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

Zkzpb8,

Thanks! And does anybody know what the recommended break-in period on these puppies is? The review on Six Moons.com seem to imply that it was something like 40 hours...

i'd say less, but i've always found ohms to sound pretty satble right out of the box.

I'm not certain but I don't think the smaller CLS drivers on the micros take too long to come into their own when.

Mine didn't come with any kind of manual - I emailed John if I had a question - he always emailed back quickly.

If the room is live and they're close to the back wall, they can generate lo end - try to keep the speakers away from the back wall, but experiment. In my case, I tuck them about a foot away for casual listening/TV, but move them out for critical listening (equal triangle). Like you said, they're very easy to move around, so that helps.

Everybody,

I had a little more time to listen to them yesterday. (Every time I post here, I become aware how pathetically busy my life is these days...)

I guess I'll cut to the chase and say that after about half an hour listening to a number of different cuts from various CDs, I nearly picked up the phone and called John Ohm to tell him how thrilled I was...

Okay, granted that the Totems were not nearly broken in, but I have to say that the bass response on the Micro-Walsh Talls absolutely puts the Totems to shame. The bass on the Walshes is not only far more powerful, but it also impresses me as being more fleshed out and more articulate than on the Totems. For example, the title cut on Donald Fagen's most recent solo CD, "Morph the Cat," opens with a very deep and very powerful solo line on the electric bass. On the Totems, the the bass is "there," but it sounds rather anemic and homogenized. On the Ohm's, not only is the base much "fatter," but you can also hear more than the notes themselves: you can hear the texture of the notes... you can hear the notes are coming from a stringed instrument which is being plucked. It's wonderful!

I've already mentioned, in a previous post, how impressive the opening Japanese drum crashes are on the Princess Mononoke film soundtrack are. I guess what makes them so impressive is not just, at lease perceptually, how deep the day seems to go, but that these little tower speakers are really capable of "moving some air."

The other thing I noticed