Avalon Osiris , my next project!

shakti

Well-Known Member
May 9, 2015
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693
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Cologne, Germany
The first three days of listening to a lot of music have passed, the Osiris are now in a position where they will probably remain for a few more days. The furniture rollers are still assembled, since it is best to have 4 people present to assemble the Apex spikes. Guess this could happen at the next weekend.

In the first three days, the Osiris developed in terms of sound, as is known from large loudspeakers with many frequency components after a long break from play and a long transport.

One has the feeling that all the chassis have to re-center, the coils build up a magnetic field again and the capacitors are charged again.

Before describing the current sound of the Avalon, I would like to go a little further to describe typical sound families in some of my last speakers. Sometimes I need this type of exercise to get myself focussed and not blown away with just a "NEW" kid in town. ...Sorry to be that kind of "German" again ;-)

1nd
There are loudspeakers that turn on, loudspeakers that immediately invite you to listen, loudspeakers that immediately invite you to rock, if not invite you to dance. For this I count for example the JBL loudspeakers, for example the 4367, which played with me for a while. These speakers mostly have a high efficiency. The bass range often does not go that low, but it can develop a high dynamic and kick ass approach. The other frequency response is designed in such a way that the loudspeakers literally jump on, for example if a trumpet is used or a drum kit starts. Midrange & tweeters mostly have a slight horn support.

2nd
Develops the sound characteristics of group 1 into a more sophisticated way, one gets into the field of horn loudspeakers, which enable the use of low-power amplifiers. The resolution of the individual horns is usually very high, as is the dynamics. But it is very difficult to achieve a time coherent and phase correct sound image without a digital crossover. For reasons of space, most horn speakers, including my former hORNS Universum III, have a "normal" dynamic bass. In order for this bass to keep up with the efficiency, it usually doesn't play too low.

So it happens that with average horn systems you mostly hear the advantages in the area of the individual transmission ranges of the individual chassis, but only very rarely is a homogeneous sound image possible over the entire frequency response.

However, I always have a lot of fun with these concepts, because I listen to a lot of jazz and I don't know any loudspeaker concept, which can reproduce so authentically trumpets, sax and so on.

If you are lucky enough to hear a really big horn (i.e. also the bass reproduction with horn speakers) in an optimized environment, you will hardly forget this experience ..., I personally dream of such a system in a suitable room. Unfortunately, this will not be possible on my premises. In this respect, I need to manage myself differently :)


3rd
If you combine the sound of the two groups mentioned above, you get speakers that also have a good efficiency (over 90db, sometimes up to 97db), which have a lively sound with "slamm and punch", but still the primary focus Lay the sound in the correct time and phase. So mostly the chassis (without horn reinforcement) are shifted against each other on the axle or they are even adjustable.

For me, this includes all Wilson Audio speakers. These are able to sketch a perfect illusion of a stage, to let you hear far into the room, at the same time the sound is dynamic. The focus of these loudspeakers is to make music emotionally perceptible. Accordingly, similar to the two types of loudspeakers mentioned above, one cannot "listen away" from this loudspeaker when he is playing, the speaker wants full attention. In principle, you only turn these speakers on if you want to listen to specific and focused music (which was my personal Maxx 3 situation)


4th
On the other hand, for me there is the type of "long-term listening" speaker. These usually have a frequency response that drops very sharply towards the high frequency range, which makes the speakers sound pleasant. The group of the various English BBC monitors belongs to me, a classic tannoy is also included, but also many of the omnidirectional working speaker systems etc. etc. Corners and edges of the music are slightly ground in, so that a pleasant and round and harmonious sound is created becomes. These loudspeakers are accordingly gracious what the quality of the source material is, even poorly recorded digital productions of the 80's can be enjoyed. The way of listening to music allows a certain distance to the happening of the music, the loudspeaker could also play in the background without disturbing.

5th
For me, the so-called "acoustic magnifiers" stand in complete contrast, the focus of which is to make all information on the source material audible. For a long time, the dominant loudspeaker concept in this group was the active loudspeaker, ie it has integrated power amplifiers and often a digital frequency crossover.

