ThomasOK's System

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ThomasOK
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ThomasOK's System

Post by ThomasOK »

I haven't posted my system yet so I suppose I should:

LP12 Black Ash/Keel/Lingo2/EkosSE/Akiva/Trampolin2 (this description is getting a bit long!)
Linto x2
Ikemi
Pekin
Alesis MasterLink ML-9600 Hard disk recorder/CD burner
Klimax Kontrol
ATC SCM100ASL Active speakers on ATC stands with Katan top spikes

All interconnects are Linn Silver 1.2 Meter
1 Linn Silver Balanced cable from Ikemi AES/EBU to MasterLink 1.2 Meter
Cables to speakers are Linn Silver Balanced terminated in Linn Silver RCAs at the preamp end 4 Meter
Power cords are all late model Linn with plugs replaced with Hubbell plugs except MasterLink is a Lejonklou Power One with Hubbell plug
Power Distribution through CablePro Revelation II power strip fed by Linn cable
All cables burned in on a Nordost Vidar machine (it does actually work)
Even though I live in the US all equipment is run at 230 Volts off a dedicated line as it sounds much beter that way

The LP12 is on an Archidea turntable stand, the MasterLink is on an AudioTech turntable stand and the rest are on a Quadraspire Q4 Midi rack with an isolated glass top shelf for the Klimax Kontrol and the rest on cherry shelves with black hardware
All racks and speakers on Linn Skeets on hardwood floor

I also still have a Sony WM-D6C Professional Cassette Walkman floating around that sees a little use from time to time

The turntable has had all the fasteners precision torqued and all drivers on the speakers have been precision torqued as well. This made a substantial improvement in the system's performance. (Setups were done by me - I do almost all LP12 setups at the Linn dealer I work for.) Fredrik offers this same precision torqueing of turntables and speakers to his customers.

I have to say that so far this is the most musical system I have had the pleasure of hearing - and I've heard quite a bit of expensive Hi-Fi - some good, some excellent, and some just dreadful.
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Post by lejonklou »

Thomas, I would really like to hear your system! Those ATC's that you and very few others have mentioned have gotten me so curious.

That you are running your system on 230V is something I'd like you to tell more about if possible. What are the differences in sound if you connect your system to 115V? How do the various components react - are there any that benefit more from 230V than others?

I am just making my first 115V prototype here, so I am desperate for some hands on experience of the sonical effects. How it works electrically is not the issue, but all the parts in the power supply that have been chosen for optimal sound in 230V might have to be re-checked...

What that Vidar machine does would also be interesting to check. I expect that the signal they use for the burn in process should be very easy to measure and analyze. I must admit that I am highly sceptical of anything that Nordost does just because of their prices - but I am NOT saying it doesn't work until I have tried it myself. Only that IF it works, I could probably build a machine that does the same job and sell it for a fraction of the cost.
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Re: ThomasOK's System

Post by Azazello »

ThomasOK wrote:ATC SCM100ASL Active speakers
:shock: Considering the price of theese units you must prefer them to many of Linns speakers and amps. Are they better than the akurate and artikurlare range? I have never even herad of he brand before, but a fast check told me that they are studio monitors?

Please tell us more!

Regards /Henrik
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Post by ThomasOK »

lejonklou wrote:Thomas, I would really like to hear your system! Those ATC's that you and very few others have mentioned have gotten me so curious.

That you are running your system on 230V is something I'd like you to tell more about if possible. What are the differences in sound if you connect your system to 115V? How do the various components react - are there any that benefit more from 230V than others?

I am just making my first 115V prototype here, so I am desperate for some hands on experience of the sonical effects. How it works electrically is not the issue, but all the parts in the power supply that have been chosen for optimal sound in 230V might have to be re-checked...

What that Vidar machine does would also be interesting to check. I expect that the signal they use for the burn in process should be very easy to measure and analyze. I must admit that I am highly sceptical of anything that Nordost does just because of their prices - but I am NOT saying it doesn't work until I have tried it myself. Only that IF it works, I could probably build a machine that does the same job and sell it for a fraction of the cost.
Since there is another post asking about the ATCs I'll cover them in that reply.

