

I find this very curious, as to me, there is no high end without glorious, gorgeous, natural, startlingly lifelike MIDrange.

Please, support midrange.

And tell us: what components or combination of components can still deliver good old fashioned midrange today?
cwlondon
Dpac996. I had a 100.2 and couldn't agree more. Great amp. I just ran too hot for my in-cabinet installation. The 150.2 gets pretty close but runs cool as a cucumber.
Mike,
I'm glad you didn't sell 9se's because you didn't like them.
As to my frequency imbalance problem- trying different pre- power combinations in my system (BAT-75SE/Supratek Chenin/Arcam solid state preamp/EAR 534), I traced the problem back to less than ideal synergy b/w BAT and Supratek, which are outstanding components each in their own rights.
I was going to replace BAT-75SE anyway in favor of all-Supratek system (Cortese preamp and Mondeuse power monoblocks), but this experiment only confirmed my concerns about matching components from different manufacturers and design philosophies.
Great thread. Elsewhere on Agon there was some recent discussion about whether to build a system from source to speakers, or vice versa. It's my opinion, and experience, that it's best to build from the speaker to source. The midrange has always been the focal point for me and, as a result, I have not yet been compelled to look at a replacement for my Parsifals. They don't reproduce below 25Hz in my system, but bass is substantial and never at the expense of midrange purity. (BTW, a great recording for bass reproduction is the beginning of Paquito D'Rivera's "La Bella Cubana" from his album, Portraits of Cuba, Chesky JD145. With this recording even most of the 'full-range' speakers I've listened to flattened out before Roger Rosenberg's baritone sax hit bottom.)

Similar to Newbee's penchant for realistic piano reproduction, I am a fool for saxophones. I want to hear Webster's breathing, or the difference in embouchere between Ammons and Jacquet. Because that's what you hear in person (assuming the space has decent acoustics and/or amplification). I've been in any number of jazz clubs across the country from the Blue Note to Snug Harbor to Shelly's to Jazz Alley, and the best listening experience in those clubs is what I strive for in my sytem. With very few exceptions, my Parsifals are able to better reproduce those experiences than the majority of speakers I've had the opportunity to listen to. Accurate - and pleasing - reproduction of frequency extremes is good, but never, never at the expense of the midrange.
Paquito D'Rivera's "La Bella Cubana" from his album, Portraits of Cuba, Chesky JD145. With this recording even most of the 'full-range' speakers I've listened to flattened out before Roger Rosenberg's baritone sax hit bottom

Thats a Bass Viol not a Barotone Sax that hits about 36 Hz. I never heard a baritone Sax hit that low, just my two cents.

Try Massive Attack "Angel" Or Dave Grusin "Homage to Duke" for some extreme LF.

I have to agree with you that Bob Katz (Chesky) is beautifully recorded/mastered.
I think it is important to distinguish between midrange accuracy (i.e. tonal authenticity--do instruments and voices sound the way they do in real life) and transparency (i.e. articulation and detail--how much information is reproduced within the middle ranges). In my experience, it is very difficult to find a speaker that does BOTH of these things very well. The British/BBC approach scores high marks for authenticity but sacrifices transparency. Many, many other speakers provide transparency but fail to deliver authenticity. The Harbeth's, with the Radial driver, move the British sound closer to the ideal in that they are fairly transparent. The Quads are the only speaker, in my experience, to do both. In trying to find an attractive pair of speakers that are successful in BOTH areas, easy to place and could be had for under 8K I was ultimately unsuccessful. The speakers I ended up with get me very, very close to the ideal but sacrifice a little transparency for accuracy. To me this makes the most sense since a lifelike portrayal of instrumental tone and timbre is critical to fooling your brain into believing what is heard is real music. The last measure of detail, while also important for this purpose, can be lived without. Others will reverse these priorities I'm sure.