But many modern loudspeakers also focus on this currently popular sound. The first sound impression is usually slim and with a multitude of details in the high frequency range.

My YG or the Backes & Müller speakers were in this group. If you look at the current German high-end loudspeakers from Gauder, Tidal, Zellaton, etc., the aim is to achieve a mostly linear frequency response, which is achieved through elaborate crossovers and high-quality chassis.

Even internationally, if you listen to the current models from Magico or Schweickert etc., this linear and information-focused sound image will prevail.

I personally do not like these loudspeakers or this desired sound image, because it focuses too much on the reproduced tones as such, but often loses the connection between them and the development of an emotionally appealing reproduction.

Fortunately, a few manufacturers create the balance or generate an entire set up that also makes listening to "music" enjoyable with this group of speakers, for example, the Goebel company repeatedly at the high end in Munich.


6th
This group is dedicated to the studio loudspeakers, which are mostly developed for defined room conditions (studio according to DIN or SAEC) and white paper specifications (eg mastering or control monitor). If someone in his private room has the opportunity to design a room according to the studio standard, these speakers provide a tool that enables him to dissect the recording and possibly to identify all the effects or effect devices used in the studio when mixing. With these speakers, you can hear a bit of music like eating in the kitchen where the cook is preparing the food. Some find it good to be close to the sound of the final production step of the recording without being filtered.

Personally, the illusion of the music in the room is often taken away from me. I prefer to let the effects applied in the studio work on me and take the relaxed attitude of the connoisseur, who can have the food served in the restaurant at the table and does not have to separate and identify the individual ingredients to enjoy the dishes.

Now the doorbell rings and I continue writing to Osiris ....
 

shakti

Well-Known Member
May 9, 2015
730
693
135
Cologne, Germany
Neil Patel has always designed and tuned his Avalon speakers in such a way that they are difficult to categorize. The number of customers who opted for an Avalon was accordingly exclusive.

The frequency response of an Avalon was always declining to the high frequency range from 200hz to 20khz up to 3db.

(The more current models are voiced in a more contemporary manner),

In this respect, the classic Avalon models are absolutely suitable for long-term music enjoyment.

However, Neil Patel knows how to attract his speakers to features that are otherwise found in the other speaker categories, such as very precise spatial imaging with a sufficient amount of details. His tuning in the bass range lies more in a deep tuning (good for the on room localization of instruments ) than in a driving kick bass.

In the Osiris manual he explains that a "fast" bass range is necessary for many qualities of his speakers. Most loudspeaker designs would try to do this by focusing on the rise time, that is, on a quick "start" of the chassis. For him, the fast decay / deceleration of the bass chassis is important to him, which requires strong control of the chassis by the power amplifier.

If you listen to the Avalon Osiris after three days with me, you can see the handwriting of Neil Patel in that the loudspeaker is tuned without an overtoned treble range. But the overall performance makes thinking in these categories seem outdated.

The Osiris just does everything I knew from a speaker before.

(Knowing that the speaker is not currently on spikes, but you can well imagine this effect, is not the first speaker I put on spikes from the ground)

Now I'm used to a certain quality through my previous speakers, but B&M, YG, Maxx 3 etc. basically played on a comparable level with different emphases, whereby the Maxx 3 corresponded to my personal taste the most.

The Zingali, hORNS Universum III etc. were a class below, but still an enjoyable performance level.

In my personal listening cosmos, the Avalon Osiris is now a "game changer" that plays well above what I have had on my premises up to now, or I would even go so far that the Osiris delivers partially a performance (timbre of voices) that I've never heard like this.

The bass range not only offers extreme dynamic reserves, it also goes down very very deep in my room (the manual speaks of possible 10hz in room response), which lets me hear a lot of new things in the bass range in some very well-known recordings.

This is followed by a seamless mid-range area, which above all knows a naturalness when playing voices, that you have the feeling that you can see the face of the singing person.

