Ridge Street Audio Sason Ltd. Loudspeaker


In a recent search on the discussion forums page, I stumbled across a few bits written on the RSA Sason Ltd. Loudspeaker. I admittedly have always been partial to the simplicity of a two way design. I was intrigued, however was unfamiliar with the product, so I went to RSA’s website to investigate further. I really wasn’t prepared for the aesthetic appeal these two ways possess (they’re visually stunning). I was also pleasantly surprised to find that RSA is a two hour drive from my home.
I called Robert at RSA and had a lengthy conversation about the Sason, and became interested enough to arrange an audition. BTW, Robert and Steve at RSA are probably two of the nicest fellows and are very accommodating.
Upon arriving, I can confidently say that any photograph of the Sason’s does not even remotely do these speakers justice. They are aesthetically first rate with an exhaustive attention to detail.
The RSA listening room is 19x12x7.5. The Sason’s are placed approx. 11 feet from the wall behind them, and 3 feet from the side walls. This near field position puts your ear about 6 to 7 feet from the speaker. Once I had seen the Sason’s and listened to Robert describe some of the design philosophies, I expected a lot from this speaker, however I was not prepared for what occurred over the next 13 hours. Yes, 13 hours - did I mention that Robert and Steve are really accommodating? The first couple of hours I used RSA’s system for evaluation, which included a highly modified, moderately priced Marantz cdp running direct into a pair of Pass Aleph 30 stereo amps that were vertically bi-amping the Sason’s. The Majority of cabling was RSA’s own Alethias with one pair of Poiema!!! Signature I/C’s linking the cdp and Pass amps. I really wasn’t familiar with the sonic traits of any of these components. I did take my McCormack DNA-2 w/ SMC rev. A amplifier which I used in the system later in the day. The room had some home made acoustic treatments consisting of egg crates surrounded by a wooden frame. These were placed at first reflection points and other strategic places. The room also had a few small tapestries hanging on the walls.
Although I don’t get into detail about each cd and the tracks used for comparison, here is a list of the cd’s I used for evaluation.

Jesse Cook-Vertigo
Cowboy Junkies-The Caution Horses
Diana Krall- Live in Paris
Stanley Clarke- East River Drive
George Skaroulis- Generations
Kotaro Oshio-Starting Point
Chris Spheeris- Eros
Isreal Kamakawiwo ‘ole- Facing Future
Tracy Chapman- New Beginning

