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I stopped reading as soon as I got to the $100K EACH wilson speakers. Need to pay for my condo first.
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and was not impressed. And I have nothing against high priced gear or Wilsons, per se.
The new Magico S5 speaker, on the other hand, sounded consistently excellent at each visit. In fact, my wife and I are planning to visit Oakland to audition them further. For whatever reason, I was more impressed with these Magicos then the others I have heard (and those were at dealers, not a show).
Steve
SteveHonestly I wasn't a big fan of Magico or Wilson - Magico was better but I would be very cautious with show auditions and a show developed frame of reference.
What I mean here is room A blows 5 other rooms out of the water and all of a sudden we MAY be having a psychological effect of believing that room A is better than it actually is but really it is the other rooms underperforming.
I own Audio Note and it was a "shell" of what it can really do. Indeed, if I wasn't me I would wonder what the hell RGA was on about. I just reviewed the Audio Space LS-3/5a speakers and one of their EL34 amps - it sounded nice at CAS but far far better in my apartment with lower priced gear.
I have heard the Wilson Sophia II and it absolutely destroyed what I heard at CAS or for that matter the $80k big speakers at CES. Granted some people swear that the Sophia is the best speaker they make - but I have to believe it's the room.
Magico sounded better at CES as well -- here they sounded like any number of multi-driver boxed speakers. Good but not "wow" and for those prices it has to sound "wow" - beating Wilson or any of those bad acoustics rooms is not really saying all that much.
For the money you are looking to spend - I would take a vacation to Asia and audition some of the big rigs (in big rooms) and listen to stuff that music lovers with very deep pockets have put together. Americans generally have massive homes in comparison (but not made out of concrete) - and they can accommodate those systems - big Silbatone systems would be intriguing - perhaps Acapella with their plasma tweeters. Or even the big Soundlabs or the big MBLs. I liked the MBL more than you but the room was crap - you had to sit just so - the big system was on the long wall and everyone was sitting too close or too far off to the side.
Magico arguably had the best set-up and the best room out of everyone on the first floor - it had a huge advantage in that regard but it didn't make me say "wow" those are beautiful sounding (in part because the amps sounded like they were constantly being over driven to tubey distortion) - it had me say "that sounds good" but if those sounded better than your dealers - again to me it is A is better than B scenario.
For this money it has to sound "world class" - nothing at this show sounded "world class" - I have heard far better sound for a fraction of the prices of some of these systems and for this money - I want a team of people picking my jaw up off the floor. The Big MBL system with me projecting what a great tube/vinyl system could do was perhaps closest. But it would be a stupendous sum of cash. And you never know - maybe no tube can drive them well? Peter Brueninger may be the guy to ask on that.
Edits: 08/10/12
I had a very brief chance to breeze through the show on the opening day, Friday, because I happened to be in the area for a family visit.
I thought of RGA because I got my first taste of Audio Note speakers at that show, which I know he loves, and I was blown away by what I heard on the big AN's they had playing there. The sound was open and expansive, went astonishingly deep, and, well, sounded more like music to me than anything else I heard that day. Granted, they were using some very expensive ancillary gear, and the only stuff I got to hear was "audiophile spectacular" percussion tracks and such, but man, it was the only room I made it my business to hear a second time before I left. But I wish I'd brought some CD's along to hear what they could do with music I know well.
The small Magico's (which maybe hadn't yet blown that woofer) sounded nice to me, but not $27000 worth of nice.
The huge Wilsons were being played so incredibly loud when I came by (someone turned them UP even higher when I was there) that I couldn't stand the SPL's and left, so I never got much of an impression of them.
The YG room very crowded when I walked in so I couldn't get a decent seat.
I am kind of a soundstage/imaging freak, and really wanted to love the smaller MBL's for that reason, but came away underwhelmed.
I'll also say that the big Magico's downstairs sounded very good to me for the brief listen that I had. Orchestral music was playing and it sounded very realistic.
The problem with $27k for those speakers is their lack of frequency range - My AN J in my house sounded much better than those -granted show conditions but you're going to walk away from those standmounts wanting to add a subwoofer or two. Generally, you don't get that feeling with the AN J or E. They're full rage enough to cover most music and they hit very hard at lower frequencies which adds to the feeling bass. Small driver long throw types such as those from Dynaudio sound thick and sluggish (good bass but smears the midband) or they have high impact "punch" which sounds fake (like the Magicos). Impresses audiophiles and some reviewers on short auditions but nuance and warmth loses the plot.
