-------------------   Recommended components  ------------------- 

I think it is right to highlight those commercial devices that regardless of the historical period have been highlighted in my ear for their musical gifts detaching from the ordinary also to give an indication to those who approach for the first time to high fidelity and has no reference of course. This selection is made from a large number of tested components. On some of these, instrumental measurements of frequency response on real load have been made, see technical tests

Amplifiers, cd player and speakers Grundig 

Not a specific model, but many devices are noteworthy in home Grundig 77-86 years. The only units (known by me unfortunately only in 1992) on which I found in many models the total development CCI. Valid provided that they have not been tampered with. The models are so many in this case, so many that it deserves a dedicated page
Grundig story

Telefunken TL800 second series 

A speaker age project of 40 years! A very early version (probably not as commercialized and quite different from the next crossover frequencies) was published in the catalog in 1972!
In fact, from what I have seen, they were marketed two versions: the first, a catalog from the 73, had wooden removable front subframe and the second, which appeared in the catalog only 76 (the catalog of the second year and remained in the catalog for a short time ... about a year) had as its front, instead of the frame, the classic sponge speaker that was used at the time (such as the one installed on AR10pi greek for instance) as well as some small differences which the most striking: a different "sound attenuating enclosure" that was applied on the mid top to be attenuated. This latest version provided, essential, to be used with the sponge front and be raised (with a slight tilt as catalog) not more than 12-13cm from the floor is currently the only speaker that my ears have heard able to compete on equal terms (with some little differences) with the multi-way professional series Grundig: consistency and transparency is obtained with a few tricks and almost truly special and original but understandable and valuable if you know the principles that have dictated some Grundig choices. At the time, definitely a bit 'industrial espionage was ...
All falls away if heard with wooden front frame .... except replace it with a sponge and also copy the sound attenuating enclosure of the mid-high ... as well as the TL700 and TL600, not being ugly does not have the characteristics of relief of this model.

With TL800 the result is a kind of listening "blend" between the characteristics of the Grundig professional (850a -1500a -2500a) and those of Grundig SL1000, only less the image height: with system speakers up to 12-13cm the tweeter (being mounted in the center of the box) is only 45cm from the ground!
However If these "audiophile paranoia" is not very important... this is one of the best not-Grundig speakers that have ever been created, a speaker that respects the music and the timbre of the instruments .... light years from some esoteric projects done today only to impress but without any musical validity.


Rogers LS3/5a 15 ohm series first "gold badge" 

Everyone knows the LS3/5a but few know that the first set to 15 ohm crossover is totally different from the later; originally the attenuation of the tweeter was obtained with a transformer, while on version 11ohm subsequent the attenuation was resistive with a consequent reduction of damping factor and linearity. A system speaker without any particular problems of placement, which let you enjoy balanced with the obvious limits of power handling that prevents orchestra volumes. One of the few two-way stand system with sealed box that "play the music" thanks to the particular exaltation of a bass part which compensates for the partial deleting at those frequencies due to the distance from the floor (see installation speakers). The original project was BBC licensed to many manufacturers (Rogers, Spendor, Goodmans, Audiomaster, Chartwell, RAM, etc) and the vote to which I refer is on early versions of the LS3/5a Rogers who had "rogers" brass on canvas and the back label smallest of follows. I had several specimens of 15ohm after this series and were definitely worse in terms of openness and transparency. Also the firsts Chartwell are great!

Dahlquist DQ10 second series 

Of the three series produced I am referring to not symmetrical type with crossover utilizing polyester capacitors (yellow marked Dahlquist). The previous version with electrolytic capacitors sounds more closed as well as less fresh are the following "improved" ( mirrored ). If you are looking for a full-range box with Floor installation great solution is a pair of DQ10. You will not have the consistency of two-way Grundig or DSL but if you close half an eye will offer you a great sound. The installation should be done on three wooden feet provided (or if you really want to raise to the maximum 10-15cm take care to maintain the backward tilt and 3 support points) and is very sensitive to the distance of the rear wall (due to the mid-low philips not in box) and should angle the speaker towards the listening position. One of the best multi-way I've heard. Excellent depth of field and the amplitude of the sound stage when it is placed correctly and amplified with a full CCI amplifier


Leak tl 12 point one 

One of best tube amp. Great depth of field and airy although compared to an full CCI amp we realize that there is still some music more! Surely, however, a final recommended to fans of the "glass cruets" even if the sound changes a lot from specimen to specimen (I heard a version with capacitor current work much better than the original capacitors with paper and oil, while another exemplary always modernized worked much worse): board is always to listen carefully and without prejudice before a choice. The Leak is one of the few classics that equipment because of their original installation included in massive furniture vintage have an advantage over other amplifiers: DO NOT HAVE the cover below! This factor is reflected in a partial (as random ) solution to CCI problems.