In the first few moments of listening I was amazed by the Sason’s ability to completely disappear. I can only recall one other instance where another loudspeaker disappeared to this degree, which was the Avalon Eidolon a few years back. I have to believe a lot of this is attributed to the use of the granite cabinet, which seems to remove all cabinet colorations, leaving the drivers to do their thing. While we’re on the subject of drivers, I would like to point out that the Sason’s are fast……..lightening fast. Now that I have spent some time with the Sason’s, I better understand the Free Energy concept, which is outlined on the RSA website.
The second thing I noticed about the Sason’s is their incredible ability to render the timbral accuracy of instruments. The Sason’s truly conveyed the rich, woody character of a cello. They also managed to capture the size, authoritative nature, and beauty of a grand piano. I have always thought the piano was one of the most difficult instruments to recreate, but the Sason’s get the overhang and decay of notes just right. The Sason’s also reproduce the leading attack of notes correctly, whether it be the piano, acoustic guitar, or upright bass. The rendition of female vocals was astounding and life like. The Sason’s manage to give you that realistic “in the room” interaction with the performers. When listening thru the Pass amps, I got the sense that the sidewalls of the narrow room were a minor issue, however after switching to my DNA-2 the sidewalls seemed to disappear. I did get the impression that the Sason’s could easily fill a much larger room.
The Sason’s are very balanced across the audio spectrum. The highs were some of the smoothest I’ve heard. The upper registers were incredibly detailed, articulate, sweet and so convincing. The integration between the two drivers is superlative, and the notes seemed to hang in a three dimensional space. The midrange was superb, transparent and free from colorations, and had the ability to preserve the organic elements of instruments, which made it easy to be drawn into the presentation. The bass was tuneful, tight, fast and when called upon, visceral. I was taken back by not only the quality of bass, but the quantity of deep bass the Sason’s reproduced. They are indeed full range. I was also surprised at how dynamic these speakers are for a medium sized two way monitor.
One of my priorities has always been imaging. The Sason’s imaging capabilities are nothing short of magic. The soundstage was wide and tall, but not exaggerated. The Sason’s produced a generous amount of air and space around individual instruments, while still preserving the performance as a whole. The depth of soundstage was one of the most impressive I’ve heard. If your looking for an upfront in your face perspective, the Sason’s are probably not for you, however they don’t put you in the cheap seats either. I think they strike a nice balance between the two. These speakers seem to connect the listener in an emotional way to the performance unlike any I’ve heard. The ease and flow of music from the Sason’s allows the listener to forget about the equipment and be enveloped in musicality.
Late in the afternoon I had the opportunity to spend several hours talking with Steve Rothermel, the primary designer of the Sason. Steve was a wealth of information, and in great detail, described his design philosophies and all the technical features of his creation. Steve is very specific as to the design applications. There are no afterthoughts or band aids with his designs. As I mentioned before, there was an exhaustive attention to detail that went into designing the Sason’s.
In the past twenty years I’ve been very fortunate to have spent many listening hours with alot of great speakers. I’ve owned the Sonus Faber Amati Homage, Avalon Eclipse, Avalon Eclipse Classics, Vandersteen 3A’s, Martin Logan Quest Z’s, and currently use Magnepan 3.6r’s. I have extensively listened to Kharma’s, Genesis, Proac, Aerial Acoustics, B&W, and many other brands. There are traits I admire about all these speakers, however I can honestly say I don’t remember the last time I was so impressed with the overall sound of a speaker. If you can live without a handful of hz at the deepest bottom end, then IMHO I believe the Sason offers the complete sonic package, at least to my ears. I certainly give consideration to the fact that all listening was in an unfamiliar room with primarily unfamiliar equipment. I am looking forward to auditioning the Sason’s at my home with familiar surroundings and electronics. If last weeks experience with the Sason’s is a true indication of performance, I will more than likely be purchasing a pair as soon as my finances allow. I know I have somewhat glossed over some of the details regarding this speaker, however I am trying to keep this to a manageable length. I will do my best at trying to respond to any questions regarding my experience with the Sason’s. Happy Listening.
rhythmace4218
Drubin wrote:
"...There are some very serious weaknesses in audiophiledome"

Amen Brother! Man, some of the ideas I have that I hope I get to do before I kick the bucket. Time's short!

I think what happens many times is that well intentioned engineers come up with adequate solutions (i.e. read "convenient") to problems and then the big outfits buy into these solutions and they become the excepted standard. The unsuspecting audio/music enthusiast doesn't know better from worse and it simply becomes the norm. Then, not wanting to pour more money into a better solution, bigger "call the shots" companies devise clever little twists on the same half-assed mouse trap and come up with clever ways to say their mouse trap is the best bestest and on it goes. Big companies have to chase the dollar to maintain themselves so, like I said, a lot of this stuff is more a matter of function follows form rather than form follows function. Much easier and faster to slap on a set of binding posts on the back of a speaker than what we're doing for example.

If this is going to change, it's going to come from companies that follow a passion instead of the dollar. Unfortunately we're typically the small guys that have little influence. I do believe us smaller companies do what we can within our product lines which are more specialized to alleviate what I perceive as dumb. We're following a passion. Companies like Rockport Technologies, Peak Consult, Purist Audio, Virtual Dynamics, Prana Wire and Eichmann as well as a few others are companies I personally admire for their passionate efforts.

Obviously this isn't a condemnation on other well regarded audio products. There's certainly great stuff out there even if I disagree with certain things about those products.

Gees, I probably didn't make any friends here. Maybe I'm all screwy. Maybe another manufacture will chime in here and agree or present another view.

Regardless, I think most of us have much to enjoy about our music playback and, however slow or not, I believe it will continue to get better on some of the levels you bring up Drubin, as some of us obsess more, No?

Anyway, Cheers!

Robert
RSAD
Hello Rhythmace,

I saw this post and just had to comment. Your impressions and comments regarding the Sason's and RSAD are exactly as mine. I too visited RSAD (last May) and wasn't completely prepared for what I heard. I had just sold a pair of Sound Lab Electrostatics and loved the fast intimacy of them but longed for more weight and body. Not only did the Sason's surprise me with their speed and accuracy, but the sound stage was equal to the large planars - it was rather unbelievable to me. The inter-detail of music through the Sason's is unsurpassed by anything I've heard in my 30 years in this hobby. I'm a fan of the human voice and of the piano. The tone and decay of the piano was so "correct" I questioned if the Sason's were specifically voiced that way but I've later realized that tonality is amazing across the entire instrument range.