I may have been a bit harder on Audio Note simply because I know what it can really do and I was surprised to hear it sound a few levels down from usual. I enjoyed it - and so did a number of people - but it's probably the least good I've heard them sound.
CES 2010 was the last show I heard them - they had trouble the first days of that show not setting them up just so (to the point where the less expensive AN room sounded much better than their top rig) - by the last day - they set-up the big rig to recommendation and it was back to world class.
"Small driver long throw types such as those from Dynaudio sound thick and sluggish (good bass but smears the midband) "
You know, I think you've just made a very good point, one I really hadn't considered to speak of. I love acoustic suspension speakers (and solid state Amps!) but even though a small woofer which can go very low at moderate SPL's can also do the mid-range, it probably shoudn't be allowed to. My main speakers, Infinity Renaisance 90's along with their predecessors are actually four-way units and are free from the coloration you mention. However the two-ways I have and have heard, aren't when driven full range.
I ultimately dislike the sound of speakers which are resonant in-band so usually prefer even a two-way AS design despite the tradeoffs, however I can see where that is strongly a matter of taste.
Rick
I think you have to choose the trade-off you like the best. The reason I like the AN J and E is that you pretty much get all the advantages of the best two way ideal but you get a bigger multi-way sound out of them (ie full range floorstander bass and drive. The small bookshelf two ways with the 6 inch woofer in the usual smallish stamdount box always always have me thinking it needs a sub - and if it doesn't make me think it needs a sub then it usually has various problems in the midrange. The Totem Model one is hugely popular because it has good bass for its size but that's just the problem - I say "it has good bass for its size," but it doesn't actually have good bass when you don't factor in size. And it sounds incredibly boxy and shut in in order to get that bass. Dynamics are all but gone.The single driver alternatives have that beautiful midrange - no crossover which is always appealing but then they don't have bass, treble extension) often sounding a little fatiguing and can't pressurize the room.
The Teresonic Ingenium is about the best I've heard in this regard as was the Silbatone Aporia full range. But the AN E has deeper bass and can pressurize the room - Maybe those others can too but in similar rooms could not do it (they can on a trumpet but not on drums and piano). That dynamic "oomph" of a real live instrument played in the room is difficult to live without - I'll take this "real" sensation over another speaker that may have flatter frequency or less colouration because without that pressure - it doesn't sound like an instrument is there.
And of course there is the issue of size and price. Every time I like a speaker a lot and consider it a great match up for the AN E or J it invariably always costs a lot more. The AN J is $5k (AN E can be had for $6,500) - the Ingenium is $13k. Trenner and Freidl RA Box - $25k. Acapella High Violoncello II is $80k, MBL is $70k+ and even the wonderful Von Gaylord and Acoustic Zen Crescendos at CAS are $13 and $16k respectively.
If they did everything better it would be one thing but often you still make a trade.
I remember back in the day I kept my Wharfedale Vanguards against piles and piles of Stereophile and TAS raved about speakers because I would go and listen to those $2-$4k standmounts and I'd say - yeah it's better at X,Y and Z but the Wharfedales (a mid-fi-ish speaker) beat the snot out of those standmounts in terms of bass, dynamics, often treble extension, volume capability, fullness of sound etc.
I have trouble paying double for something and losing a bunch of things. For me to leave the AN J - the other speaker has to do everything the J does very well PLUS offer me more. It can't take steps back in critical things like dynamics, pressuring a room, bass, that seductive organic wholeness. And when I do hear something that excites me it always seems to cost more than double or triple the money. As it turned out it was double or triple the money to replace my Wharfedales! )which I still have in a closet needing repair).
Edits: 08/26/12
I agree with you that a speaker's ability to pressurize a room is a necessity. At the 2010 CAS, the Teresonic did a great job down to about 40 hz. Getting that bottom 20 hz, without f-ing up somewhere else is rare. If I ever do get the AN J or E it will be with the addition of that $4,000 tweeter I heard at Nick Gowan's "true sound" shop.
It doesn't need a super tweeter - it needs a higher end version of the speaker, AN silver wired voice coils, IC and speaker wires, and AN's amplifiers and AN sources. AN's tweeter's are more than capable above human hearing. Remember there are several different versions of both the woofer and the tweeter. This is what I like about Teresonic as well - you can more or less get it the way you want it. Audio Note has Alnico tweeters and word is they're working on a field coil.