The precision and naturalness are certainly related to the elaborate high frequency range (3 different chassis), which also reveals details in a naturalness that is second to none.

Do you hear from, for example

Youn Sun Nah "May Favorite Things"


and

Youn Sun Nah "Same Girl"

the beginnings of the two pieces sound very similar on many loudspeakers, in the sense of "there is something jingling in the high frequency range", through the Osiris it becomes clear how differently the instrument is captured, in the first piece the body almost sounds as if it were Swing bells, in the second piece the focus is more on plucking the metal, just as you know the sound of small music boxes.

The Osiris delivers all these details without having slightly raised the uppermost high-frequency range, without there being a depression in the mid-range range, which makes the loudspeaker appear analytical and detailed.

Osiris provides this detailed information fully integrated in the context of the piece of music, ie you can hear the music, the interpretation of the musicians and if you like and listen to all the subtleties.

Then take the musical genre jump and hear, for example, of

Miss Kittin "Kittin is High"


the wife comes into the music room, starts dancing and also wants to party.

.... we get what the Osiris is made of

Yello "Limbo" makes live from Berlin


is just fascinating ....

With the Osiris you may travel through your plate treasures and rediscover them.

I have had the opportunity to experience this from time to time when my system has jumped in quality, but the quality of the playback in recent years has been more about the perspective of the known recording than about rediscovering detail.

I was thrilled that I could experience this again in this qualitative change, I didn't expect that. Even one of my eternal favorite pieces:

Stan Getz, Astrud Gilberto "Girl from Ipanema"


Gains new details. *fascinating*



I usually do a set up by placing the components in such a way that for some well-known pieces my "reference" is reproduced.

For example, I usually set the pickup with a record or the voice of Leonard Cohen. But if you listen to these pieces with the Osiris, the gain in micro information is so great that I have to form a new "sound reference" first.

It doesn't make any sense (from my point of view) at the moment to position the Osiris on spikes and therefore no longer displaceable, because I first have to get used to this quality to develop an idea in which direction the fine tuning should go.

The amount of reference systems / reference set ups in Germany is unfortunately limited or not so easily accessible, otherwise I would like to visit such systems and their users, and to put the formation of a new "sound reference" or "sound conditioning" on a broader basis .

Maybe I should go to once to Goebel as Gian did ?

In my neighborhood there is the reference set up of the company Tidal with the Assoluta, but the tonal voicing of these speakers / their set up is too much "contemporary" and not according to my desired sound. expectations (just my personal taste)

... But maybe that's why I should listen to it again, maybe my hearing will enhance in this way too :)

Yesterday evening I had a long-time companion visiting this hobby, we visit the most German High End fairs together.
Here is his mail from this morning:


"When I switched on my system this morning I could have cried.

I am so far away from what you heard yesterday that I don't have to think about how I can get such a listening experience at home.


If I win the Lottery, buy a bigger house and then retrofit the system.

Conclusion: Your system plays gigantic and I have never heard music better.

I will leave everything with me until playing the lottery has brought the desired success.

And if there is no lottery win by next week Saturday,
I will think about other power amplifiers or a very fast integrated amplifier or ....... .. maybe other speakers :)

Thank you for letting me enjoy this fantastic experience with you. "



Ulli is currently listening to late Wilson Audio Watt Puppy speakers.


I will report on how the sound story continues, first I like to get used to it :) :)
Then further optimize :)
 

Lagonda

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Feb 4, 2014
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Neil Patel has always designed and tuned his Avalon speakers in such a way that they are difficult to categorize. The number of customers who opted for an Avalon was accordingly exclusive.

The frequency response of an Avalon was always declining to the high frequency range from 200hz to 20khz up to 3db.

(The more current models are voiced in a more contemporary manner),

In this respect, the classic Avalon models are absolutely suitable for long-term music enjoyment.

However, Neil Patel knows how to attract his speakers to features that are otherwise found in the other speaker categories, such as very precise spatial imaging with a sufficient amount of details. His tuning in the bass range lies more in a deep tuning (good for the on room localization of instruments ) than in a driving kick bass.

