You're absolutely right, I should have known judging from the sizeI think that's the Divin Majestic or someone delivered me the wrong speaker!
I'll edit that right now. Thank you!
Arya Audio AirBlades
- Thread starter spiritofmusic
- Start date
I'll edit that right now. Thank you!Hi y'all, had a hugely enjoyable day with Arthur and Dominika of Arya Audio and their AirBlades 180° dispersion tweeters.
Tbh, this was a demo I didn't know what to expect, if anything I was somewhat skeptical.
Firstly the AirBlades covered 1.5-11k of my existing full range drivers, and the strong possibility of comb filtering.
But it was a very relaxed day, as much for Arthur to get data points in high efficiency full range drivers spkrs like my Zus, so it was a learning experience all around.
We played several cuts, mainly off LP, first au naturel thru my Zus, then after a well earnt lunch, the same cuts using the AirBlades.
I resisted the urge to do constant A/Bs with the AirBlades in and out, my main objective was to take in the effects of their install in the round over about an hour of music.
My initial thoughts were that the Air Blades never dominated the music, the changes they wrought were in correct proportion, at no point did they impose a sound or change my basic Nats SETs/Zus tonality.
Secondly, what they brought to the party was a really impressive sense of organisation and air, allowing a fleshing out of images to be way more distinctive and measured.
Sounds that could be a bit milky and opaque had greater clarity and purpose, but none of this false outlines or fake contrasts, just greater integrity and structure to notes and lines.
Critically, no tonal homogeneity imposed, the changes I've achieved here in the last 6 months totally retained, just additional intelligibility in the music.
I talked to Arthur and Dominika about this, and a few concepts were batted about, and if at all true, the AirBlades are certainly doing something very interesting. I'll discuss that next.
Music chosen on LP.
Miles Davis/Miles Smiles, Freedom Jazz Dance.
LZ/III, Immigrant Song.
Bartok/Piano Concerto No.2.
Kate Bush/The Kick Inside, Room For The Life.
T Lavitz/StoryTime, Baby Talk.
Adrian Legg/Guitars And Other Cathedrals, Song For Derrol.
...and on CD.
John McLaughlin/To The One, title track.
Pete Lockett's Network Of Sparks/One, Travel Light.
Tbh, this was a demo I didn't know what to expect, if anything I was somewhat skeptical.
Firstly the AirBlades covered 1.5-11k of my existing full range drivers, and the strong possibility of comb filtering.
But it was a very relaxed day, as much for Arthur to get data points in high efficiency full range drivers spkrs like my Zus, so it was a learning experience all around.
We played several cuts, mainly off LP, first au naturel thru my Zus, then after a well earnt lunch, the same cuts using the AirBlades.
I resisted the urge to do constant A/Bs with the AirBlades in and out, my main objective was to take in the effects of their install in the round over about an hour of music.
My initial thoughts were that the Air Blades never dominated the music, the changes they wrought were in correct proportion, at no point did they impose a sound or change my basic Nats SETs/Zus tonality.
Secondly, what they brought to the party was a really impressive sense of organisation and air, allowing a fleshing out of images to be way more distinctive and measured.
Sounds that could be a bit milky and opaque had greater clarity and purpose, but none of this false outlines or fake contrasts, just greater integrity and structure to notes and lines.
Critically, no tonal homogeneity imposed, the changes I've achieved here in the last 6 months totally retained, just additional intelligibility in the music.
I talked to Arthur and Dominika about this, and a few concepts were batted about, and if at all true, the AirBlades are certainly doing something very interesting. I'll discuss that next.
Music chosen on LP.
Miles Davis/Miles Smiles, Freedom Jazz Dance.
LZ/III, Immigrant Song.
Bartok/Piano Concerto No.2.
Kate Bush/The Kick Inside, Room For The Life.
T Lavitz/StoryTime, Baby Talk.
Adrian Legg/Guitars And Other Cathedrals, Song For Derrol.
...and on CD.
John McLaughlin/To The One, title track.
Pete Lockett's Network Of Sparks/One, Travel Light.
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One interesting concept that we batted about was that using the 180° dispersion pattern of the AirBlades, more of the room acoustic came into play, and thus a series of subtle psycho acoustics that contributed to what I'd describe as greater presence and realism.