I found the improvement from 230 volts quite substantial on all the components. Initially I tried it on my Ikemi when i still has a Kairn/3x2250/Isobarik Aktiv system and found the improvement immediately apparent. The music was more tuneful, had better pacing and a greater sense of power combined with ease. The improvement was not of a level of going from Kairn to Klimax Kontrol or of a Keel but was probably in the range of going from Chakra 2100 to 2200. After trying the Ikemi I switched the whole system to 230 volts and found the same kind of improvements magnafied.

I have not tried each component individually on 115 and 230 volts but I have dont the comparison on the Klimax Kontrol and on my ATCs - although the ATCs require an internal re-wiring so it was not an instant A/B with them. In both cases there was the same level of improvement as with the Kairn although the preamp made more improvement than the speakers - as you would expect from the hierarchy. Once when I had a couple of my co-workers over for a listen I did an A/B of one Linto vs. 2 Lintos and 115 vs. 230 volts on the KK. They were impressed by the system overall and by the A/Bs but one informed me that the comparison that most impressed him was the 230 volts one as the difference was much larger than he expected for a single component - and a preamp at that. He was also ticked-off as he is unable to run 230 volts where he currently lives. I also tried a comparison once of 115 volts, 115 volts through a Furman IT-Reference 15 power conditioner (one that actually seems to work) and 230 volts. While the Furman did make an improvement to the sound it was only about half of what 230 volts straight did.

Since my Hi-Fi is British made I have to assume that it is all optimized for 230 volts but I expect that part of the improvement comes from drawing half as much current per wire over two wires instead of one. The Furman actually splits the power and puts 60 volts each over two wires so it has a similar, though not as pronounced, effect. However even my American Alesis MasterLink sounds better at 230 volts and the voltage change made a bigger improvement than upgrading the input cables from Black to Silver! I found it to improve cables that had been in regular use for over a year - not just on new cables. One of the things I find particularly useful is that once I've burned in the cables on the Vidar I can remove burn in level as a variable in cable comparisons. It makes me more confident that I am hearing what the cables are really capable of.

On the Nordost Vidar I have to admit I share your dislike of insane cable prices ($16,000 for a one meter pair of the new Odin interconnects!). And I personally prefer Linn Silvers to some of the more expensive Nordost cables in my system, although I haven't tried the Odins - for obvious reasons. The Vidar, however, has made a noticeable and worthwhile improvement in every cable I've tried on it including Linn Black, Silver, Silver Balanced, T.Kable and all the Linn speaker and power cables. I've also used it on customer and store demo cables from Nordost, Audioquest, Yter, the Power One and others.

I have little doubt that if you measured it you could make one less expensively - it costs the dealer $2500US! According to the people at Nordost it uses a series of different signal combinations in the burn in procedure. One set of signals is run for 24 hours, then another set is run for another 24 hours and then a third set is run for 48 hours so the whole procedure takes 96 hours. It has a built-in timers that sequences the different signals and indicators that show where you are in the process. It also has three separate sets of connectors each with its own timer and signal generators, one for RCAs, one for bananas, spades or bare wire and one for XLRs and tonearm cables, so there are actually three complete circuits. I can't find much info on it on the Nordost web site but if you Google Nordost Vidar you'll find links to more information (although likely not enough to build your own).
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Re: ThomasOK's System

Post by ThomasOK »

Azazello wrote:
ThomasOK wrote:ATC SCM100ASL Active speakers
:shock: Considering the price of theese units you must prefer them to many of Linns speakers and amps. Are they better than the akurate and artikurlare range? I have never even herad of he brand before, but a fast check told me that they are studio monitors?

Please tell us more!

Regards /Henrik
Although ATC is best known and most popular in the studio market (their Client List reads like a Who's Who of the music business) they have also been making a couple of lines of speakers designed more for the home market for some time. Since they do not do much advertising and don't have a large dealer base there are many people who haven't heard of them. In addition, ATC does not cahnge models for the sake of appearance or obtaining new reviews. Because of this their best speakers look like your typical big-box-on-a-stand from the 1970s because that is what they are. Like the LP12 they are a classic design with an older look that has continually been updated as technology has allowed improvements. And like the LP12 this means they often get overlooked in favor of newer, flashier or more stylish products.

