B&W 'New' 800 Series

Bo, reflected on our conversation and it reminded me of a similiar situation I ran into with a local audiophile.  He had an extremely high end
system with a 20K vinyl rig and Avalon Eidolons etc..., which I thought would be exceptional to experience.  Bottom line is that he played music at an extremely low level, suffered severe humm issues and dynamic range limitations.  Bottom line is that I am often amazed at how many audiophiles have extremely bizarre listening habits that exhibit traits contrary to live music being recreated.  Attempts to controll the acoustic envelope and tighten a systems abillity to fully express the dynamic range and scale of the music is antithetical to Hi Fidelity!

I sold Avalon for over 6 years of time and even sold some to my best friends. But.....Avalon is very poor in intimate focus. 

Why? Because instruments and voices do not get the real shape and physical appearance as in real. They can create a deep and wide stage, but within this stage the individual focus of instruments ans voices is not as sharp and small as in real.

The biggest mistake is using MIT with Avalon. Why? Because this makes the stage even less intimate. When we did shootouts of MIT against AQ with Avalon speakers. The AQ were in each part superior.

You need to understand the properties of MIT before you can adapt them in a system. 

Stealth low frequency is able to give voices and instruments their dynamics. In this part we are far ahead of all our competitors.

Because it let you feel the energy/dynamics were it is at the recording. 

The same according to details and space, we can create much more resolution and the air in a space compared to all our competitors.

In Munic at the highend show we found out how much further we are in sound qualtity. It was for us if we were back in time. They all still live in the past, and we live in the future!

Bo - you mentioned the Munich show earlier in this thread and talking with Dan D'Agostino. I have had conversations with him. What did you talk about ?  
 

We were looking at their new amp, and a woman asked us what we think about the amp. I made the remark that I miss a colour and this is dark grey. She started to smile and said this is the colour we were discussing about.  After this she asked us what we do in life. I told her about our way of consulting. And that we developed our own way of roomcorrection. She was zo amazed by our story and I showed her pictures of how we work. She went to Dan who was speaking with other peolple. She said; you have to come here to listen to this story. I talked 2 times that day and he gave me his card.

The old way of audio without our way of roomcorrection is far inferior. This also counts for highend. What I said earlier: we are far ahead in each part you judge sound for.

Total Sound are 9 different parts you judge sound for. This means that we focus on each part. We want to improve each part all the time.

This is a much more effective way of using audio. The rest is only able to connect a source, amp, speakers and cables. Then they audition the endresult. This is a very ineffective way of using audio.

We collect properties and we build our 3 dimensional physical sound by these properties. This way we can outperform every competitor. I am sorry, but this is the truth!