As for Teresonic's bass - I found the depth fine it was in the depth at level with drive on trance, dub kind of music where they fell down. I listen to enough of this music where I pause. Still, a show condition and bass is usually problematic - the rest of the sound was brilliant which is why it was in my top 5 at CES.
Art Dudley noted there were about 14 speakers he could live with. It really doesn't matter which it ultimately is - I am pretty sure I could live with the Teresonics, Acoustic Zen Crescendo, Von Gaylord's "Legends" and probably a dozen others. Once you have the list of very enjoyable speakers then it's time to choose the ones that meet other requirements. For me it has to be able to be run by lower powered tube and SS amplifiers (because you have way more choices - you can run the 6 watt amp or the 600 watt amp - now you're buying for sound quality not quantity. Then I consider size - will it fit the room? Then price(err this is probably first) - it has to fit the budget.
It's great to like an $80k Acapella loudspeaker but it's moot since I'll never afford them. It's great to like the SoundLab U1 but it won't fit into my space. Speaker's like the MBL at 82db ain't going to like no 10 watt amp.
The Audio Note system sounded much poorer than I have heard it. The AN system at the 2010 CAS was infinitely better than this year's. The best I have heard the Audio Note E and J speakers was at Nick Gowan's "true sound" store in Campbell. Nick was driving them with various SET amps and also added a super tweeter ($4,000). IMO, the added tweeter added a sense of dynamics and air to both the E and J speakers.
"I liked the MBL more than you but the room was crap - you had to sit just so - the big system was on the long wall and everyone was sitting too close or too far off to the side."
At THE Show I stood in front of and off to the right a tad of the right Big Boy Mbl speaker and heard center imaging. I've never experieced that in my life.
"Everyone has a plan — until they get punched in the face" - Mike Tyson
See ya. Dave
Yeah that's a pretty neat thing about those speakers - I experienced that at CES but the room was so busy I decided to come back later - and ran out of time. Seemed that if they're set up right they can follow you around.
A head in the vice perspective they sure ain't. At CAS the staging was fine if you sat off to a side so that effect was still good - it was better in just one or two seats for other aspects of sound like timbre tone on instruments. The fellow running the room with his wife noted also that in one seat back the room was mucking up the presentation and dulled things to a thick slightly muddy behaviour - he was quite right. I am not a big soundstage and imaging fanatic - I have never listened to a live event and said - wow check out the imaging of the instruments or wow look at the stage spread. What I do notice is instruments not in tube, or being played badly. Timbre, tone, timing, transients (attack) decay, etc. Since I was not at the recordings I have no idea where instruments were - nor do I find that those things particularly matter so long as they sound right and are separated from each other if the recording has them separated.
Omnis have a pretty interesting sound - what impressed me was that they also did things better than direct radiators which I wasn't expecting. I was expecting an all over the place sound - not much oomph in a hard hitting rock sense.
I thought the YG Acoustic Anat speakers with the Esoteric P2/D2 and Ypsilon electronics in the Loggie room sounded world class. They took my breath away.
I don't know if it's the low distortion drivers, or the crossover that's supposedly optimized for frequency response and phase response, but that room had an uncanny accuracy to the sound stage I have never experienced before.
Regards,
Geoff
Yeah and it was in my top 5 rooms for those reasons. And it didn't sound edgy or bright either - BONUS!!
I will get into it more in my show report which is coming - we're not as speedy as other sites as we're much smaller zine. I'd still like to hear a tube amp on those YG Acoustics - it didn't have the emotional aspect I crave - but it had neutral in spades.
But to me a master chef takes a raw ingredient and makes it better. Perhaps the raw ingredient is the most neutral because it is untouched but it tastes bland - I want to add various flavours to get it bang on Michelin Star worthy. And that's maybe the "art" in the design. I dunno. It's neat - I liked very different systems for bringing something different to the table. And YG Acoustics to follow the analogy at least bring the filet mignon to the table - starts with a great cut and then add to it as desired.
It's kind of strange they sounded better in the smaller room than when I heard them before in a bigger room. I'm curious about their smallest pair now as well.
As you probably know, there are some tubes in the amplification stage. The preamp has a no-feedback single-ended active gain stage (C3m triode) and the power supply uses valve rectification (6CA4). The Aelius Push Pull Monoblocks are a hybrid design with a valve in the input stage, valve rectification and a mosfet output stage.
Regards,
Geoff
Thanks Metralla
I have not gotten to the write-up on the room and this year dagogo got the info on the gear ahead of time so it saved me from asking about ancillary gear so all I had to do was use the speakers to orient myself. The problem with this method is that I didn't ask much about the amps since I can go and look it up later.