McIntosh MC30 

A classic that has made the name McIntosh, fluidity and pleasure typical of the best tube (which randomly as they are manufactured are

partially CCI ...)

Class' audio DR3b / DR3 VHC 

Liquidity of the medium-high range similar to devices CCI, without have the same depth of field and the same ability to "separate" the instruments. Remains one of the few solid state power amp, among those "esoteric" I tried (link
tested components ) which left me with a pleasant memory.

Quad II + QUAD 22
I got them and appreciated only if combined together, the pre was too open while the power amp was a bit close...together the result was enjoyable music but I have using only the phono (when I had them still had not born the cd player so can not tell you how it goes the line input ...) .

Pioneer M22 

A Class A power amp with massive doses of negative feedback that should do much to think at the proponents of the "zero feedback" : listening of amps like this should serve like demonstration of groundlessness of "zero feedback" advantages...

Radford ZD22 & ZD50 

A pairing of the most musical in which there were partial ( perhaps known ?) points for the development perspective CCI.

Mr. Radford had good ears ....

Jadis JA80 

Among the Jadis what I liked most (I listened in controlled conditions also JA30 and JA200), with good body and contrast, among the best today's tube amp if you use it with normal cables .... condition that applies for all other devices listed here. For normal cables mean those recommended in the section in the
unconfortable truths

Quicksilver 8417 

Better of the next version with KT88. A tube amp fluid and enjoyable, one of the best expressions of the tube today that I've heard.

Pre DNM  

A little box insignificant transistor, which in its mains operation left me a good impression: a little compressed image compared to  XV7500 Grundig but without the typical colors of almost all tube preamp that I have gotten. Definitely recommended even if difficult to find.

Snell type A first and second series 

Ambitious (and cumbersome) project , which certainly has its appeal aesthetics. The biggest problem is a little lack in the midbass (a cross between woofer and midrange) that makes the voices and some instruments a little flattened. If you find a suitable location to compensate this problem the type A shows a sound impressive though never very airy. A good project, especially the first type. I would not recommend the 3rd series with rear tweeter..

Gale GS401  

Insert rightly this old project Gale that, even with significant inconvenience of foam (4 woofer + 2 midrange needs of foam suspension) is definitely along with the DM6 first series and Rogers LS3/5a one of the best English school loudspeakers (in closed box) of ever. Better if you listen to in the vertical (on one of the "caps" chrome-plated metal) and raised from the ground about 40-45cm.

B & W DM6 first series  

Or for those who have a good memory, the version that had the level control on the woofer, midrange all in kevlar (including the central dome) and the front panel in wood (as opposed to the later series that was made of plastic). In my opinion the best B & W ever produced, a speaker with great sweetness and depth of field. Only precaution to be taken (in addition to leave the controls and mr tw in flat position): leave inserted the midrange-tweeter grids and removed the woofer grilles, the difference in this model and remarkable. In my environment I have obtained the best balance with reducing the woofer level. Try to listen to a comparison of the "technological" B & W today if you want to know of how much is lost in terms of harmonic "moving forward" in the years.

Quad ESL 63 first series 

The only dipole in this list. I prefer this to the old ESL if amplified and if installed properly. It's need a rear absorbent (a tent in heavy velvet can go very well ). Remain the limits of coherence on the low and midbass, typical of all the dipoles . The loudspeaker must me pointed toward the listening point (given the accentuated directivity on high frequency). The first series production up to serial 11,600 had panels with plastic black to contrast with the subsequent support ivory ... less efficient the first but with a much better definition. unfortunately are often found with the defective panels and are available as spares only the latest type of panels.

Radford Monitor 180 

A very rare system that I have only recently listen with good installation. A great project with a low abundant and widespread, it is advisable to use a listening point well away from the wall behind you. The best talent in my opinion, the consistency combined with a marked absence of colouration, add the issue to 180 ° allow you to return a true sensation (who has in mind the Allison One here we are on another planet ... ) of a very wide sound stage often and enjoyable. Defects: an opening not excellent in high frequency, comparable approximately (I value in memory) to that of Snell type A (but on the midbass the Radford is better) and a not excellent definition because of the two tweeters and two midrange that as mounted not "visible" but generate some interference anyway. A loudspeaker system who fully deserves to be tested carefully.

Krell ksa 50 first series 

In my opinion the best Krell ever built , but also a power amp that can provide a good dynamic with an already good harmonic content. Remains a certain crudeness to return a mid-high range however not unpleasant.


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