ATC are well known by other speaker manufacturers, however. Their drivers are near legendary. Their 3" dome midrange is felt by many to be the best unit of its type made. It is rarely used by others as it is possibly the most expensive midrange on the market at over $700US each. In comparison the Keltik midrange driver was under $100 and the 3" Komri dome midrange is $125. Even the 6" to 6.5" mid=bass drivers on the Akurates through to the Komri range from $217 to about $310. The 12.4" bass driver in my ATCs runs $540 and the 15" unit in the 150s (and also in the Naim DBL) is $776! PMC used to use ATC midranges until they developed their own clone of it. And Linn used to use ATC monitors in their studio before they designed the Komri to replace it.

The models that I find the most interesting are their larger active systems: the SCM50ASL, SCM100ASL and SCM150ASL. These models are essentially the same as the studio versions except for having cabinets available in a number of attractive wood veneers (my 100As are rosewood) and lacking the ability to move the tweeter for horizontal positioning. Otherwise they are the same with the same drivers, cabinets and amp/crossover packages.

The owner and head designer of ATC set a goal to combine the output cabality and ruggedness of traditional studio monitors with the accuracy, neutrality and freedom from distortion of the best Hi-Fi speakers and in my opinion he has succeeded. The 100As allow me to hear more of what is going on musically at any level from fairly low to near-deafening than any other speaker I've yet had saignificant experience with.

As to how they compare, this is my experience. When I finally decided that it was time to upgrade my speakers from Aktiv Isobariks (no mean feat) I felt it likely I would go with the Keltik replacement Linn told me was on the way. When the Akurates came out I took them home and compared them passive to the Isos Aktiv. I felt that the Akurates were superior overall although somewhat lacking in the bass range. At the time a friend of mine who was a Linn and ATC dealer told me I should come by and give the ATCs a listen. I went to his shop, bringing some equipment to optimize the comparison and we compared the ATC 100As to the Akurate 242s with two 2250s (one on the bass drivers and one on the array). Since I owned 2250s at the time this would be how I would have to run the 242s if I were to buy them. My SO went with me and we used a UniDisk 2.1, an Ikemi and a loaded LP12 as sources through an Exotik (he didn't have a KK at the time nor did I). Cabling was all Linn. We put on disc after disc and record after record and Debbie and I could only marvel at how much it sounded like Johnny Cash, Suzanne Vega, Artur Rubinstein, Michelle Shocked and numerous others were in the room with us when played through the ATCs. The music was several levels more real in sound and feel than anything we had ever heard. More tuneful, better flow and pace, cleaner more emotionally engaging - just plain better. Some of what we heard was so beautiful as to bring a tear to your eyes. Even my friend, who recommended the ATCs was impressed with the degree of the improvement when going from the 242s to the 100As. I knew right then and ther that I had found my speaker.

I bought the ATCs and have never looked back. Almost as soon as I got the ATCs I was able to get a Klimax Kontrol at a very good price and I was in audio heaven. The system is just so good I have a hard time thinking of how to improve it (although being an inveterate tinkerer I always have an idea or two to try).

Since I bought the ATC 100As I have had the opportunity to hear the 242s Aktiv with 5125s and passive with Klimax Solos and I still prefer the ATCs by a fair margin. Other speakers I have heard and liked are Sonus Faber Stradivaris and Amati Anniversarios and Linn Artikulat 350As. Although I like the Sonus Fabers they still have some of the failings of all passive speakers, although admittedly less than most others, that makes it such that I wouldn't take them over what I have. I would love to hear what one of them would sound like active with Klimaxes or even Akurate amps but that is not an option - at least not a practical one. The Artikulat 350As, on the other hand, are Aktiv and are an excellent sounding speaker. I have setup a set for a customer/friend of mine who also has a Klimax Kontrol, LP12/Lingo2/Ekos2/Akiva (no SE updates yet) and an Ikemi all on 230 volts with Linn Silvers in a similar sized room (read small) and I found it quite good sounding but not good enough to make me feel at all unhappy with my system. Since we have demo Artikulat 350As in the store I will eventually have to take them home and do a true comparison. But Artikulat 350As are $43,020US and the ATC 100As are $19,000. The 350s would have to be awefully good to make me work hard enough to make up that kind of difference, if I could manage it at all.

