Which speakers have worked well for you with a 250?

Hi Loki, It would be useful to know your budget? 

My Dyna 1.8 Contours work very well on my 250    Also heard Focal Sopras 1& 2, Kudos s20 and Neat XL6 all sound fantastic with the 250.  

Arguably of more importance is what works well in your room and of course on that point there's only one way to find out!

Regards,

Lindsay

Kudos S 20 or if you find Naim SL2 (the best match in my opinion)

regards,

Piotr

You have a slightly unusual amplifier combination in the 32, Hicap and 250.2. I'm wondering whether a pair of 135s might me a nicer match. Anyway, my experience is limited but SBLs or Linn Kabers would be good, or Isobariks. I would also recommend SL2s but I didn't find the 250.2 up to the task with them, whereas the DR version is really good. As has been said above, you really need to state your budget, and what sort of speakers you want, for example whether you want them by the wall. 

Depends on the room with SL2. My 160 drove them to within an inch of their lives. In fact when I sold them, the buyer said it was one of the best SL2 setups he'd heard in terms of bass, and I demonstrated them to him on the end of a UnitiQute. He took them home and was going to use a 552/500. My room also sounds incredible with Kan's and a CB250.

Maybe not your cup of tea, but I had ESL 2905 with the 250.2 and now 2812 with 250DR, bot sounds very well.

HH, the 250.2 is here to stay for a few years. The 32.5 to be upgraded to 82. (read my thread on the subject). The 250 will be upgraded to DR spec in the next year or so. 

Gary I have a big room and can be close to wall or way out, so that's not a problem. I am likely to buy SH, but I wanted to survey the bass extended  loudspeakers which Naimites had found to work particularly well with the 250.2.

I think HH may have a point with Kaber and Briks, although I was assuming that more modern tweeter technology might be superior? So would be interested in SL2s.  I am intrigued by the Ovators, although only heard the 400s (which I liked).

The comments made on the forum would  suggest the Ovators are highly recommended.... And not to expensive ....

The SL2 can produce incredibly low bass, when it's in the recording. What it does not do is provide loads of bass, all the time, irrespective of whether it's there or not, which is something a lot of current speakers seem to do. 

...Spendor S6 on the end of mine which sound nice...

Hungryhalibut posted:

The SL2 can produce incredibly low bass, when it's in the recording. What it does not do is provide loads of bass, all the time, irrespective of whether it's there or not, which is something a lot of current speakers seem to do. 

I used to own a pair of focal Aria 926's, which did exactly as HH has just described..... If you like bass, it's their in bucket loads..... But it was a little to much for me....but if that's what you like, you certainly would not be disappointed 

wenger2015 posted:

The comments made on the forum would  suggest the Ovators are highly recommended.... And not to expensive ....

I use Ovator S400 with 250DR. The bass is tuneful & controlled...It is not seismic however.

I find they are balanced very very well for my room and source but you would really need to audition at home.  I tried S600 for a while before and they worked much less well, with comparitively lighter and poorly integrated bass.

G

Deep Bass means full-rangers.

ProAc have always worked well for me.

I currently have ProAc D40r's on the end of a 250DR. If you can find a pair second hand, they are amazing value for money.

If you like deep bass then I'd suggest the S400's won't be ideal. IMO they are missing the first-C.

For example a Fender Precision bass guitar does not sound like a P-bass to me via S400's. Nor do you get the full Hammond B3 experience.

Bass, is not seismic with my 250.2 driven ATC SCM40, but it is powerful, tuneful and very well controlled, like your S400. There are very few recordings with genuine low bass content, in fact many recording engineers, filter out frequencies below 50hz, or mix some of what's left into mono. After all the music industry is a manufacturing process and they can do what either they want with it, or try to satisfy a market.

I wouldn't be too concerned re producing the lowest frequencies available on a recording. I'm not. I have a Linn Sizmik . It's rarely  used, say, for the occasional  movie or organ recording.

I must say I got the impression that Valhalla was a lot bigger than 27' x 14'.

For really deep bass with proper control and the ability to control bass modes, nothing beats using a sub.  With a microphone and REW integration is easy, and the room simulation mode of REW is useful to model the system and get a few first guesses as to the best location for the sub (but don't forget that subs typically have a  group delay of about 3ms to 4ms).

wenger2015 posted:

The comments made on the forum would  suggest the Ovators are highly recommended.... And not to expensive ....