In the Osiris manual he explains that a "fast" bass range is necessary for many qualities of his speakers. Most loudspeaker designs would try to do this by focusing on the rise time, that is, on a quick "start" of the chassis. For him, the fast decay / deceleration of the bass chassis is important to him, which requires strong control of the chassis by the power amplifier.

If you listen to the Avalon Osiris after three days with me, you can see the handwriting of Neil Patel in that the loudspeaker is tuned without an overtoned treble range. But the overall performance makes thinking in these categories seem outdated.

The Osiris just does everything I knew from a speaker before.

(Knowing that the speaker is not currently on spikes, but you can well imagine this effect, is not the first speaker I put on spikes from the ground)

Now I'm used to a certain quality through my previous speakers, but B&M, YG, Maxx 3 etc. basically played on a comparable level with different emphases, whereby the Maxx 3 corresponded to my personal taste the most.

The Zingali, hORNS Universum III etc. were a class below, but still an enjoyable performance level.

In my personal listening cosmos, the Avalon Osiris is now a "game changer" that plays well above what I have had on my premises up to now, or I would even go so far that the Osiris delivers partially a performance (timbre of voices) that I've never heard like this.

The bass range not only offers extreme dynamic reserves, it also goes down very very deep in my room (the manual speaks of possible 10hz in room response), which lets me hear a lot of new things in the bass range in some very well-known recordings.

This is followed by a seamless mid-range area, which above all knows a naturalness when playing voices, that you have the feeling that you can see the face of the singing person.

The precision and naturalness are certainly related to the elaborate high frequency range (3 different chassis), which also reveals details in a naturalness that is second to none.

Do you hear from, for example

Youn Sun Nah "May Favorite Things"


and

Youn Sun Nah "Same Girl"

the beginnings of the two pieces sound very similar on many loudspeakers, in the sense of "there is something jingling in the high frequency range", through the Osiris it becomes clear how differently the instrument is captured, in the first piece the body almost sounds as if it were Swing bells, in the second piece the focus is more on plucking the metal, just as you know the sound of small music boxes.

The Osiris delivers all these details without having slightly raised the uppermost high-frequency range, without there being a depression in the mid-range range, which makes the loudspeaker appear analytical and detailed.

Osiris provides this detailed information fully integrated in the context of the piece of music, ie you can hear the music, the interpretation of the musicians and if you like and listen to all the subtleties.

Then take the musical genre jump and hear, for example, of

Miss Kittin "Kittin is High"


the wife comes into the music room, starts dancing and also wants to party.

.... we get what the Osiris is made of

Yello "Limbo" makes live from Berlin


is just fascinating ....

With the Osiris you may travel through your plate treasures and rediscover them.

I have had the opportunity to experience this from time to time when my system has jumped in quality, but the quality of the playback in recent years has been more about the perspective of the known recording than about rediscovering detail.

I was thrilled that I could experience this again in this qualitative change, I didn't expect that. Even one of my eternal favorite pieces:

Stan Getz, Astrud Gilberto "Girl from Ipanema"


Gains new details. *fascinating*



I usually do a set up by placing the components in such a way that for some well-known pieces my "reference" is reproduced.

For example, I usually set the pickup with a record or the voice of Leonard Cohen. But if you listen to these pieces with the Osiris, the gain in micro information is so great that I have to form a new "sound reference" first.

It doesn't make any sense (from my point of view) at the moment to position the Osiris on spikes and therefore no longer displaceable, because I first have to get used to this quality to develop an idea in which direction the fine tuning should go.

The amount of reference systems / reference set ups in Germany is unfortunately limited or not so easily accessible, otherwise I would like to visit such systems and their users, and to put the formation of a new "sound reference" or "sound conditioning" on a broader basis .

Maybe I should go to once to Goebel as Gian did ?