Not too long ago a friend and co-worker who has owned smaller ATCs in the past asked what my ultimate cost-no object system would be. I replied that I would keep my sources and preamp except to get a CD12 (or replacement) and I would get either ATC 100s or 150s with no electronics, have Linn or ATC make me a custom crossover and get 6 Klimax Solos. That, I think, gives you a good idea of how much I like these speakers. On the other hand, I'd have to give the, at least equally ugly, Komri Aktiv speakers a listen before making that decision - in the unlikely event I ever had the money to even contemplate it. :)

Well, this has gotten rather long-winded. As Fredrik knows, you have to be careful when you ask me a question.
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Post by monkeydevil »

Congratulations on that great sounding system of yours, Thomas! Your description makes me very eager to get to listen to a set of ATC's... :P
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Post by Azazello »

Thank you very much Thomas! I will have to try to listen to ATC somtime soon. My loudpeaker budget will probably not rech the $10,000 limit for quite some time (I'm actually selling my Ninkas and 5125 to finance a Keel). But have you listened to their cheaper models as well? I think they make a active speaker at about $1000, maybee they are equaly good compared to Linns competitors in the price range?

Regards /Henrik
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Post by ThomasOK »

ATC has three series of speakers for the consumer market plus a couple of unique models that don't quite fit in any of the series. In typical ATC marketing their entry level speakers are called the Entry series. A little different from the typical tendency for companies to call their base products "Deluxe". The Entry series are all passive only and starts at $1200 a pair for the SCM7 and $2000 for the SCM11. (Prices listed are from the US distributor website but there is a note that prices are going up in August.) The least expensive active models are the SCM10-2 at $4200 and the SCM20-2 at $7000 and these are both stand mount models that have a more modern type of look.

I have not heard any of the newer entry series. A friend has an older version of the SCM7 which he and one of my coworkers prefers over the Katans. I only heard them briefly when he first got them and I thought the Katans were more tuneful. I did feel they were good sounding - just not as good as our demo Katans. However, the ATCs weren't burned in and were probably not situated in their best position. The dealer friend of mine who turned me on to ATC in the first place said that he feels the new SCM7 is a definite improvement on the old one but he feels the SCM11 is the real star in the new line. He feels it outperforms anything else at the price.

The only other ATCs I have direct experience with are the SCM20SL $4450 passive stand mount and the SCM50ASLs - a $15,900 smaller brother to my 100s with a 9" bass driver in a 50 liter cabinet replacing the 12.4" in a 100 liter cabinet in my speakers. They use the same midrange and tweeter and the same crossover/amp package and therefore sound very similar to mine but with less bass extension.

I have heard the SCM20SL a few different times including in my own system. This is a stand mount, passive only, conventional wood cabinet two-way system. It has a unique bass/mid driver in which ATC has taken their excellent 3" dome midrange driver and attached a 6" cone to it. It therefore has close to the midrange quality of the bigger three-ways combined with quite clean bass in a largish (and heavy) bookshelf design. I feel it is a very good speaker for the money and only wish you could get it active. They do make an active floorstanding version of it but I've been told the floorstander is not as good as the bookshelf. The SCM20-2 mentioned above uses the same drivers and is active but the modernish styling is not for everyone. I have a friend who used to own the SCM20 and hopes to again one day. He had to sell his system to finance a house and child and is now building his system back up. He now has an LP12/Ittok/Adikt, Rega Fono, Classik K and AVI Neutron IVs (a quite nice small system) but is working toward getting back to the ATCs. He likes to come over and listen to my system from time to time as a reminder of the ATC sound. Another friend was the first person to extoll the virtues of the ATCs several years ago. His system consists of LP12/Ekos/Lingo/Arkiv/Linto, Kairn, Klout, ATC SCM20s, and a REL Storm subwoofer. He pulled out a record with Michelle Shocked on it and told me I had to hear what vocals sounded like on his system. I have to say I was quite impressed - it definitely was doing some things in the midrange that my Aktiv Isobariks were not capable of.

If you want more information on the ATC line I would check flatearthaudio.com which is the US importer. I find that their website has more information than the ATC website, including US prices, and it is also better organised with a more up-to-date reviews section.

Finally, I should mention that the store I work for is not a dealer for ATC so I have no commercial interest in this. But it is interesting that four of the people who work here or have worked here in the past have bought ATC speakers and three of us still own them. Maybe we should pick up the line!
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Post by Azazello »

Thank you again Thomas! It sounds to me like you don't praise the Linn range of speakers as much in the states as we do here in Sweden, I dont think any of the dealers here offer a serious alternative to Linn speakers. I will have to try to find a Swedish dealer. But I will definitly give it a go somtime. I find the new Linn speakers quite ugly. The only problem is that it will be very difficult to arrange a demo with a proper source...
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Post by lejonklou »

I agree. The main problem when listening to speakers is the lack of a good source and a proper positioning.

