Reddit mentions of Roseland NYC Live

Someone in r/Audiophile asked me to give my impressions of the Mac, so here's the overview I gave. . .

Bass: By far the most immediately noticeable difference. The notes that fell into the lower register were thicker when coming through the Mac. I'd call it fuller, but that often comes with the connotation that it was louder or became more overwhelming, which was not the case here.

Imaging: Whereas before I could pick a general area for a particular sound's "source" -- center, off center, at the speakers, just inside/outside the speakers -- it had now become a far more distinct imaging (e.g., the drums sound like they are right there, the piano is a few inches above that). The one negative point I found however, when listening to Portishead's Roseland NYC Live album on the Thorens was that the audience applause fell much further into the background. Perhaps that is a more accurate reproduction, but I missed it sounding like I was in the middle of the crowd.

Mids-Highs: Where I really took note of this was while listening to Queen's A Night at the Opera. Freddie Mercury's voice was so so much more present. As I cycled through a few other songs with power vocalists on them the experience with Queen held very true across them all. High notes were also very tight.

Range: This took a little more to notice, but once I did, I was in love. It seems that my Marantz' internal amp had been cutting off the extra highs, and the extra lows. I was hearing things higher in the upper register, and lower in the lower register -- and to no insignificant degree -- than I had ever before. It wasn't like hearing the bass note extend out a hair lower, I felt like I had gained an entire new frequency band on both ends.

Tone: Here's where I'm a little mixed, and it's something that I never thought I'd be mixed about. The music reproduction was surreal in its accuracy, which is what I always imagined to be what I wanted. Even though the MC250 was tuned to be a more warm tube-like solid state amp, I began to understand what people mean by MacIntosh being almost sterile. I only got the sense of this a few times, but it was there, and was enough to make my ear to ear grin, when considering the other benefits, slip ever so slightly. However, with this sterile accuracy, what I lost in warmth and that certain je ne sais quoi, I was able to gain through hearing absolutely every damn thing that was happening when they recorded whatever track I was listening to. The prime example of this came from a run through of Dave Brubeck's "Take Five" (If you haven't heard it, stop reading and go listen. . . now). Not only could you hear the saxophonist's voice rushing through his instrument (something which I could hear before with the Marantz), you very literally could hear him place his lips on the reed, and when his mouth would release from it, just before taking a breath. I half expected to be able to discern his heartbeat. Whatever you wanted to hear on the track, it was there, and easily isolated by your ears. Listening to old favorites quickly became a game of listening for things I didn't hear before, then zeroing in on it to find out what it was.

Overall: Holy SHIT!

TL/DR: With a Mac solid state, you lose a bit of the warmth and je ne sais quoi that comes with a great tube amp, but in exchange everything is fuller/tighter, and its accuracy would let you hear if a fly shits in the recording studio and enjoy it in its full sonic brilliance.

Here's an overview of the setup I used:

Stereo Rig

• Marantz SR7300 as the processor
  
• McIntosh MC250
  
• Andrew Jones Pioneer SP-FS51-LR
  
  Analog Source
  
  
• Thorens TD-125 mkII w/ Rega RB300 arm and Grado Prestige Green cart
  
• Clearaudio Nano Phono phono stage
  
  Digital Source
  
  
• Spotify at 320kbps

> Telepopmusik

Less electronics, more minimal in sound, and yes darker; basically every song is resolutely in a minor chord, and only flirts with major chords briefly. Portishead has a reputation as being 'depressing music' because of this, from certain people who don't look to music to reflect more complex emotions that 'happy-pop-dance-party-anthem!Vol.3'

A lot of sampled film scores, sampled heavy drum beats, some organs, small amount of turntablism, all held together by Beth Gibbon's very distinct voice. The note about 'sampled film scores' is really something I didn't realize for a long time, but lends a lot of their tracks to feel very recognizable upon first listen ('Sour Times' for example sounds like a too-cool James Bond theme that was never used - https://youtu.be/rtv7PWIrHUs )

Oh, this live performance exists, where they have a orchestra... its got some great moments:

https://youtu.be/ZFwnlCudeC0

http://www.amazon.com/Roseland-NYC-Live-PORTISHEAD/dp/B00000DLV1

Cheers!