They are actually designed originally for the Contendo reference system. They would therefore be addons to the Symphonia. The Symphonia stays as is. I think the basshorns have about a 4.5 meter length, which gets you into the 20s for bass. The Symphonia probably gets to the upper 30s on its own. The impact from the bass horns was readily apparent and because the system was time aligned (the subs were well in front of the main speakers) you couldn't even tell they were on except for hearing the correct bass, which appeared often behind the main speakers...a cool effect.
Best sound in Munich
- Thread starter gian60
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I see the Erevus list for €55k/pr, so we're looking at €140-170k for Symphonias/Erevus combo.
If they really get Symphonias into 25Hz territory, that's tempting. Might find the visual of Symphonia integral basshorns and Erevus basshorns slightly distracting.
Then again, Alsyvox Caravaggios run to four panels.
If they really get Symphonias into 25Hz territory, that's tempting. Might find the visual of Symphonia integral basshorns and Erevus basshorns slightly distracting.
Then again, Alsyvox Caravaggios run to four panels.
I'm impressed if ACerat can seamlessly blend a lower mids/upper bass basshorn integrated in the Symphonia with a dedicated lower bass basshorn in the Erevus seperate unit.
Brad, the Symphonias I heard were in a 7.5m x 3.5m x 2.5m room, L shaped at rear half, the 70W Cerat monos, Kassandra dac w transport and Pang server
I was hugely bowled over by creamy, full mids/upper bass, natural non etched treble, dynamic ease and full texture.
But low bass was too floaty for me. Basslines, electronica, harder hitting rhythmic material felt a bit ambiguous, and gave away the presentation as not being realistic.
Have no idea if this was the Symphonias bass, or a horns/room interaction. I've heard Cessaro Liszts in a different way not meld with a room.
The Pnoes I heard at the General lock step in his vast 450 m*3 room on 1.46W, so it can be done. But my likely only exposure to Symphonias, like Liszts left me w the "fantastic, but if only..." feeling.
I was hugely bowled over by creamy, full mids/upper bass, natural non etched treble, dynamic ease and full texture.
But low bass was too floaty for me. Basslines, electronica, harder hitting rhythmic material felt a bit ambiguous, and gave away the presentation as not being realistic.
Have no idea if this was the Symphonias bass, or a horns/room interaction. I've heard Cessaro Liszts in a different way not meld with a room.
The Pnoes I heard at the General lock step in his vast 450 m*3 room on 1.46W, so it can be done. But my likely only exposure to Symphonias, like Liszts left me w the "fantastic, but if only..." feeling.
Well, bass is the one area where rooms are a real headache as you know. We had lots of slam last weekend in Munich nothing ambiguous about it.
Interestingly, the brother of the Pnoes, the Axjet was on display at Munich and it was AWFUL...truly not even qualifying as hifi. Very colored, congested with no highs to speak of and a very disconnected bass. I was shocked because I think this is an AER level 4 driver in this speaker (something like 9K per driver) and the whole system is VERY expensive and it wasn't even mediocre.
If I ever hear Symphonias again, it'll need to be in a more optimised room.
Me? I'm blessed my room w minimal treatments has allowed my Zus to bloom, but I'd only really want to hear Symphonias again in a room that does them full justice.
Me? I'm blessed my room w minimal treatments has allowed my Zus to bloom, but I'd only really want to hear Symphonias again in a room that does them full justice.
I think London is a better place for chicken kharma
The Axjets? They were insane. Truly insane. It was like they were trying to bypass your ear drums and make a direct connection with your brain it was that shrill.
NOTHING like Pnoe.
Justin, one of the truly inexplicable products in audio. Looks a little like a Mini Me Pnoe, single full range BD driver. But unlike the beautiful simplicity of the Pnoe w same BD, the Axjet uses a digital crossover to manipulate bass, and charges close to the same price as Pnoe. Additionally the provenance of the product is the designer who specialises in club PA horns and spkrs for outdoor use. Crazy.
There were a lot of polarizing experiences in each room. For example, I did not like the Wilson Benesche room at all. Sounded nothing like RMAF, but went back when they were playing analog and completely different system which was awesome. Most of my experience with the rooms playing digital were a joke compared to their analog offerings which for some reason most were playing digital and you had to ask for analog
sheesh
sheesh
It is known fact that if you bring 2 audiophiles to listen to the same system, they will have 3 different opinions
So, was the GMT One tt playing in the Wilson Benesch room? There are rumours the top option will rival the £400k price tag of the AF0.
I heard pine last year, and while better it didn’t set the world ablaze either. However, the Axjet was just all kinds of wrong, which you would never know from reading their website .
It has DSP. Btw the pnoe at Munich in 2016 and 2018 were awful too, so I delayed my first visit to the General by 4 months ignoring all that Bill said. After the first two visits, I have been trying to go every week. In fact the General these days sometimes takes down his system just so that he has an excuse to tell me to stay at home.
Well whoever is doing the DSP is like a drunk sailor. At the very least it should sound tonally balanced with DSP.
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