Many times I have found myself guessing in the lines of "hm, these boxes don't really have any obvious flaws... they do sound quite boring, but they could possibly be rather involving with an LP12, some good amps and a little less than that 45 degree toe-in".
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Post by ThomasOK »

Azazello wrote:Thank you again Thomas! It sounds to me like you don't praise the Linn range of speakers as much in the states as we do here in Sweden, I dont think any of the dealers here offer a serious alternative to Linn speakers. I will have to try to find a Swedish dealer. But I will definitly give it a go somtime. I find the new Linn speakers quite ugly. The only problem is that it will be very difficult to arrange a demo with a proper source...
I don't want people to think that I don't like Linn speakers, and I certainly don't speak for the rest of the dealers in the US. I do feel that the Akurates 242 is the best $10,000 speaker we have in the store, I have been quite impressed with the little listening I have done to the Artikulat 350As, and I still feel the Ninka and Katan are competitive with anything in their price ranges.

However, I feel that the current range is not very logical or consistent. There is no floorstanding speaker between the aging Ninka at $2330 and the Akurate 242 at $10,570. That is a huge gap that spans a very popular price range in the US. Since the discontinuance of the Espek I have sold a fair number of Vienna Acoustics Beethoven Concert Grand at$4500 and Beethoven Baby Grand at $3500 - both of which are quite fine speakers. The Komponents have not impressed anyone here and the idea of a 4 way floorstander for $1700 a pair seems less than optimal. Simplicity is the best way to make a low price speaker with great sound - I think Linn got carried away with the whole 4K/3K/2K array thing.

The other problem, as you mention, is looks. Linn's current premium speakers (Akurate and up) are really not very attractive despite Linn putting the word "Gorgeous" in every mention of the Artikulats. When my SO first saw the Artikulat 350As in the store (standard Cherry finish) her first, unprompted comment was "What are those ugly things?". When I told her they were "Gprgeous" she just laughed! In their defense the Artikulats have a much higher WAF with the grills on but since Linn always demonstrates them sans grills most people aren't even aware that grills exist. The Akurates also come with grills which mellows out that high-tech, mechanical look of the 3K arrays. I've also found that the Akurates are much more attractive with the black arrays and bases on the black finish that we have on demo. However, this option is rare enough that our Linn reps hadn't even seen them until they visited our store.

But in contrast we have the Sonus-Faber speakers which are probably the most beautiful speakers made. Their Homage series: the $45,000 Stradivari, $30,000 Amati Anniversario and $15,000 Guarneri Momento define beauty in speaker design. And their $20,800 Elipsa, $9,800 Cremona and $4,800 Cremona Auditor aren't too far behind. Just take a look at one of these and compare the shape, the styling and the finish to the Artikulat (don't even bother with the Akurate or Komri) and you will see the difference between exceptional and mundane. The Sonus-Fabers are just exquisitely proportioned and finished. And it doesn't hurt that they only require a single amp for best performance, not to mention the sensible spacing of the pricing on the different models.

Do I prefer the Cremona to the Akurate 242? No I don't but we still sell more of the Cremonas. What about the Amati compared to the Artikulat? Again no - although it is closer, but again the Amati sells better. Why? Because they do sound quite good, they are very attractive, and they are simple - single amp, single wire only. There are a number of people with money who are just not interested in having a stack of amplifiers and big speaker cables driving their speakers. And although the Artikulat Aktivs do address this and make it simpler yet, they have the uphill battle of fears about failure of internal amplifiers and the inability to upgrade them. Obviously, my ATCs have the same uphill battles - if not worse as they are not exactly known as an amplifier manufacturer. And they are even homelier than all except the Komris. Which gives you an idea why we don't currently carry them.

So, once again, a lengthy answer to a short question. When you do get a chance to hear the ATCs please let us know what you think.
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Post by ThomasOK »

lejonklou wrote:I agree. The main problem when listening to speakers is the lack of a good source and a proper positioning.

