#POWERBLOCK STAGE 3 PRO#
The Pro EXP is the premium example our Stage 1 Set starts at 50 lbs. Not everyone needs the maximum weight right away, that’s why we offer sets that will grow with you over time. This is why I like tall systems like Evolution Acoustica MM7 and Rockport Arrakis and Wilson XVX and Gryphon Pendragon/Kodo and Von Schweikert Ultra 11, etc.Expands Pro EXP Stage 2 Set from 70 lbs to 90 lbs per hand. Speaker: Avalon Acoustics Osiris, Altec 604e, Heretic 612, Graham ls3/5 Pre: Soulution 720 incl Phono, Audionet PreG2, Line Magnetic LM- 512CA Amp: Audionet AMP, Heisenberg, Line Magnetic LM- 503 PA, Phasemation MA-2000 Integrated: Line Magnetic Audio LM-210iA Dac: Lampizator Baltic 3 MKII CD-Drive: Oracle CD2000 Musicserver: AntiPodes K50 new PhonoPre: Phasemation EA-2000, Allnic H-5500, vdh The Grail SB Phono: Kenwood L-07D, Basis Debut Gold Standard, TechDAS AF-3P, Kuzma Stabi R, Technics SL-1000 MKII, Luxman PD444, STST Motus IID Tonearm: Ikeda IT-407CR, IT-345CR, SME 3012R, FR 64s, Sorane TA-1, Durand Tosca, The Wand Master, Brinkmann 9.6, Glanz MH-1200s Cartridge: Shure V15 Vx, EMT Novel, Ortofon Anna, Verismo, Koetsu Urushi, Tigereye, Azule, Clearaudio Titanium, Soundsmith Hyperion OCL-S, Phasemation PP-2000, Allnic Rose, Benz LP-S, TechDAS TDC 01 Step up: Phasemation T-2000, T -1000, Consolidated Audio Cables: NBS BL I & III, JPS Super Aluminata, Wireworld Platinum, MIT EVO 850, SAEC Triple C Power: Furutech Powerblock 6E Rack: Artesania Exoteryc, HRS SXR, CMS QXK, Maxxum Platform: CMS Black Diamond, Maxxum, Center Stage 2, HRS M3x, Accurion i4L Grounding: Telos GNRīased on my auditioning experience I have found that I like tall loudspeakers, because I find that height contributes to realistic soundstage scale and a more authentic reproduction of the size and grandeur of a classical symphony orchestra. Indeed, comparing small and big speakers is an interesting field of speaker Design concepts as such and room acoustic interaction as well. If you look to the new Wilson speakers, I can see, that their speaker cabinet deaign is now also changed and improved in regard of reducing wall reflections. Their latest Tesseract is the end result of their stealth design.
It is said, that Avalon speakers do have their unique design to create a kind of stealth effect to acoustic reflections and that Avalon is testing their speaker cabinets empty just as reflecting bodies in a room with small speakers playing music.
Gryphon has give for their first 4 tower speaker project a clear spec, that the speaker should be used in bigger rooms (more than 60qm)įrom Avalon‘s Neil Patel I learned, that ver often smaller speakers do sound more „real“, as the reflections from the rear and side walls can flow more naturally without beeing reflected from the large walls of big speaker towers.
#POWERBLOCK STAGE 3 PLUS#
The sonic signature of a point source speaker plus integrated sub is dfferent than from a line source, specially in big rooms and long distance listening. This speaker type is creating a cylinder wave, with reduced reflections on floor and ceiling and also a reduced lost on DB over the listening distance. The bigger wilsons had 3 way point sources and 2 way subwoofers below.Ī complete different story are line sources like Dali Megaline or the big Gryphons. Going further also the Wilson concepts are point sources with additional subwoofer, like the former watt/puppy had it even in the name. Many do follow the concept of a point source with extended bass capability, best example is the big Magellan Grand, concert, which is a 2 way monitor in the middle and a bottom and top subwoofer unit. There are many tall speaker concepts existing. This contrasts with the tall speaker which automatically scales up and homogenizes every recording, whether there is authentic ambient large soundstage information encoded in the recording or not. He feels that the small speaker is more accurate in the sense that it will generate or not generate only the ambient information which is actually encoded in the recording, and not automatically scale up to large size every recording.
In his view – – and, Kedar, you should correct me straightaway if I am mis-stating your view here – – a small speaker, such as the wonderfully musical DeVore O96, more accurately channels the actual ambient acoustic soundstage information, if any, which is in the recording. Kedar disagrees, and argues that tall speakers artificially generate a sense of size and scale regardless of whether such ambient information is actually encoded on the recording. This is why I like tall systems like Evolution Acoustics MM7 and Rockport Arrakis and Wilson XVX and Gryphon Pendragon/Kodo and Von Schweikert Ultra 11 and YG Sonja XV, etc. Based on my auditioning experience I have found that I like tall loudspeakers, because I find that height contributes to realistic soundstage scale and a more authentic reproduction of the size and grandeur of a classical symphony orchestra.
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