I hear David's Bionors as achieving the upper bass/lower midrange center of gravity which I think maximizes realism and natural sound on instruments. Karen Sumner has advocated for getting right this critical 100Hz to 1,000Hz region. I have not heard a dynamic driver in a box loudspeaker or a planar loudspeaker that can achieve the overall realism -- the power, weight, energy and body -- on instruments that I hear from David's system.
Ron, why do you attribute this sense of realism to the Bionors? You were listening to a whole system. I have spoken to David at length about what is responsible for what. He attributes much of what you describe to his superior power delivery, the Neumann cartridge, and his AS2000 design. When I changed my power, from grounding to in wall wires to outlets and power cords, I heard a massive improvement in the weight, impact and fullness of the upper bass to lower midrange presentation.
Again, I do not think of the sound of ddk’s or my system in terms of “center of gravity”. One hallmark of natural sound is balance, not a particular range as your vocabulary implies to me. I think it all matters.
l know that David believes that his system does not roll off treble frequencies, and I know that you believe that your system does not roll off treble frequencies. I don't know what a external microphone and frequency analyzer would reveal.
This is not correct. Rolloff is a term related to a measurement. David has never told me that his speakers are not rolled off. I have never described my speakers as not rolled off in terms of frequency extension. I don’t know what measurements would reveal. I know that some people add a super tweeter to my speakers. The specs for my speakers go to about 15,000 Hz.
I have asked listeners who know live music who told me that compared to what we hear live, my system, not speakers, does not sound rolled off. I agree with that. That is an important distinction. It does not mean that other speakers and systems are not more extended. I know they are because I can hear it. The important thing for me and the only basis on which I judge, is how it sounds to me compared to live music.
I know you believe that these systems are not rolling off treble frequencies; rather, you believe that many contemporary systems emphasize or exaggerate treble frequencies. I honestly don't know which is correct. I would answer this question with measurements. Absent objective frequency response measurements of different kinds of systems I am not sure we will ever be able to come to an agreement on whether Bionors are rolling off treble frequencies or contemporary loudspeakers are exaggerating treble frequencies based on theory and subjective listening.
We do not need to come up with some agreement. This is not what matters to me. You seem to have a need to know which is fine. To me it is irrelevant. I selected what I own and then set it up and fine tuned it with David’s help based on what I heard not on measurements. Others follow a different approach.
Whatever Bionors (and, I am sure, Vitavoxes) are doing objectively, there is no doubt to me that, subjectively, they sound different than, and subjectively they have a different tonal balance than, and subjectively they have a different sonic center of gravity than, Alsyvox, Magico, Wilson, Marten, Tidal, YG, Zellaton, and most other contemporary loudspeakers which celebrate the "frequency extremes."
I agree. That is why people make different choices. They prefer different sounds for their own reasons.
I love the sound of David's system, and I am sure I would love the sound of your system and conceptually similar systems (I like the sound of Jeff Tyo's system) for piano and violin and guitar and other string instruments and brass instruments -- for classical and for jazz. I have posted and said numerous times that if my primary musical genre interest were classical or jazz there is no doubt I would have a horn-type system, and very possibly a vintage horn-type system. (The current production Destination Audio Vista and Malta, and Viva Audio Master Horn and Tune Audio Avaton look promising as contemporary candidates that might also achieve the upper bass/lower midrange center of gravity which I think achieves realism and natural sound on instruments.)
This sounds like a search for justification. We all like different sounding systems for our own reasons. You have made your choices for your reasons and I respect that and hope you continue to enjoy your system for years to come.
Separately, but relatedly, I believe that David's Bionors and the Tannoy Westminster and the two-way JBL Hartsfield (Jeff has the three-way), while achieving the upper bass/lower midrange sonic center of gravity that I like, nonetheless leave me with an odd feeling that something is missing in the treble frequencies. Emotional engagement-wise and subjective sonic preference-wise I don't miss whatever I sense is missing. (I don't care that something is missing.) But I do sense that something is missing.
I hope you come to understand the origin of that feeling. If you do, I would be very interested in your thoughts.
I am working on nudging down the sonic center of gravity of my system. But fundamentally I am solving for a different sonic suspension of disbelief equation than you are.
I am not trying to maximize naturalness and suspension of disbelief on acoustic instruments. I am trying to maximize naturalness and suspension of disbelief for a vocalist singing to me in my listening room. And for that, to my ears, the openness and transparency of planars gives me more towards believability on vocals than I lose from sacrificing the upper bass/lower midrange sonic center of gravity I enjoy so much, and which I find maximizes naturalness and tonal density and weight, on acoustic instruments.
We all have our own goals and approaches to achieve them.
I believe that no loudspeaker is perfect, and that every speaker -- no matter the size and no matter the cost -- requires thoughtful analysis and conscious, unavoidable compromises.
OK maybe not perfect, but I think some speakers rise well above the rest because they have fewer or far fewer compromises and along with the right chosen system and room and properly set up, they get quite close to the real thing in terms of listening experience, but that is a discussion for another day.