I agree. Exotic woods are something to enjoy. Look and feel.
It‘s good, that put on the head, only sound and to a degree comfort is left.
But Guarneris and Stradivaris are made of spruce (top), ebony (fingerboard), palisander (neck) and mostly …maple (frame and bottom) for the sound.
Some say that Stradivaris sound special because of the woods lower material density.
But every instrument maker at that time had these woods on hands.
Some say there was a special drying process. But no, that times forced the people to use only 20 year stored (the drying process) wood instead of 30 - 35.
The truth is simply, Antonio Stradivari was an empirical scientist. He had an idea, what might affect the sound in which way and than - tested it.
And he had an ear which tends slightly to sound coloration that sounds like eː (between e in ‚berry‘ and a in ‚air‘), with a preference for sound pressure in frequencies between 2 and 4 kHz. You will find the formants (sound coloration, harmonic waves) here, that’s why this is called ‘presence‘. Some were told to add 1kHz, some 5 kHz, not worth to quarrel about. Fact is in all definitions 2-4kHz are safely included. It is followed by the 4-6kHz range which is named ‘brilliance‘ this is where the sibilants are at home. (There is no formant possible above 4 kHz. (Couldn’t resist.))
Now that we talked about the way old Antonio worked starting at 12 until he was 89(!), can you see any similarities to these Brooklyn guys named Joseph or John Grado?
Especially when looking for the the year ‘65 at the Grado timeline: https://gradolabs.com/company/timeline
If not for the fact he reads the fine print on the Grado boxes, he was about to polish his cans with single malt. He takes them looking good that seriously.
But, fortunately, he realized that alcohol is not good for wood, all in time to avert a disaster!
damn I got to listen to one of those at CanJam Chicago, not sure why I don't have the icon, but I was not that impressed. It had a nice bass response, and had the nice sharpness I like with strings, and a wide stage but not as good as the Arya. I was listening to Lindsey Stirling through a Benchmark HPA 4. And they were heavy, granted not as bad as the Spirit Valkeria.
damn I got to listen to one of those at CanJam Chicago, not sure why I don't have the icon, but I was not that impressed. It had a nice bass response, and had the nice sharpness I like with strings, and a wide stage but not as good as the Arya. I was listening to Lindsey Stirling through a Benchmark HPA 4. And they were heavy, granted not as bad as the Spirit Valkeria.
To my ears, the Benchmark HPA-4 is extraordinarily clean & linear; but as a THX AAA amp, has serious weakness in ambience, cadence, soundstage. The PS2000e cannot pass through what is not there…
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