Upcoming Italian extravaganza on Zero distortion
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Yeah but still , you must have an idea what you want by now ??
What works and what not
Why get married when you can keep dating?
Precisely. Audiophiles were not meant to be monogamous.
Actually, if you are in this hobby, you are a player. Else you are settled down, growing kids, and spinning 45 rpm vinyl with speakers that fit your room, a simple set up that does not change
Have we met???
Just ask ddk, Al M. and MikeL about settling down. It can be a very satisfying lifestyle with its own rewards.
Ddk has settled down with his own harem.
Mike has played the field to get where he is. Both see just in another, more advanced phase.
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Btw, a key update - Pietro has now become a Goldmund distributor, and has added the active Goldmund Prologue to his Apologue, Montagna, and Vivid Giya G1.
His Yamamura, though no change, was sounding much better to me that day then last year. I have updated my ZD thread accordingly.
I have never heard bass trombone and tuba like with the Yamamuras. The midbass and bass is just amazing, in this seamless, crossoverless speaker. The other thing this system is the best at, is the swell of the music, the bloom, of even the smallest details. As music rises and falls, you can hear the system breathing. One of my favourites for this breathing effect is Bydlo, from Pictures at an Exhibition. Rubinstein’s piano was the best along with the Bionor and the Silvercore horns. The Yams seem to have higher resolution and extension than the more vintage speakers, while the vintage speakers which run with SETs instead of the SS that Yamamura uses have a marginally more midrange bloom. All these big horns are extremely strong off axis, and room friendly as long as you have a big room, i.e. you need space, but the shape and room treatment is less important as compared to a cone or panel speaker. Pietro has set up his system for small scale chamber and jazz, and with the GPA Monaco 1 and Zyx’s top Diamond is forms the best speaker system I have heard along with the Apogee Grands. Mike Lavigne’s system is still better, but like I said, it is tough to isolate his components from the room, tweaks, and set up he has done.
His Yamamura, though no change, was sounding much better to me that day then last year. I have updated my ZD thread accordingly.
I have never heard bass trombone and tuba like with the Yamamuras. The midbass and bass is just amazing, in this seamless, crossoverless speaker. The other thing this system is the best at, is the swell of the music, the bloom, of even the smallest details. As music rises and falls, you can hear the system breathing. One of my favourites for this breathing effect is Bydlo, from Pictures at an Exhibition. Rubinstein’s piano was the best along with the Bionor and the Silvercore horns. The Yams seem to have higher resolution and extension than the more vintage speakers, while the vintage speakers which run with SETs instead of the SS that Yamamura uses have a marginally more midrange bloom. All these big horns are extremely strong off axis, and room friendly as long as you have a big room, i.e. you need space, but the shape and room treatment is less important as compared to a cone or panel speaker. Pietro has set up his system for small scale chamber and jazz, and with the GPA Monaco 1 and Zyx’s top Diamond is forms the best speaker system I have heard along with the Apogee Grands. Mike Lavigne’s system is still better, but like I said, it is tough to isolate his components from the room, tweaks, and set up he has done.
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Seattle and Milan both rule. And Mike has no coffee
This is a better hifi show than Munich, CES and RMAF. And Pietro's room is right up there, he has more unique gear than you can see in a hifi show, with the Yamamuras going toe to toe with any system around. The difference is that this is more speaker led (like the Grands), while Mike is a sum of many things.
You can't take the man out of the system? Or the system out of the man?
Obv Pietro and Mike have gone to uber levels of attention and synergy building to get where they are
The rest of us need to keep working at it
Obv Pietro and Mike have gone to uber levels of attention and synergy building to get where they are
The rest of us need to keep working at it
I have a feeling Mike will continue working at it too. I'm enjoying this with a glass of Chianti. Waiting for Bonzo's full report is like waiting for a new component to arrive. Aaargh. LOL
Pietro's Yam is simpler than Mike's. Everyone's detail level is simpler than Mike's. The Yamamuras are basically the horn, and the Yamamura electronics, just placed there.
Mike's system set-up style is a completely different school of thought.
Is the Yamamura a single driver back loaded horn?
I ask because I thought I remembered you being very critical of this kind of design.
I have personally found that back loaded horns can sound amazing so I would really love to hear such a setup. Do you know how long the horn was and what driver was used?
I ask because I thought I remembered you being very critical of this kind of design.
I have personally found that back loaded horns can sound amazing so I would really love to hear such a setup. Do you know how long the horn was and what driver was used?
Ked, how does a horn like the Be Yamamura REALLY sound like on rock? Every time I hear a horn at a show or privately, things are divine on female vocal and simple acoustic, the bigger horns are pretty good on big band and symphonic, but things just fall apart when putting rock, dance, electronic, dance, prog, fusion thru them
The Yam is set up for jazz and chamber. It can do orchestral nicely, but not perfectly. It is set up to breathe. That said I completely enjoyed Scheherazade and Pictures, and Piano concertos and vocals and jazz were the best. I did not listen to rock on this. But the other DIY horn that I told only and a couple of others about and haven't posted about yet can do everything. We even played Deep Purple's Child in Time on it and it was superb. It is seriously something, just that it's DIY. And no, trios don't fall apart either, their bass is tremendous. You are just referring to the Animas that you don't like, and smaller horns like duos, and I don't classify smaller horns as horns anyway just because they have a funnel and are high sensitivity. Also, all these horns are as different from each other as they are from Wilsons, focals, and panels. There is no similarity between them.
My Odeons do well on rock and electronic music. Everything from ZZ Top and Dire Straits to Rush and Iron Maiden. I enjoy as well electronic music from Bjork, Moby, William Orbit, Orbital, Dead can Dance etc. I probably do 20% of my listening with these styles of music.
Several visitors have commented on how punchy and "fast" my bass sounds and so beats are well represented.
Brad, yr Odeons and the AG Duos look at least superficially similar in terms of driver complement, ie tweeter and mids horns, w bass/lwr mids fully covered by dynamic drivers subs
IMHO, the Duos at Blue58's are the only horns I've heard that are totally capable of getting down'n'dirty w rock, dance, electronic, fusion, prog etc, although still a different presentation than I'm used to w my Zus
In yr estimation, how do you compare and contrast them, because if I ever move to horns, 18 months of regular exposure to ever evolving Duos at Blue's makes them the logical choice, but there are interesting alternatives like yr Odeons, and new Sadurnis out there
IMHO, the Duos at Blue58's are the only horns I've heard that are totally capable of getting down'n'dirty w rock, dance, electronic, fusion, prog etc, although still a different presentation than I'm used to w my Zus
In yr estimation, how do you compare and contrast them, because if I ever move to horns, 18 months of regular exposure to ever evolving Duos at Blue's makes them the logical choice, but there are interesting alternatives like yr Odeons, and new Sadurnis out there
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