Ohm Walsh Micro Talls: who's actually heard 'em?

If you're soundstage/imaging seems skewed to one side or the other due to placement and/or room acoustics, try toeing out the OHM on the weak side only to direct more high end energy from the tweet towards your listening area from that side.

That is what I do with my 5's to help balance things out in my listening area in the long area of my very assymetrical L shaped room.

You can see an example of this in the "theBigOhms" photo on my virtual system.

The right F-5 is toed out more than the left to fire more forward than normal so as to balance out the sound stage which otherwise is skewed significantly to the left and extends well into the short length of the L shaped room to the left of the left hand speaker.

Map,

Ellington's extended compositions/theme albums are my favorites. While this is not "Take The A Train", I find the music readily accessible despite the more involved structures. My personal 3 faves are:

Far East Suite
Intimacy of The Blues
Queen's Suite

The last 2 I own only on LPs (Pablo) which sound great, but I can't comment on the CD versions, sonically.

All 3 are definitely worth having.

Marty

Everybody,

I'm sorry that it's taken me such a long time to post to this thread. I've been very busy, but I also wanted to wait until I had something interesting to share. Here than, is Installment #2 of my Ohm Speaker Shootout.

I've been running and attempting to break in and optimize the positioning of the 100s for the past few weeks. It's pretty clear to me that they are not really even close to being broken in at this point. But coming out of curiosity, I disconnected them and hooked up the Micros again for a comparison.

Here's the interesting thing: it's rather amazing to me how little the Micros give up to the 100s in terms of smoothness, tonal accuracy and sound staging. True, the 100s have a somewhat fuller and more authoritative feel, particularly in the lower registers, but in spite of the substantially larger diameter of the driver in the 100s, it's pretty astonishing how much the Micros are able to capture and deliver the bulk of the essential sound of the 100s. Indeed, even in the realm of bass response, although the Micros don't have quite the power and authority of the 100s, as you would expect, there is nothing anemic about them by comparison!

I've had the house to myself for a few days, and so had a rare opportunity for some extended, late-night listening last night. (I'd forgotten how nice it is and how much it enhances the "live performance" delusion to listen with the lights off...) I broke out some vinyl that I hadn't spent time with in years. Rickie Lee Jones's self-titled debut album sounded AMAZING... as trite as this sounds, I couldn't stop listening. And Norah Jones debut album (man, that woman can sing) was glorious... the Micros really show off their coherence in the way that they render the female voice.

I also ought to comment that the 100s, visually, are a good deal more imposing looking, especially in a small room, than the Micros. (The footprint of the 100s is 9" x 9", while the footprint of the Micros is 6" x 6".) After looking at the 100s for several weeks, when you put back the Micros they look like toothpicks, almost laughably small. But man, with the right material, they really sing!

If I had to make a snap judgment right now, I might actually end up with the Micros rather than the 100s, but I'm cognizant of the fact that the Micros are currently more broken in and that they need to give the 100s more break in time.

I guess I'm posting this primarily for anybody who is thinking of putting the Micros in a small room but is worried that they'd be "giving up too much" in comparison to the 100s. As of now, I'd say, "Don't worry about it!"

More to come...

Reb,

Your observations are similar to what I observe between 100s and 5s in my larger room.

Don't forget to break out the pipe organ music though.....

Mapman,

I don't have any pipe organ music in my collection. Suggestions?