Debatable.... Ovators S400 have a lot of open mid-range. Bass is there, but some may find it's hidden by the transparency. They sound a bit like Quads with a 250.

James L posted:

Deep Bass means full-rangers.

ProAc have always worked well for me.

I currently have ProAc D40r's on the end of a 250DR. If you can find a pair second hand, they are amazing value for money.

If you like deep bass then I'd suggest the S400's won't be ideal. IMO they are missing the first-C.

For example a Fender Precision bass guitar does not sound like a P-bass to me via S400's. Nor do you get the full Hammond B3 experience.

Generally yes... They need a good source and a pre to make them sing. With a 555PS powering a source, Fender Precission does sound the way it should

Funnily I actually enjoy them more with a NACA5 than with a SuperLumina now...

Adam Zielinski posted:

wenger2015 posted:

The comments made on the forum would  suggest the Ovators are highly recommended.... And not to expensive ....

Debatable.... Ovators S400 have a lot of open mid-range. Bass is there, but some may find it's hidden by the transparency. They sound a bit like Quads with a 250.

I'm sure you are probably right, plus I note you own a pair of the S400's....enough said 

wenger2015 posted:

Adam Zielinski posted:

wenger2015 posted:

The comments made on the forum would  suggest the Ovators are highly recommended.... And not to expensive ....

Debatable.... Ovators S400 have a lot of open mid-range. Bass is there, but some may find it's hidden by the transparency. They sound a bit like Quads with a 250.

I'm sure you are probably right, plus I note you own a pair of the S400's....enough said 

 

I also own Quads too

As to being right.... Nahhh... Wouldn't accuse me of thaaat..... 

Adam Zielinski posted:

wenger2015 posted:

Adam Zielinski posted:

wenger2015 posted:

The comments made on the forum would  suggest the Ovators are highly recommended.... And not to expensive ....

Debatable.... Ovators S400 have a lot of open mid-range. Bass is there, but some may find it's hidden by the transparency. They sound a bit like Quads with a 250.

I'm sure you are probably right, plus I note you own a pair of the S400's....enough said 

 

I also own Quads too

As to being right.... Nahhh... Wouldn't accuse me of thaaat..... 

Now your just being modest...     and right 

Huge posted:

I must say I got the impression that Valhalla was a lot bigger than 27' x 14'.

Indeed it is any size you require, hence the options are limitless! But this suits me. 

When I say I want bass, it does indeed have to be tuneful rather than overblown 120hz boom. My musicl taste is quite eclectic everything from  Gregorian Chant to Electro swing via Steam Punk, Heavy Metal and Jazz.   The Keilidhs are really good, but it's where to go next. I have enjoyed B&W 204 diamonds, but felt that on a NAP200 the sound was a bit processed. But they did dig deep. I haven't tried them on a 250.

You don't indicate a budget, which will affect choice. If you want true deep bass, and not missing bass or false bass overemphasising harmonics,  the bigger PMCs could be worth a try. The Fact 12 are pretty good, though I felt they were a bit constrained soundstage wise in a large room compared, of course depending what you compare them with. My own speakers unfortunately aren't made anymore, but are available secondhand, and I'm sure wood do well in your room (PMC EB1i), but there are others. Some people like the 24 (now 25) series, but I felt they weren't didn' march up to the larger ones (not that F12 is large - it is positively diminutive, would disappear in a big room!

I've owned a "hideous" pair of Sopra No.2 and Sopra No.3 on the end of a 250DR...not to mention a pair of Aria 948's also but decided to dish more of my "own" money on a NAP 300DR for my Sopra No.3

IB: the budget is open to about £4k SH . Definitely do not want bloated!

Klyde posted:

Bass, is not seismic with my 250.2 driven ATC SCM40, but it is powerful, tuneful and very well controlled, like your S400. There are very few recordings with genuine low bass content, in fact many recording engineers, filter out frequencies below 50hz, or mix some of what's left into mono. After all the music industry is a manufacturing process and they can do what either they want with it, or try to satisfy a market.

I wouldn't be too concerned re producing the lowest frequencies available on a recording. I'm not. I have a Linn Sizmik . It's rarely  used, say, for the occasional  movie or organ recording.

But the OP wants the deep bass when it is there, presumably wanting to hear the music in full not curtailed at the bottom, and even an in-room response level down to 40Hz but falling off below doesn't reveal everything. And no amount of amp will get coax relatively more bass out of a speaker, as if it is XdB down at a given frequency that does not change (unless the amp has higher gain in the bass)