Sonus Faber Cremona Auditor old v new

Influence

That is just about the strangest thing i have ever read, my experince is the exact opposit.

I have demoed the elipsa cremona M and auditor cremona M, against the orginal cremona all well runned in at least 7 times with various different amps and sources and the very thing I dislikede most with the new sonus fabers are the aggresiv trebel region .
I have sensitiv ears also and the org cremona on the other hand is a very seductiv speaker in this region, yet still lest the detajls through and that very very rare.

At the time i was offerd to buy new org cremona and new cremona M at the same price , and bourgt the org cremona because it was the better speaker espicialy for my gear and the seductiv balanced sound.

The org cremona is a special speaker, very responsiv to what to drive it with, it will sound slow dark and muddy with the wrong gear but try with somthing like linn klimax and you will be in musical heaven.
The new sounded more or less the same no matter what amp we tried it with and that was great hifi, amazing bass hot trebel and not very musical.

The review you refere to are the elipsa (same tweeter as the M`S) and both stereophil and hificlube both bashed the elipsa for being to aggresiv and producing surthen unwanted frq in the trebel region just like i heard it and other to.

Try reading the reviews for the orginal cremona ,stereophil quate, Do you have a bad case of high-tech, metal-dome tweeteritis? Sonus Faber offers a cure. In the midrange and treble, the Cremona reminded me of a Sonus Faber minimonitor.


My dealer wich is very alternativ (so is his prices) tells me that alot of german SF dealers are complaning about the new sonus faber sound because of the lean sound espicialy in the trebel region ,and are looking for somthing to replace them , this was what the old sonus fabers where so special at , complet earpleasing sound you can listen to forever.

With all do respect it almost seems that you are mistaken the org for the new.

thanks

>

I've heard the old Cremona on four different amps, demo'ed by a dealer that has been selling these forever (that knows how to make them sound their best), and I've never heard them other than slow and muddy and overly soft. Granted, I've never heard them with Linn gear, but as I said before: if it's so fussy on which gear it will sound decent with, I'd rather have a speaker that sounds decent with almost any gear.
As regard to treble: many speakers I listened to (varied from Audio Physic Scorpio, via Focal Electra to Wilson Benesch, Living Voice and Thiel) sounded bright (some even harsh) compared to the new Cremona, whereas the old Cremona sounded soft, like a rounded off valve amp. The only drawback for me is the lack of really deep bass (but that's common with almost any speaker of this size) and perhaps the imaging could have been a tad sharper. Other than that: it's pricetag. ;-)

Hulskof

Your findings is the same as mine.

Heard the cremona many times and it the diddent sound very good, always muddy overly soft and and with some gear BIG uncontroled bottom end.

The export/import dealer that actually sold my cremonas have for many years not liked them at all, then suddenly one day on a hifi forum said the sound like a dream, and he now has a set in his collection.
He heard them with the right gear.

Linn gear sound rather dry, completly naked and uneuphonic , and lean yet very musical and rytmicly saisfing and obaove all very tunefull.
The top of the range klimax 500 solos i have play the music without eny sonic compression at all and have a amazing dynamic headroom that makes them go deeper then enything else i have experinced .
The are also lean, naked sounding

somhave the cremonas balances all the leanness out of the linn and vise versa creating a strange musical synagi that must be heard to be understood.

Old cremona is also very picky to room placment, sure you can get out sound out of them in less then ideal placment but give them a BIG room with tall selling and the really open up.
As stated before the are very sensitiv to what amp and source you use with them.
Are this a good thing or bad?
Franco clearly diddent wanat to make compromises with the org cremona , but have to make them as good so possibel in great room with great amplifires.

The new one is much easyer to place, easyer to find synagetic amps for , to some thats a good thing to each his owen i ges.

In my book the more a speaker changes sonics with different rooms amps the better it is.
Just like old amati it sounded horribel with entrylevel gear but feet it some SET tube power and the are heaven.

That's where our opinions differ then. The common Cremona listener won't get the best out of their speakers according to you. To me that's fine as long as the result still is very pleasing. But the old Cremona dissapoints drastically if specific demands (room placement, gear, roomsize) are not met. Which in most cases makes it a lousy speaker to me. How many people have the patience and determination to work on all the specific speaker demands? Most of them will have turned their backs long ago, writing the speaker off. I can't say I disagree with them.
But it's great that someone like yourself did dig deep and found all the answers.