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

For music, I would say vocals and piano would probablay help you evaluate the sound. For positioning I'd be looking at the position where the soundstage would be the widest and deepest and yet not sacrifice too much low end, but that's just me.

I like to use the tracks "Season of the Witch" by Donovan as a reference point to get soundstage and imaging focused and bass honed in.

Other tracks on "Donovans Greatest Hits" can then also be used as tests once you tune in using that cut.

Rebbi-

I know my last post may have been rambling, but I think we're experiencing a similar thing. For me, they sound great no matter where I put them, but different locations result in different qualities.

I'm fairly comfortable with the idea of moving placement depending on source and desired result. I'm just not used to it. Any other speaker I've every had or heard needed to be in just the right location, and I had to sit in just the right spot. The Ohm's- not so much.

On the other hand, I'm not exactly an audiophile, and my knowledge is fairly limited. So, I'm open to the possibility that an 'Ohm Guru' could show me the 'right' way to place them. But that's why I went with the Ohm's in the first place- they're not sweet-spot dependent for good results.

Once I hook-up my beast of an amp, I think I'll be in a better position to dial them in. But delays in remodelling seem to keep pusing that even back further and further.

-P

Wow, I cant wait till my 1000's arrive as well as my modded DK integrated.

Parasound63,

I think you have the right mindset for how to best locate the OHMs.

You have to play around with different locations, listen and decide what works best for you.

Just avoid location within a foot or two of walls. Some locations will sound great and some just OK, though perhaps few flat out bad.

Also remember to play with toe-out. Toeing the speaks out for more direct effect from the super-tweet can be used to sharpen things up and even compensate for left/right balance issues in some rooms like my L shaped demon. Direct exposure to teh super-tweet will also effectively collapse the sound stage width as well, which may be a positive or negative again depending on room acoustics and personal preference.

I like "Season of the Witch" and other Donovan cuts like "Jennifer Juniper" for example as a reference track for setting up OHMs because it is a spatially sparse and simple yet tonally diverse production where the mix provides just a few sparse yet fairly detailed recording element locations across the soundstage that are easy to focus in on and access discretely.

If things are going well with the overall system setup, this cut sounds spectacularly detailed, spacious and lush on OHMS or any good system for that matter. If not, it will sound quite mediocre and bland.