@Sufentanil - thanks for your response.
I appreciate maturity over immaturity. I listen to electronic, jazz and vocal. In the write up i wanted to skip over the usual repetoire of discussion that of other reviewers who go on to discuss little sparkles here or there…the more natural timbre here in that passage/song etc.. or the the highs were better in this or that way… because not everyone listens or will go out of their way to get that master track and listen for the same thing. Nor would they even know what that particular passage really sounds like in real life thats the truth. In reality, I would even dare to say that 50% of audiophiles out there haven't a clue as to knowing how real instruments such as drums, bass, cello, piano etc sounds like in real life - when in reality they just think they know - they really haven't a clue. You'll have to message me for that music list.
Most audiophiles been brought up their whole life listening to colored speakers that to them have become the norm - the standard - then upon hearing something with correct tones, pitches, attacks, they question it as "wrong" or that something is "missing". Granted the TSMs are not going to harness deep into the sub 40-50hz regions but well enough to differentiate the different tones therein accurately. Hearing this new speaker is believing! And to me, accuracy is very important (as opposed to a mere boom boom down to 35hz - I'll leave that to the un-trained ear), enough that when I hear drum kicks and brushes - being able to discern a nylon string from steel strings - the pitch of an artists voice - to me this and more... the TSM did all those very well. When a trio plays together, you can hear them individually playing together not merely as one note. I was simply listening to the music washing over me as opposed to listening with the eyes. To all the nayers out there, they can go challenge themselves with blind listening tests - a guaranty of failure for many. So for me, of all the speakers I've come across, none has been more truer in musical display than this one.
Unlearning bad habits is tough but once done, one can simply search for the truest and leave the mere hifi to those still in search of rumbling bass that rattles the picture frames or the high frequencies that only animals can hear.
Like you said, of course it's not the "be-all" speaker - of course not, but if this speaker fulfills up to 90% of correctly played music (which I am sure of) I can happily live with it. Granted it is not going to do subsonic base and earth shattering theatre surround because that is for the mere hifi audiophile.
I've owned a good half of and auditioned others of the following speaker brands in the past 5 years of this hobby: (owned) Harbeth C7 & P3, (owned) ProAc 1SC, (owned) Sonus Faber Auditor, Dynaudio Special 25, (owned) Totem Model 1, (owned) Devore Fidelity Gibbon 3, 3XL, and Nines, (owned) Reference 3A De Capo, Von Schweikert (model predecessor to VR5), (owned) Vienna Acoustic Haydn, Tannoy Kensington, Joseph Audio Pulsar and finally Studio Electric Monitor SE.
Please message me for specifics as to what I thought about each one - this response is long enough. Kudos to you if you've read this far - some have already skipped this with a laugh or as waste of their insignificant knowledge. Every kind of tires out there for everybody as you can see, but for me I've picked my all seasons and have come to call it quits. As I've stated, no more merry-go-round.
I appreciate maturity over immaturity. I listen to electronic, jazz and vocal. In the write up i wanted to skip over the usual repetoire of discussion that of other reviewers who go on to discuss little sparkles here or there…the more natural timbre here in that passage/song etc.. or the the highs were better in this or that way… because not everyone listens or will go out of their way to get that master track and listen for the same thing. Nor would they even know what that particular passage really sounds like in real life thats the truth. In reality, I would even dare to say that 50% of audiophiles out there haven't a clue as to knowing how real instruments such as drums, bass, cello, piano etc sounds like in real life - when in reality they just think they know - they really haven't a clue. You'll have to message me for that music list.
Most audiophiles been brought up their whole life listening to colored speakers that to them have become the norm - the standard - then upon hearing something with correct tones, pitches, attacks, they question it as "wrong" or that something is "missing". Granted the TSMs are not going to harness deep into the sub 40-50hz regions but well enough to differentiate the different tones therein accurately. Hearing this new speaker is believing! And to me, accuracy is very important (as opposed to a mere boom boom down to 35hz - I'll leave that to the un-trained ear), enough that when I hear drum kicks and brushes - being able to discern a nylon string from steel strings - the pitch of an artists voice - to me this and more... the TSM did all those very well. When a trio plays together, you can hear them individually playing together not merely as one note. I was simply listening to the music washing over me as opposed to listening with the eyes. To all the nayers out there, they can go challenge themselves with blind listening tests - a guaranty of failure for many. So for me, of all the speakers I've come across, none has been more truer in musical display than this one.
Unlearning bad habits is tough but once done, one can simply search for the truest and leave the mere hifi to those still in search of rumbling bass that rattles the picture frames or the high frequencies that only animals can hear.
Like you said, of course it's not the "be-all" speaker - of course not, but if this speaker fulfills up to 90% of correctly played music (which I am sure of) I can happily live with it. Granted it is not going to do subsonic base and earth shattering theatre surround because that is for the mere hifi audiophile.
I've owned a good half of and auditioned others of the following speaker brands in the past 5 years of this hobby: (owned) Harbeth C7 & P3, (owned) ProAc 1SC, (owned) Sonus Faber Auditor, Dynaudio Special 25, (owned) Totem Model 1, (owned) Devore Fidelity Gibbon 3, 3XL, and Nines, (owned) Reference 3A De Capo, Von Schweikert (model predecessor to VR5), (owned) Vienna Acoustic Haydn, Tannoy Kensington, Joseph Audio Pulsar and finally Studio Electric Monitor SE.
Please message me for specifics as to what I thought about each one - this response is long enough. Kudos to you if you've read this far - some have already skipped this with a laugh or as waste of their insignificant knowledge. Every kind of tires out there for everybody as you can see, but for me I've picked my all seasons and have come to call it quits. As I've stated, no more merry-go-round.