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Originally Posted by GregGale
Thanks Kal for your comments. A couple of comments you made which I did not understand. You said on SACD you had to play the track louder than the CD of the same recording to have it achieve "the ideal loudness". What does this have to do with the Sopra 3? Wouldn't this have been the same with the 802D3 or is it different?
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Because I first noticed it with the Sopras and not before.
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The other comment you made which was hard for me to interpret was the fact you were left "emotionally and physically drained". The emotional part I took as a fantastic experience, but I did not understand the physical part of your comment. Could you elaborate on that?
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The latter was a consequence of the intensity of the former.
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The other thing I was surprised at is your statement that the "Cymbals and massed sopranos did occasionally sound too prominent". That seems at odds with JA measurements of the 802D3 which he felt the highs were balanced too high versus the Sopra 3 which had a naturally downward slopping high end which most people feel is the most natural. On the other hand, the 802D3 over 10,000 HZ is up almost 5db. Based on this you, would think the 802D3 could be more "brilliant" than the Focal 3, like JA described on the 805D3 he reviewed which had a similar lift in that area.
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Yeah. The effect has nothing to do with 10KHz. The fundamentals of soprano voices and cymbals are both well under 2KHz. These seemed more prominent on the Focals either because they were or because I perceived some imbalance with their harmonics.