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 ....
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 ....