Seeing that it is in fact heavy on the tubes - perhaps this is why I liked it a lot better at CAS than at a past show. I reviewed hybrid monoblock power amps from Shengya favourably so this is certainly a viable and not too common option for tougher to drive speakers.
Big amps + Big Speakers = BIG BUCKS = The Stereophile Formula
But far off in Asia, and not so secretly, our friends the Chinese have responded by building some not too shoddy SET amps for the North American market.
Observe, before you think
Were SS LE speakers. So there are exceptions. SETs do some things the big rooms didn't but then again so did those big SS systems do things none of the SET rooms could do. So it was interesting.
Our reports are coming soon as well.
800W plus W into 4 ohms?
Observe, before you think
The best room I heard there in terms of making me feel like I was listening to a live event with incredible bass depth and control etc etc was MBL. Big SS and CD/Computer audio or not. It did well on vocals too with Sarah McLachlan and Loreena McKennett.I was surprised to be blunt because it's the kind of system I usually expect to hate. I was more emotionally moved by some SET based rooms at far less money but part of that is the kind of music played and the room crowd - psychological influences of more intimacy darker lighting of the smaller rooms. Further, I think if you stuck on a turntable to the MBL room it would be a dramatic improvement.
I was pleasantly surprised by MBL - it was the best sound on the first floor IMO and top 5 at CAS. Depends what one is after. For large scale you are at the event - it was the best room. For beauty and intimacy I have a few others but the MBL was pretty good at that too. I think the speakers elevate things. I would really like to know if people run tube amps on them and what their experience is, because a great tube amp and vinyl might be a best of both worlds.
Edits: 08/10/12
"I was surprised to be blunt because it's the kind of system I usually expect to hate. "
I'm surprised too, I thought you were so strongly biased that you were useless as a reviewer.
If this helps you to be more inclined to open your mind and just listen prior to judging then that's a good thing all around, I appreciate "true listeners"...
Rick
I don't think any review is objective. We can do our best to be.When you audition a given design say 30 times and all 30 times it's bad - then you can't really blame someone for having an "expectation" that 31 is going to be any different.
I think I get a bit misjudged because of my online postings versus reality.
If I had to say what people think of me with preferences is that I am a SET/HE guy which is fair because that is my preference but somewhere people got the impression that I hate all SS - which is not the case (I hate a lot of SS mind you but if it's good it's good). I have been on about Sugden forever and I have liked Pass Labs. I would not mind actually having one at home to give it a good audition since Nelson seems to make amps for speaker types not a one size fits all brute force sort of amp.
Here was my top twn at 2010's CES
Rooms with speakers under $10,000 (alphabetical order):
• Audio Note AN-E/Spe HE Loudspeakers
• Gallo 3.5
• Kingsound Prince II Electrostatic loudspeakers
• Sonist Recital 3 loudspeakers
• Studio Electric Type Three Loudspeakers
Rooms with speakers above $10,000 (alphabetical order):• Acapella High Violoncello II
• Audio Note AN-E Sec Signature
• Silbatone Aporia Full Range
• Teresonic Ingenium loudspeakers
• Trenner and Friedl RA Box
And the runners up came from Usher, Sony/Pass/Emm Labs, Acoustic Zen/triode, Harbeth/MSB, and Magico/Technical Brain, Wilson Sophia II.
These rooms were not all SET/HE by any stretch. I have a panel, horns, single drivers, speakers using SS or tube or SET on that list.
It's a pretty wide spread of designs and the runner ups were really really close.
If I did a top 5 at this show MBL would be in it, so would YG Acoustics which I disliked at CES. SS everywhere.
I would say the most musical rooms were tubes - Von Gaylord and Acoustic Zen - neutrality and or accuracy may take a slight hit but it's tough to counter what the heart is telling you. The emotion factor has to count for something and those designers know how to push that button. Isn't the point of music to be emotionally moved by it? Even if it is less technically accurate sounding? On the other hand the MBL 1000 watt SS had a wow factor that the Von Gaylord system isn't going to likely touch. So you picks the gear that with the compromises you can best live with.
Edits: 08/10/12
I've heard them only once playing acoustic music and liked them very well. Do you know if they do well with rock and/or electric blues?
The floorstanders have good bass so that won't be an issue. And I used Taiko Band as a percussion tester (Cavalier Gerbasam Band linked CD below) and the speakers did well here.