Many times I have found myself guessing in the lines of "hm, these boxes don't really have any obvious flaws... they do sound quite boring, but they could possibly be rather involving with an LP12, some good amps and a little less than that 45 degree toe-in".
Agreed too. And this especially applies to Hi-Fi shows where very few manufacturers seem to be able to put out a decent sound.
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Post by sommerfee »

ThomasOK wrote:I've also found that the Akurates are much more attractive with the black arrays and bases on the black finish that we have on demo. However, this option is rare enough that our Linn reps hadn't even seen them until they visited our store.
I can agree to both. I tried to get a picture of an Akurate with a back 3k array. There was no picture on the Linn home page, neither Linn Germany was able to send a picture to my dealer! At least I got a picture from a member of the topica list (Thanks again for that!), afterwards my wife and I were so courageous to order them in "black". When we did look to the picture of the black one for a while, and switched to the picture with the silver one afterwards, we had the feeling that the silver 3k array is some kind of dazzling thing you automatically have to focus your eyes at.

I found out that In reality this is even much stronger. When I visit a friend of mine, who has a cherry 242, too, but with silver 3k array, I always feel uncomfortable looking at them. It may be impressive first, but at home I want to be impressed by the music, not by the look of the loudspeakers. :wink:

Spot the difference:
Akurate 242 with silver 3k array
Akurate 242 with black 3k array

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ThomasOK wrote: I do feel that the Akurates 242 is the best $10,000 speaker we have in the store, I have been quite impressed with the little listening I have done to the Artikulat 350As, and I still feel the Ninka and Katan are competitive with anything in their price ranges.
ThomasOK wrote: But in contrast we have the Sonus-Faber speakers which are probably the most beautiful speakers made.
Agree
ThomasOK wrote: Do I prefer the Cremona to the Akurate 242? No I don't but we still sell more of the Cremonas. What about the Amati compared to the Artikulat? Again no - although it is closer.
But you still pefer your ATC100, if I understood you correct?

I.e. ATC best, followed by 350A, then Amati, followed by 242, then Cremona.
Is Stradivarious and Komri on same level - above the rest?
On same level as ATC?

What amp do you need for the bigger Sonus Faber speakers? (mentioned above)
It's all about musical understanding!
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Music Lover wrote:
ThomasOK wrote:
ThomasOK wrote: Do I prefer the Cremona to the Akurate 242? No I don't but we still sell more of the Cremonas. What about the Amati compared to the Artikulat? Again no - although it is closer.
But you still pefer your ATC100, if I understood you correct?
That's correct.
Music Lover wrote:I.e. ATC best, followed by 350A, then Amati, followed by 242, then Cremona.
Is Stradivarious and Komri on same level - above the rest?
On same level as ATC?

What amp do you need for the bigger Sonus Faber speakers? (mentioned above)
I won't give any definitive rating to the ATC vs. 350A vs. Amati - I haven't heard all three under controlled enough conditions. What I can say is that I haven't heard anything, including the Stradivari, that makes me feel like I need to look into upgrading my ATCs. My first impressions are that the ATC 100s and the 350As are close with the Amati a step behind. The Stradivari would also be quite close but again only based on a brief listen under different circumstances. I have never heard the Komris properly set up and driven. The only time I heard them the Linn rep didn't even want to play them for me as he was not happy with the system.

As to driving the bigger Sonus Fabers I would really recommend Klimax Solos for either of them. While you could get by with a Klimax Chakra Twin and even drive them with a Chakra/Akurate 2200, I really don't think it wakes sense to run either of them with less then a Klimax Kontrol and Solos and the best sources available - just like I can't see running the ATC 100s or Artikulats on anything less than a KK or Kisto and top flight sources.
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Post by Azazello »

Hello Thomas!

I have tried to find ATC here in Sweden, but I don't think their "domestic" line is sold here :( I have a friend in the professional studio business, and he says they are quite rare in studios here as well.

In my search I found this page with a few models that are not on ATC:s homepage: http://www.britishhifi.com/atc/index.htm

The SCM 70 must be one of the ugliest speakers ever produced! And the SCM 300 (that I thougt was only available in "monitor" version) looks like they eat Komri for breakfast. :shock:
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Post by ThomasOK »

Azazello wrote:Hello Thomas!

I have tried to find ATC here in Sweden, but I don't think their "domestic" line is sold here :( I have a friend in the professional studio business, and he says they are quite rare in studios here as well.

