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Ben (who works with Roger)
He seems like a nice guy. What's his position at MR?
If your budget can reach this, get the Vaughn Triodes with the plasma tweeters. All of the reviewers at RMAF last year raved about these speakers, and this amp will work very nice. Ask Roger about these speakers, he has heard them.http://www.vaughnloudspeakers.com/Speakers.php
I'm sure it's very nice, but the Triode gets real pricey with that plasma tweeter.Alternatively, get the older version Triode with ribbon tweeter. I have a pair and they are superb with every amp I throw at them, including low power SET.Call Jim, he is running specials on some Zinfandel models -- basically a small Triode -- and a smaller Triode prototype.See info here:http://vaughnloudspeakers.com/Specials.php
$5K for Triode Jrs. plus plasma tweeters, that is a steal. Nothing beats plasma tweeters.
http://www.audiocircle.com/index.php?topic=120165.0When I had a RM10 many speakers paired well (even the 85 dB SP-BS22-LR), so I would say anything around 87dB and up.I have bought an amp first and then searched for speakers several times, a lot of fun me thinks. Lin
Obviously your budget or listening tastes are going to play into this but I use the Audiokinesis Jazz Modules (original with TAD drivers). Furthermore, even though the speakers have a minimum 8 ohm load and pretty much operate in the near 10 ohm range I use the 4 ohm tap on the RM-10. Roger referees to this as light loading and it certainly beneficial in my experience. I am also looking for a nice set of Quad ESL-57s for this amp. IIRC Roger built the RM-10 for use with his own ESL-57s.
I recommend QUAD 57s with my subwoofer system. Thats what I listen to when I am not listening to my ESLs. I have had 2 sets in here recently to fix up for customers. FYI I do QUAD repairs and exotic amps. Just had a rare Dynavector DV 8250 and DV 3000 Gold preamp through here.
This is a shameless plug, but it's also a direct reply to Q posted in the OP. Mod please delete as desired.Since discovering the joys of speakers with sensitivity in the low-mid 90 dB range, it's my distinct opinion that systems with the highest value require no more than about 20-30 tube watts to play live music levels with uncompressed peaks. This being the case, there's absolutely nothing wrong with starting out with the amp and then considering speakers later. I know AudioKinesis Zephrin 46 plays live SPL with as little as 10-12 tube watts, because we displayed it with such amp a few weeks ago at Newport THE Show. Each channel/each enclosure of Zephrin 46 comprises two discreet speaker systems, each flat 16 Ohm above the bass range/12 Ohm minimum, with easy phase angles. The two 16 Ohm sections wire either parallel for 8 Ohm or series for 32 Ohm (think OTL amps, whose power increases with rising impedance). As a matter of fact, in shopping for a tube amp for use in my studio to power Zephrin 46 and Dream Maker LCS, the lovely RM-10 Mk II nears the top of my short list.$4900/pr including shipping MSRP Zephrin 46 falls one-half to one step behind the world's best electrostatic panels in pure detail and transparency. It's also behind it's bigger twice as costly Dream Maker LCS brother in this respect. In every other parameter it excels, especially neutrality and spatial effects. One of it's most attractive features is wide array of user tuning features for spectral balance, room acoustics, and partnering components. The cherry on top is a unique, proprietary, electro-mechanical bass mode damping feature that functions in 3-dimensional space as opposed to line level EQ that worsens performance outside microphone test locations. Zephrin 46 made TAS/Dr. Robert E. Greene's list of Top Five Speakers <$15k/pr at Newport THE Show. I have special pricing on both models for show demos in walnut. It may seem strange, but I think it's a reasonable proposition to ship one speaker, audition it in mono, and if it meets performance expectations, ship the other speaker. If not, return in like condition and buyer looses only return shipping. I wish I could remember the names, but over the years I've heard that some designers fine tune one speaker by itself before final tests in stereo.
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