In my neighborhood there is the reference set up of the company Tidal with the Assoluta, but the tonal voicing of these speakers / their set up is too much "contemporary" and not according to my desired sound. expectations (just my personal taste)

... But maybe that's why I should listen to it again, maybe my hearing will enhance in this way too :)

Yesterday evening I had a long-time companion visiting this hobby, we visit the most German High End fairs together.
Here is his mail from this morning:


"When I switched on my system this morning I could have cried.

I am so far away from what you heard yesterday that I don't have to think about how I can get such a listening experience at home.

If I win the Lottery, buy a bigger house and then retrofit the system.

Conclusion: Your system plays gigantic and I have never heard music better.

I will leave everything with me until playing the lottery has brought the desired success.

And if there is no lottery win by next week Saturday,
I will think about other power amplifiers or a very fast integrated amplifier or ....... .. maybe other speakers :)


Thank you for letting me enjoy this fantastic experience with you. "


Ulli is currently listening to late Wilson Audio Watt Puppy speakers.


I will report on how the sound story continues, first I like to get used to it :):)
Then further optimize :)
Very nice report Jürgen ! Did you come up with the speaker category’s yourself or did you copy it somewhere ? Truly a interesting read, congratulations !
 

shakti

Well-Known Member
May 9, 2015
730
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Cologne, Germany
Shakti , how old is this loudspeaker (osiris )?
The Osiris concept is around 20 years old .

For me the good old times,
High End prices had mostly a correlation with performance ,
High End as part of the luxury gem segment was not yet invented :)
 

shakti

Well-Known Member
May 9, 2015
730
693
135
Cologne, Germany
Very nice report Jürgen ! Did you come up with the speaker category’s yourself or did you copy it somewhere ? Truly a interesting read, congratulations !
I created the category's this morning by myself,
as I wanted to understand the look back better and to walk the next steps more focussed
 

Lagonda

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I created the category's this morning by myself,
as I wanted to understand the look back better and to walk the next steps more focussed
I am impressed, Fremer has nothing on you !
 

Avalon5678

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Jul 4, 2020
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I am interested into Avalon Acoustics speaker since decades,

so I tried to research the history of Avalon Acoustics on the web, should someone has better or more detailed knowledge, I am of course happy about additions and corrections.

Avalon Acoustics speakers have been around since the 1980s and have a varied history. The Avalon Acoustics company was founded by Charles Hansen, who already relied on the work of the development engineer Neil Patel since foundation of the company.

The first speakers presented already had the typical housing design that is still valid today.

This design should not only optimize the sound radiation of the speakers, but also help to disperse the reflections of the bounding room walls.

The first models were given the names "Avatar", "Eclipse" and "Monitor", especially the Eclipse became a commercial success. As the last model of the first portfolio, the top model "Ascent" was presented, which should have been the technology carrier of the Avalon company for many years. The "Ascent" uncompromisingly implemented what Neil Patel had imagined at the time. It didn't make the "Ascent" easier to sell, but it was important to Neil Patel that the crossover in his top model had to be housed in a separate housing.

View attachment 66491

(The crossover in the separate black housing behind the speakers)

The Avalon Ascent is (in my view) one of the rare offers in the used market,
where you get a very high sonic equivalent to the current market price.

The speakers from Neil Patel and Charles Hansen required a certain level of performance from the connected amplifiers right from the start. The elaborate crossovers simply consumed power, so that the efficiency of the entire portfolio remained below 90db. The impedance curves, on the other hand, were amplifier-friendly, so that Avalon speakers can also be seen with powerful tubes from Audio Research, for example. (in my personal opinion, the bass drivers ever needed some damping factor, so I am not a friend of tubes or Pass / Krell amps on Avalon speakers)

Shortly after the Avalon Ascent appeared, Charles Hansen founded a company for high-end electronics (the Ayre company) and sold the company Avalon Acoustics to Jeff Rowland, who also hired Neil Patel as head of development.

Thanks to Jeff Rowland's contacts, the young company Avalon Acoustics found many new distributors, especially in Asia. Even today, many companies offer Avalon Acoustics speakers and Jeff Rowland amplifiers together.