In my search I found this page with a few models that are not on ATC:s homepage: http://www.britishhifi.com/atc/index.htm

The SCM 70 must be one of the ugliest speakers ever produced! And the SCM 300 (that I thougt was only available in "monitor" version) looks like they eat Komri for breakfast. :shock:
It's too bad they are so hard to find. There aren't a lot of dealers in the US either but there are a few here and there.

The SCM 70 is no longer in production. While it is a good example of what happens when "style" is injected into a line by those who don't understand the concept, it is still a ways from being one of the ugliest speakers ever made. I have photos of a number of truly hideous speakers and the 70s aren't even in the top ten!

The SCM 300 is normally sold as a pro unit but they will make any of their pro units in a veneered cabinet on request. The pro and domestic units are really the same with small differences. The pro units have a couple of frequency response tailoring switches not on the domestic units and they come with no grills and in a utility black finish. But they use the same drivers, amplifiers and cabinet sizes in both versions. I have not heard the 300 but with two 15" woofers it must be quite the beast. Had I unlimited money I would be tempted to see it they would make an Isobarik version of the SCM 150. Isobarik 15" woofers with that incredible ATC midrange would certainly be something to behold!
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Post by Azazello »

Aha... I thought that it was a new speaker. Not in the top ten? You have obviously (far from surprising) seen more speakers then I have ;)

By the way, why did you choose the SCM 100 over the 150? The price difference is not that big is it?
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Post by ThomasOK »

Azazello wrote:By the way, why did you choose the SCM 100 over the 150? The price difference is not that big is it?
Two reasons: price and size. The 150 is 50% larger than the 100 - the number refers to the cabinet volume in liters so the 150 is three times the volume of the 350a! But even more importantly there is a huge price difference when you go to the 150. The pricing structure makes the sweet spot the SCM 100. Current US pricing on the standard finish active models is SCM50 $19,900, SCM100 $22,300 and SCM150 $31,000. So to go from the 50s to the 100s is an additional $2400 whereas it is almost $9000 more for the 150s! Since the only differences other than size are an additional 2dB of output and 7Hz of extension I have a hard time spending the extra money even if they fit in my room - which they wouldn't.
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Post by ThomasOK »

I made a mistake on those prices, they are for the tower versions.

For the satndard box models the pricing is SCM50 $18,100, SCM100 $20,250 and SCM150 $28,200 so it is $2,150 to go from the 50 to the 100 and an additional $7950 to go to the 150!
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Post by Music Lover »

ThomasOK wrote: The 150 is 50% larger than the 100 - the number refers to the cabinet volume in liters so the 150 is three times the volume of the 350a!
Linn define the inside volume, sure ATC do the same? And even so...more important is their outside dimensions.
How big are they? Cant find any data on http://www.britishhifi.com/atc/index.htm#scm150
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Post by ThomasOK »

I believe that the ATC numbers reflect internal volume as well. However, since I haven't taken out the tweeter and poured 100 liters of water in there I can't be sure. :wink:

The external dimensions are as follows:

SCM50 717 x 304 x 425mm, 717 x 304 x 480mm (inc amps) 48.9kg (107.5lb)
SCM100 834 x 400 x 530mm, 834 x 400 x 585mm (inc amps) 64.8kg (142.5.lb)
SCM150 884 x 495 x 570mm, 884 x 495 x 645mm (inc amps) 64.8kg (142.5lb)

I realize that the 100 and 150 show the same weight. I'm not sure if this is correct but it comes direct off the ATC website. Please also note that these are large box loudspeakers that require a stand for proper performance like the Isobarik. The dimensions do not include the stands.

For more information you should check the ATC website and the one of Flat Earth Audio which is the importer for the US and Canada and lists the prices on their site along with specs and photos. Here are the links:

http://www.atc.gb.net/
http://www.flatearthaudio.com/
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Post by Music Lover »

They are HUUUUUGE :shock:
Love them already :mrgreen:
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Post by lejonklou »

I really like the look of those monsters... They feel timeless, the opposite of flashy modern designed cabinets, just a big pair of - loudspeakers!

Wish I could give them a listen too, with a really good source.
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Post by Charlie1 »

Hi Thomas,
You said that you precision torque screwed the screws in your speaker drivers. I'm not familiar with this - is it a case of Tune Dem'ing the tightness of each screw or is it just tightening them as much as possible? I could do this to the tweeter in my Ninka's.
Rgds, Charlie.
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