Can a Super-T Amp Drive Athena AS-F1.2s??

Forums
Loudspeakers
Submitted by swingdog on

I've ordered a Sonic Impact Super-T Amp to power a truly budget home system. Can this amp adequately power a set of Athena AS-F1.2 floorstanding loudspeakers?

If not, I think I'll buy a pair of the bookshelf Athena AS-B1.2s and stands. The prices aren't that different, and the larger speakers would be nice for the low-end potential.

This system will be for music only--mostly classical and jazz.

Thanks in advance for any advice.

Can a Super-T Amp Drive Athena AS-F1.2s?

Forums
The Entry Level
Submitted by swingdog on

I've ordered a Sonic Impact Super-T Amp to power a truly budget home system. Can this amp adequately power a set of Athena AS-F1.2 floorstanding loudspeakers?

If not, I think I'll buy a pair of the bookshelf Athena AS-B1.2s and stands. The prices aren't that different, and the larger speakers would be nice for the low-end potential.

This system will be for music only--mostly classical and jazz.

Thanks in advance for any advice.

Integrated Amp Help

Forums
The Entry Level
Submitted by rrichard on

New guy here looking for some tips.
I have a pair of Dynaudio 52 SE's that I am looking to power up. I have been looking around Audiogon but no luck trying to pick up a used C372. I am willing to consider other choices, also looking at a new Outlaw 2150, maybe the Onkyo 9555. I would like to stay a little toward the mainstream, what are some of my other choices? Below $700 delivered would be my goal.
Thanks

The Return of the Black Saints (and Soul Notes)

The Return of the Black Saints (and Soul Notes)

Oct 01, 2007

In some of the standard histories, jazz went to hell in the 1970s—first losing its structure to the avant-garde, then losing its harmony and rhythm to rock-funk fusion—before recovering its senses and sensibility in the ‘80s, thanks mainly to Wynton Marsalis. As with most myths, there’s a little bit of truth to this chronicle; things did take a bumpy turn in the ‘70s (though some of the avant-garde and the fusion was a lot more interesting than the broad-brush detractors would have you believe). But the revival of melody, structure, beauty and wit was hardly the doings of Mr. Marsalis. A movement was well afoot—the critic Gary Giddins called it “neo-classicism”—a few years before the young trumpeter moved from New Orleans to New York. Many other, somewhat older musicians had already been making their ways to “the jazz tradition” through the path of the avant-garde. It was on that anti-traditional road that they found their voices; so when they shifted course, they had something distinctive to say. They breathed life into the music of old and so, ironically, embodied the creative impulses at the heart of jazz with far greater fidelity than those who solemnly recited the phrasebooks of Pops, Bird, and Miles.

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