Well, needless to say I purchased a pair. Break-in time was lengthy but Steve was very helpful through the entire process and always encouraged my comments. I have owned speakers several times more expensive and some of the best "brands" available but I have never been so emotionally involved with the music as I have been these last few months. For the first time ever, I can listen to music all day - all weekend, week after week and never tire.

I have a pair of older large Rowland monoblocks I needed for my last pair of speakers. I was planning to sell these after the Sason's were in place and move to smaller tube amps. I have to say the Sason's seem to like the power and control these Rowland's have. It looks a little odd that the amps are almost as big as the Sason's but music is so "right" I'm hesitant to change anything.

I believe many people purchase audio components based on reviews or other people’s opinions - afraid to believe their own ears. You can't beat the 45 day trial period but as you know, if people would just visit RSAD and listen!

Good luck to you with your speaker pursuit. If you decide to purchase the Sason's, I know Steve and Robert (and the Sason's of course) won't let you down.
Hey Larry! My personal best wishes for a great Holiday Season to you. You're a deserving Gent of nothing less.

The Alethias is our new top drawer cabling. If I may say so, it's awesome stuff and our most ambitious effort. Currently, there is the Alethias S/Cs and AC Power Delivery Cords. The I/Cs are still on the board. I haven't completely figured out the materials application yet to make the I/Cs practical. As it is, they won't bend and, maybe it's just me but, I'm thinking this isn't good. My goal is to come up with a solution that doesn't compromise the design premise. Not a problem with the S/Cs or P/Cs and those designs are done and available.

There's some of the Alethias out in the field already and those folks are very pleased. This taken from one of our feedbacks here on A'goN regarding the S/Cs: "The speaker cables are outstanding. I have had lots cables including Valhalla, Nirvana, and others. To date the Alethias are the best that I have had. Robert is a bright, innovative guy, that is out to please". Thanks Ron.

I'm probably most excited about the Alethias power cords. Mainly 'cause one doesn't typically expect as much from a "stupid" power cord as you would from signal carrying cables. I understand it intellectually but music impacts the emotion, not so much the intellect. So, upon evaluation of the cord, I was simply left shaking my head for the emotional connection to the music....because of a "stupid" power cord.

Sonic wise, in a nut shell without going into a whole bunch of tired but I suppose applicable audioclichés, more expansive but not out of proportion, ability to hear way deeper into the recording venue, expressively nuanced, better extension at the extremes without being exaggerated, and....floaty. I really don't know what that means but maybe it will become a new audio term. There ya go, LOL!

Maybe this gives some insight: Aside from busier music like Big Band stuff (right now I have Big Phat Band, XXL playing recommended to me by Tvad - great stuff), I particularly enjoy music with lots of space in it. The space on a good recording is very instructive when evaluating stuff. MA Recordings "Further Attempts" by Todd Garfinkle and Water Lily Acoustics "Saudades" (hard to find) are excellent in this regard and, it's great music to boot. With the Alethias doing transmission duties, there are places where you get the sense a musician is preparing for the next measures. Darrin knows what I'm saying. That's what I mean by being able to hear much deeper into the recording venue for example. Floaty - I don't know. Maybe Andreas Vollenweider's "Down To The Moon, Dancing With the Lion Behind the Gardens-Behind the Wall-Under the Tree, Caverna Magica" CD.

Anyway, both Steve and I are very pleased with the Alethias cabling.

One of these days I'll get all the support materials (URLs, images, sorely needed website update) done so it can be formally introduced. Owners Manuals are done - this is good.

Does that help a bit Larry?

My Best to you.
Robert
RSAD
Thanks Robert, your explanation helps a lot! I had checked your website and thought that perhaps I missed something.
As always, thank you!
I wanted to expound a bit on Robert's earlier mention of the musician preparing for the next note, and even measures. The Sason's conveyed the uncanny ability to express the space between notes. This space and what is contained therein is critical to the presentation as a whole. I believe there are alot speakers out there that miss this critical part of a performance. Once you've experienced this, it is quite addictive. The set up at RSA conveyed this in spades, and alot of this had to be attributed to the transparency and tremendous detail brought to the table by the Alethias cabling. I am looking forward to trying all the Alethias offerings in my system very soon. Happy Listening