I don't recall using electric bass however so you might want to ask some others. I didn't play G&R in this room. But if it can do the track I noted it should have no trouble with most bass. Sonist's owner also very much liked the CD and asked about it.
Interestingly many of their recordings are made on Western Electric gear. Excellent sounding CDs - some of the best I've heard.
.
"but somewhere people got the impression that I hate all SS - which is not the case"
Well, I had clearly developed that impression from reading your posts...
"So you picks the gear that with the compromises you can best live with."
Fer sure. I prefer acoustic suspension woofers so transistorized amplifiers are my choice as they can effectively eliminate the zero at DC without humongous and expensive output transformers. But they don't all sound good or the same...
Rick
Or did they miss the show?
Observe, before you think
Devore was not at CAS which was a shame because Line Magnetic amps are killer and it would have been a real nice set-up no doubt.
and was bummed, because the small ones did not do anything for me. Stopped by 3 times in two days, but 101s were not playing. Bad timing, I guess...
Steve
I liked both set-ups - Page two of my report is coming and I note what I heard. I liked the little ones but only in one chair.
I noted that it was polarizing - some like old school hated this room as worst room of the show - and not everyone on our staff liked them like I did either. But for what I played on them they played it admirably.
I enjoyed both their systems - the big ones more but that is to be expected.
I don't see your point. Are you implying an audible correlation?
from listening to or reading about a product. i have after hearing an affordable product do some of the same feats performed by the aforementioned costly item.
i guess THAT"S why i am not repelled by those finer things.
...regards...tr
I was not offended when someone paid $120 million for one of the four different originals of Edvard Munch's "Scream."
There's a 1950s-vintage Ferrari 410 that is coming up on auction next week; it is likely to go for more than $7 million. As far as I am concerned, whoever buys it will own a more beautiful work of art than "The Scream," although doubtless less culturally significant.
I had the honor (tongue in cheek) to uncrate and peel the wrap off a pair of Wilson Alexandria IIs and to help with their setup. They are amazing loudspeakers. However you slice it, weight, displacement, frequency extension, dynamic capability, their performance is generally as much a multiplier of less expensive loudspeakers' as is their price.
I am sorry I missed that demo, but I am grateful to JVS for writing about it and to Keith Pray JA and everyone else for making Stereophile's website free of charge and very timely.
(I assume everybody knows that I write for Stereophile.)
JM
Envy is one of the original seven deadly sins; it is a very common character flaw. Some people think it's "not fair" that a few people can buy products they can't afford and express that by finding the other person's spending habits offensive.
No one should be surprised by a human trait this ancient.
Maybe he was just disinterested.
John, that last sentence was cool. I liked it a lot.
Cheers
Bill
like to drool over exotic cars. I can't afford this uber highend gear that costs more than my house nor can I afford to buy the fine art, automobiles, and other luxury items. This, however, does not stop me from an enjoyable read in Stereophile or TAS or the occassional listen at a show or dealer. BTW, I'm quite content with my modest gear that lets me enjoy the music.
Not offended. Just turned off. A big waste of time. I can go to the Boston Symphony every night for thebrest of my life for less.
The Wilson room was not one of my favorites. I preferred Music Lovers cheaper Vivid room by a mile: better tonality and subtle micro shadings. Yes, for me. BTW, Stereophile's reviewer continually asked for the sound to be turned up in several rooms. In the smaller Magico room, he got them to raise the volume to the level that blew up the woofer! I could hear the sound from the smaller Magico room 200 feet away. With the door closed!
Who was this reviewer?
Jason Serinus, who is a good writer, and has good ears. Actually he was correct that many times, e.g., in the Magico room, the sound level was too low. He and I expect close to live levels from big systems costing upwards of $500,000. Expecting a small two-way to reproduce the volume of a symphony, going all out, was just too optimistic.
"BTW, Stereophile's reviewer continually asked for the sound to be turned up in several rooms."
LOL! How do you come up with this?
"In the smaller Magico room, he got them to raise the volume to the level that blew up the woofer!"
Stop it! :^)
"I could hear the sound from the smaller Magico room 200 feet away. With the door closed!"
Never mind.
Old School says "BTW, Stereophile's reviewer continually asked for the sound to be turned up in several rooms."
SoulFood says "LOL! How do you come up with this?"
I ask - this sounds like you are calling Old School a liar. Were you at CAS? Old School comes up with this perhaps because he was in the same room as Jason. I shared ONE room with Jason - the TAD room and he asked for them to turn the volume UP. That's 1 for 1. So it is entirely possible that Old School shared more rooms with him.