Unfortunately, the market reacted very negatively to the acquisition of Jeff Rowlands. Previously, many loudspeaker manufacturers had advertised Jeff Rowland's amplifiers as the ideal partner for their own products, but now Jeff Rowland was taken as a competitor and his devices were not longer supported / shown on fairs.

So Jeff Rowland decided to sell Avalon Acoustics to Neil Patel in 1989, who has run the company since then.

Neil Patel carefully renewed the Avalon portfolio and created the probably successful Avalon Acoustics loudspeaker, the Avalon "Eidolon" in the early / mid-nineties.

The program was rounded off by the Avalon "Artus".

The last model offered in 1996 was the one offered until 2005

Avalon Acoustics "Osiris"

presented.

All three models were then marketed by Neil Patel / the Distributors as "The New Avalon"
I found as an example a Japanese brochure :

View attachment 66495 View attachment 66494 View attachment 66493 View attachment 66492

The Avalon Osiris was offered in Germany in 1996 with a MSRP of 160,000 DM, in 2005 the speaker had risen to about 125,000 EUR. The successor Avalon Sentinel was offered from 2005 at 180,000 euros, currently the Avalon Tesseract presented in 2015 is currently the top model with 350,000 to 400,000 euros in the respective price lists.

Avalon Acoustics was also obviously unable to escape the global price trend in the high-end market

I suspect this will not be the last step
The top models from Wilson Audio (Chronosonic) and Magico (M9) already reach the 750,000 euro threshold, so some headroom for the next Avalon Acoustics Top Model.

If you take a closer look at the Avalon Osiris, you can see the consistent implementation of Neil Patel's claims.

View attachment 66496 View attachment 66497


The external crossover already known from the Avalon Ascent was even more complex and is now even split into two separate boxes per speaker

The Crossover has 5 inputs, so it can theoretically be operated with 5 stereo power amplifiers or 10 mono power amplifiers.

The 4 separate elements of the crossover each weigh just over 100kg, which means that this loudspeaker of the reference class at that time gives you around 450kg crossover.

The speakers themselves is optically divided into 3 cabinets and physically divided into 2 cabinets. Neil Patel believes that increasing the band in the ultra high frequency range must result in expanding the band in the subbass range. Unlike his competitor David Wilson, Neil Patel used a very high upper cut-off frequency of 40khz right from the start, whereas Wilson Audio liked to let the speaker run out just above 23khz.

At that time David Wilson and Neil Patel used partially "customized" chassis from the same manufacturer, namely from JM Lab (now well known as Focal), but where David Wilson relied on the capabilities of the inverse JM Lab tweeter dome, Neil Patel constructed an optically separated tweeter cabinet, which is narrow-band relies on three tweeters made of different materials (and manufacturers).

Bass range: Corn type x2 made from a 33cm nomex Kevlar
Midrange: The corn type made from a 23cm nomex Kevlar
Lower treble range: The corn type made from 5cm aluminum magnesium
High range: The dome shape made from 2.5cm titanium
Super tweeters: The reverse dome shape made from 2.5cm ceramics

Anyone who has looked at the "breaking open" of a membrane at different frequencies with a Kippel measuring device, as well as the resonance spectra of the respective materials, understands the theoretical approach of Neil Patel's reference system.

I was allowed to listen to these impressive speakers at the turn of the millennium. I was really impressed by the performance. At that time, I already had listened to several very good systems at home, so I believed that nothing would make me so easily impressed, but the Avalon Osiris managed to do this, even under demo conditions.

But the sheer mass of something between 800 and 1000kg plus the imposing dimensions

Speaker part: Width 430x height 1890x depth of 510mm
Network part: Width 430x height 1150x depth of 600mm

made this speaker disappear in a memory drawer together with my Infinity IRS and Martin Logan Statement etc. experiences,
because it is difficult to set up such a speaker system in a "normal" room.

But if you compare the absolute flagship speakers of the past 20 to 25 years, it is noticeable that products such as Wilson Audio Wamm or Grand Slam as well as Avalon Osiris and Sentinel are rather compact and easy to set up (e.g. no huge dipole or even a 4 tower system). The flagship loudspeakers of the last 5 to 10 years unfortunately have increased their price to market preposition in a way, that the walk of the high-end segment from the performance-oriented to the overpriced luxury product segment in the loudspeaker sector has to take place without me.