The soundstage was more clearly resolved and sat back a little more where it felt more naturally correct...listening to classical on Audiophile Bill's horns and many hours of live concerts has impressed upon me this is the ideal.
Indeed, music was more detached from the Zus and "hung" in the air more realistically. Not once did the AirBlades draw attention to themselves, save for one instance on LZ where Arthur suggested turning the level down one notch after crash cymbals veered a tad too hot.
Every track played benefitted from this more present, yet more system detached presentation, taking my traditional Zu presentation closer to those superlative demos I've attended utilising systems excelling in the magic trick of ultimate transparency.
The soundstage was more clearly resolved and sat back a little more where it felt more naturally correct...listening to classical on Audiophile Bill's horns and many hours of live concerts has impressed upon me this is the ideal.
Indeed, music was more detached from the Zus and "hung" in the air more realistically. Not once did the AirBlades draw attention to themselves, save for one instance on LZ where Arthur suggested turning the level down one notch after crash cymbals veered a tad too hot.
Every track played benefitted from this more present, yet more system detached presentation, taking my traditional Zu presentation closer to those superlative demos I've attended utilising systems excelling in the magic trick of ultimate transparency.
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After sending Arthur on his way, I discussed Airblades SQ with a couple of people, incl one member here whom I respect for his frank forthright views, and both concurred with my conclusions.
And that was that. Airblades might happen here, confident they'd be a great addition, but also pragmatic enough to realise unlikely.
Or so I thought.
I remained in a little intermittent contact w Arthur, and the opportunity to acquire a pair of the TOTL Airblades Hype SE came up, ex-demo at a reasonable price, and I took the plunge, now proud owner.
Immediately on install, their prodigious positives in my system (seemingly replicated elsewhere from other reports) are apparent, addressing the main shortcomings in my Zu presentation (imaging, staging, delicacy and filligree detail) while leaving main strengths unaffected (tone density, dynamic shove, immersiveness).
What's facinating is that the improvements are dramatic while leaving me with the sound signature I've refined over nearly a decade, the very essence of what I would want w such an upgrade.
What's even more facinating is that the device works at all. I've been told expressly, by people who haven't heard them, that not only can't they be any good, but by definition they shouldn't work at all. And certainly that was my "arms folded/purse lipped" demeanour when Arthur set them up in the trial earlier this year.
But they not only work, but zero evidence from my ears there are issues. Not only do they work excellently. But they work at a level where I'm genuinely perceiving my music at a deeper level, bridging the gap to those amazing systems I've heard that communicate so emotionally with me, and even making the familiar more meaningful.
I cannot recommend the Airblades enough.
And for me, Airblades critically are an "end game" upgrade. Other than a remaining Prince Sablon and some Herbies tube dampers for my 211s, and possibly investigating HRS Damping Plates, the Airblades represent my last major spend and critical system upgrade, and it feels fitting they address where I'd always had doubts on my sound.
(Hope to have photos posted soon).
And that was that. Airblades might happen here, confident they'd be a great addition, but also pragmatic enough to realise unlikely.
Or so I thought.
I remained in a little intermittent contact w Arthur, and the opportunity to acquire a pair of the TOTL Airblades Hype SE came up, ex-demo at a reasonable price, and I took the plunge, now proud owner.
Immediately on install, their prodigious positives in my system (seemingly replicated elsewhere from other reports) are apparent, addressing the main shortcomings in my Zu presentation (imaging, staging, delicacy and filligree detail) while leaving main strengths unaffected (tone density, dynamic shove, immersiveness).
What's facinating is that the improvements are dramatic while leaving me with the sound signature I've refined over nearly a decade, the very essence of what I would want w such an upgrade.
What's even more facinating is that the device works at all. I've been told expressly, by people who haven't heard them, that not only can't they be any good, but by definition they shouldn't work at all. And certainly that was my "arms folded/purse lipped" demeanour when Arthur set them up in the trial earlier this year.
But they not only work, but zero evidence from my ears there are issues. Not only do they work excellently. But they work at a level where I'm genuinely perceiving my music at a deeper level, bridging the gap to those amazing systems I've heard that communicate so emotionally with me, and even making the familiar more meaningful.
