Huge Carbon Fiber Horn Loudspeakers, RMAF 2018

November 15, 2018 § Leave a comment


Burmester Ambience BA71 Loudspeakers $55,000 Review

November 14, 2018 § Leave a comment

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“With the Ambience BA71s positioned as best as I could manage, and before doing any serious listening, I let them burn in for a good 200 hours, which gave me time to think about why I’d had so much trouble getting these speakers to sound right in my room. I concluded that there were just too many cooks in the kitchen. My first struggle had been with the BA71s’ MTM arrays and getting the image to snap into focus: I’d found that the Burmesters’ listening window was very narrow — I had to position my head just so between the speakers. My next challenge was with the AMT: when I listened on its axis, the sound was just too bright, even with the rear, ambience AMT dialed all the way down. As I reduced the speakers’ toe-in to smooth out the AMTs, I had to be very careful not to lose proper imaging. Minimizing toe-in seemed to increase the efficacy of the rear-firing AMT, but I had to be careful here, too — if I got too greedy for ambience, the increased high-frequency energy translated to a leaner upper midbass, emphasizing the brightness from the front-firing AMT.”

Von Schweikert Ultra 9 Premiere, VAC Statement 450i RMAF

November 13, 2018 § Leave a comment


November 12, 2018 § Leave a comment

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“Don’t underestimate the Amati Homage Tradition. It is not the Sonus faber of even 10 years ago. This is a Sonus faber that combines the best of the past with the clarity and energy of the present. And yet, it’s not a forward sound… it’s just a ‘right’ sound. If you are the kind of person who thinks Sonus faber is all about the looks and not so much about the sound, then the Amati Homage Tradition will be something of a wake-up call. Don’t be surprised if you end up thinking it’s one of the best speakers on sale right now!”


KEF LSX Review

November 11, 2018 § Leave a comment

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“Despite the smaller mid/bass driver (10cm as opposed to 13cm) and cabinet volume, it shares its sibling’s relative talent for bass performance. Whether it’s punching out the potent beat opening to St Vincent’s Los Angeles or pushing along the tubby yet tuneful bassline in Mac Miller’s What’s the Use?, the LSX’s low frequency delivery is consistently taut, agile and lucid.

With Tidal streams, the LSX remains cohesive without feeling condensed. Play Shame’s The Lick and the building swamp of electrics underneath thickens the presentation’s consistency but doesn’t drown out its clarity or that of the singer’s deliberately prolonged pronunciation.”

Monitor Audio Studio Loudspeaker Review

November 11, 2018 § Leave a comment

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“Driver integration gelled at distances beyond about 3 feet, allowing a generous seating area for casual listening. Critical listening gave immersive results in near field and quite compelling performance far field, where bass response optimized with a meaty zest. The lower frequency limit was commendable, given the speaker’s modest proportions and 4 inch paired driver complement, plumbing down to a solid 35 cycles with good authority, provided that volume levels were kept at sane levels. I never felt the need to augment with my subwoofer, although those demanding greater impact may prefer that option. Midband performance was very much studio monitor neutral, neither adding or subtracting warmth, and could be mildly tailored to taste by choice of ancillaries. Highs reached upwards with pedigree finesse, showing Monitor Audio’s MPD tweeter to be a standout performer. With the IsoAcoustics resonance control mounts in place, the Studio transformed the character into a classic British reference monitor, becoming more midrange centric, with the response expanding in both directions as natural extension.”


November 10, 2018 § Leave a comment

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“A modern loudspeaker needs to be good when the sound is good and when it is bad because a lot of modern recordings leave a lot to be desired. The Australe EZ does this exceptionally well, coping with the compression of modern music as well as it does with the open dynamics of outstanding recordings. It doesn’t make compressed recordings any easier on the ear; Metallica’s Death Magnetic[Vertigo] really hasn’t got any nicer over the intervening decade, and the Australe EZ doesn’t hide the pain, but it makes it slightly less aggressively thin. However, well recorded music – such as Buddy Guy’s Damn Right, I’ve Got The Blues[Silvertone] – is performed with sparkle and energy, just like it did the first time I heard it 27 years ago. ”

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