However, since the price segment around 100,000 euros was a very exclusive 20 years ago, the correspondingly small quantities produced that time lead to a very limited supply of such loudspeakers "giants". You will see a Wilson Audio Grand Slam from time to time on offer, but speakers like Avalon Osiris, Avalon Sentinel, Wilson Audio Wamm, Martin Logan Statement, Infinity IRS etc. are almost never placed in the used market.

You can imagine, that I am all the more pleased that I have the opportunity to buy an Avalon Acoustics Osiris.

I hope that this time I can get the logistics organized.

(I still remember with pain that I almost bought a Gryphon Poseidon, but it was set up in an attic so that an (affordable) transport could hardly be represented.
As far as I know, the Gryphon Poseidon is still staying (unused) in this attic today)
 

Avalon5678

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hi,
I have been looking on and off for a avalon Osiris for quite sometimes . If you have any information on where to buy them pls kindly write me back

Thank you
James
 
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Lagonda

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hi,
I have been looking on and off for a avalon Osiris for quite sometimes . If you have any information on where to buy them pls kindly write me back

Thank you
James
In 3 months to a year Shakti will have them for you ;)
 

shakti

Well-Known Member
May 9, 2015
730
693
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Cologne, Germany
hi,
I have been looking on and off for a avalon Osiris for quite sometimes . If you have any information on where to buy them pls kindly write me back

Thank you
James
I know, the Osiris is a rare to find beast :)

If I am becoming aware of a pair on offer , I will send a PN!
 

shakti

Well-Known Member
May 9, 2015
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Cologne, Germany
Today, 4 strong guys have kindly come together to balance the Avalon Osiris on the Apex Spikes. Since the spikes have surprisingly long threads, the speakers had to be tilted further to the side than we had initially imagined. Accordingly, the upper parts of the Osiris had to be removed again so that they do not fall off when the speaker tilts.

2 hours later the crossover and loudspeakers are on spikes (and some Harmonix plates).

A first soundcheck confirms my fear that the speakers, which have now been lowered,
still want to be moved further than I would have liked.

If one imagines the listening distances of the individual chassis as circular orbits, one can imagine that the 15 cm lowering requires a corresponding shift that the speakers or the individual chassis comes back to the previous distance from the listening position. Accordingly, I have now moved the LS further apart. Unfortunately, pushing it back hadn't done the bass section any good. The Bass response was changed anyhow due to the lower distance of the bass drivers and the floor.

I would say, the difference of the changed speaker hight was bigger , than the effect of the Apex Spikes as such.
The Osiris speaker cabinet is that heavy, that the effect of the Apex spikes is minor. But audible...

Now I'm going to listen to some music, tomorrow is another day when I will continue to push the heavy speakers into the best position.

The intermediate result achieved is definitely quite good, so I will enjoy the day full of music :)


IMG_3574.jpg IMG_3573.jpg
 

Tango

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Hope great sound finds you. This pair of speakers are the best looking speakers that blend in best with your room imo.
 

Lagonda

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They do look really good in your room Jûrgen ! Now that you have sacrificed a couple of cows to the “God of the afterlife” the bass notes will behave too i hope ;)
 
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the sound of Tao

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Jul 18, 2014
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+1 they do look great in your room. Osiris was as we all know unfortunately killed by SET, so clearly SS amps here are indeed a very good choice. Continue to enjoy.
 

ddk

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Last edited:

shakti

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135
Cologne, Germany
Are you driving them with both the 825 & 501 amps?

david
No, the JRDG 501 were just parked there, both amps are too different in quality for using them on one speaker.

Today I installed with a friend a pair of the old Avalon Ascent, so the 501 have a good job now :)

I am going to buy in the future a second JRDG M825 for vertical BiAmping, as recommended from Avalon Acoustic.
 
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