I cannot recommend the Airblades enough.
And for me, Airblades critically are an "end game" upgrade. Other than a remaining Prince Sablon and some Herbies tube dampers for my 211s, and possibly investigating HRS Damping Plates, the Airblades represent my last major spend and critical system upgrade, and it feels fitting they address where I'd always had doubts on my sound.
(Hope to have photos posted soon).
Posting a set of pictures on Marc's behalf of his new purchase:
Surprised they’re on the outside of the Zu and not inside considering they’re 180 dispersion so beaming can’t be an issue. What was Arthur’s reasoning?
Peter, haven't considered moving them onto the insides, will try that.
No, they don't replace, they augment. Anywhere from 1k to 3.5k crossover points, extended to 20k, 180° dispersion being their USP.
Hi everyone, I'll add my comments to some of the points that were brought up if you don't mind:
For the CNC enthusiasts out there: Those two metal knobs are machined by us out of solid stainless steel and polished by hand. Even the arrow on top is machined by removing the material around using a tiny ø1mm milling cutter.
There is a dedicated 'OFF' setting that fully disconnects the AirBlade units from the system. No need to remove the speaker cables. I just have a picture of a cutaway model handy to show the rear view with the two rotary switches (X-Over and Level) and the connectors (binding posts plus ground connector).
For the CNC enthusiasts out there: Those two metal knobs are machined by us out of solid stainless steel and polished by hand. Even the arrow on top is machined by removing the material around using a tiny ø1mm milling cutter.
For timing reasons (phase alignment) you usually end up retracting the AirBlade units to the back so that the diaphragm of the AirBlades is pretty much aligned with the tweeter of the main speakers (see below). If you would put the AirBlades on the inside you might get unwanted reflections but that's not a hard rule; we had plenty of systems where we had to put the units on the inside (due to space limitations) and it worked just fine there as well. Generally speaking I would say that outside placement creates a bit more open sound.
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I'm certainly happy to move the Airblades to inside of Zus. After a lifetime of schlepping 30-70kg dead weights around, up and down stairs, generally killing myself in the process, it'll be more than a pleasure to take seconds to shift items I can lift (nearly) one-handed.
Biggest upticks I'm getting are in two areas.
On string quartets.
Listening to Dvorak, No.14 in G Major, I'm picking up a lot more air from the recording and a much wider stage. This could result in less definition or detail, but actually I'm more aware of bowing technique, and the resonances of instruments being played. Hugely adding to realism and lack of fatigue.
On jazz.
ARC/Chick Corea, David Holland, Barry Altschul, percussion and piano absolutely freer in space, bass grounded but really resolved. Nothing feels mashed together or on verge of aggression.
Both these examples are good indicators of the Airblades very much excelling where the best of live music is the comparator, and if I was going to give them a one word summary, it would be greater "realism".
On string quartets.
Listening to Dvorak, No.14 in G Major, I'm picking up a lot more air from the recording and a much wider stage. This could result in less definition or detail, but actually I'm more aware of bowing technique, and the resonances of instruments being played. Hugely adding to realism and lack of fatigue.
On jazz.
ARC/Chick Corea, David Holland, Barry Altschul, percussion and piano absolutely freer in space, bass grounded but really resolved. Nothing feels mashed together or on verge of aggression.
Both these examples are good indicators of the Airblades very much excelling where the best of live music is the comparator, and if I was going to give them a one word summary, it would be greater "realism".
The one area I didn't expect any difference is re my subs settings. The Airblades cross to Zus no lower than 1k, and my Zu drivers cross to subs at 40-50Hz.
But, whether the 180° dispersion pattern, or something higher up the treble frequency output is interacting differently, or maybe even there is less room acoustics dominance, I've dropped my Zus subs from 40 to 30Hz, and level down a click. And greater openness and invisibility of the spkrs are the results.
But, whether the 180° dispersion pattern, or something higher up the treble frequency output is interacting differently, or maybe even there is less room acoustics dominance, I've dropped my Zus subs from 40 to 30Hz, and level down a click. And greater openness and invisibility of the spkrs are the results.
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