Unlike Old School I don't think that matters whether he wants it turned up or not - it gets around hearing competing rooms and given classical music tends to have quieter passages it is perfectly reasonable to ask for higher levels or to hear system's capabilities at higher volumes.
Old School came up with that because he was there - were you?
Old School says "In the smaller Magico room, he got them to raise the volume to the level that blew up the woofer!"
You say "Stop it! :^)"
Again the implication here is clearly that you saying Oldschool is a BSer or making stuff up. Jason Serinus states in show report that he felt he blew up the speaker. I was not there so I don't know the severity of the blow - but I heard a woofer problem in the speaker before the last hours of the show so it was either semi-blown before Jason got there or I went in after him. But if they blew outright then they would not have demoed them anymore.
Old school Says "I could hear the sound from the smaller Magico room 200 feet away. With the door closed!"
You say "Never mind."
I say - "you write off his comments as being made up. Well gee. Clearly the woofer was blown." Now if this speaker at a whopping $26,500 pair is worth it's asking price then I would expect the volume to played at such a ridiculous uber crazy volume level in order to blow the woofer. In other words a volume level that could be heard 200 feet away with the door closed.
You've been hurt, I get it. However, this whole defender of the defenseless role is comical.
Just wondering if you were there. The Magico woofer sounded blown to me. At least I hope it was blown for sounding like that.
As for requesting volume turned up - I don't see that as a problem because we each have preferences. Reviewer's tend to stick out so and this is a small show.
If you're insisting Magico was demoing a speaker with a blown woofer as a result of a reviewer, what difference does it make if I was there? I'll take you at your word for now.
"Reviewer's tend to stick out so and this is a small show."
OK I'll bite, what's your point?
Well old school claimed to be in the room with Jason Serinus - that is possible.
The standmount speakers were clearly buzzing in bass passages - that sounded blown to me. Either way it wasn't very good. And when I heard the price I almost laughed at the absurdity.
Actually Jason admits to helping blow the speaker near the end of the show - he didn't - I heard it clearly rubbing well before the end of the show so he may have helped push it over the edge but something was wrong earlier in the day.
You can read him say this here.
"Actually Jason admits to helping blow the speaker near the end of the show - he didn't..."
He didn't, now? You have no shame.
Well if you're a troll I am not sure but I was defending Jason in my post. He thought he had blown the speaker - I don't think that he did - I think it was either already partially blown (it sounded flabby on bass passages and as if it was rubbing) before the last hours of the show.
Jason may have felt guilty for blowing them and I don't believe he did. It may have gone unnoticed at first if he was playing strings. The driver was still physically working when I was there. He may have pushed it over the edge but it didn't go from perfectly working driver to dead stop, smell the sulfer in the room, blown driver.
Regardless - you called out old school for lying. Please tell us how you draw that conclusion. There was clearly something wrong with the woofer - Mr. Serinus stated this in his show report. Seems to me Old School was being truthful.
So what's the problem? The shame here is you calling out posters with no evidence.
"Well if you're a troll I am not sure but I was defending Jason in my post."
If I recognise your defense of Jason, I'm not troll?
"Regardless - you called out old school for lying."
You're the one saying old school, didn't fully understand, what he thought he heard. As you're now saying Jason's assessment was also inaccurate.
"So what's the problem? The shame here is you calling out posters with no evidence."
I've called out no one. You're calling out yourself.
Yes, I was in several rooms where Serinus asked for the volume to be turned up. As I have stated, Serinus was often correct that the sound was at a too low volume. The small Magico room was continually playing music too loud (over 105 db via my Radio Shack meter). RGA is certainly correct that it's extremely hard to compare systems at different volume levels. The MBL, smaller Magico, and Legacy rooms were all playing at way too high levels for me. Many rooms were playing at too low volume levels. Hard to compare. I liked the levels in the Electrocompaniet, Focal, Vivid, Sonist, Acoustic Zen, and Audio/Vision's Kef 50 room. I was very surprised at the effortless way the low power Unison Research amp (reviewed by Sam Tellig in the August Stereophile) drove the Kef 50 speaker. Plus the sound was palpable and tonally ravishing! This is a new speaker to hear for sure, especially in small rooms.
Thanks for clearing that up. What the deal with the blown woofer? It just seems it would be, to obvious to ignore. Perhaps they were having fun just prior to closing. Of course, I'm speculating.
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