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

Hi,

I'd love to hear the impressions of people who've actually spent some time with these speakers to share their sense of their plusses and minuses. Mapman here on Audiogon is a big fan, and has shared lots on them, but I'm wondering who else might be familiar with them.
rebbi
rebbi OP
1,326 posts
 
Hmmmm....

Maybe I can take back that last comment about not being able to afford separates. I see, for example, plenty of used, tube preamps on Audiogon for not a lot of money... many under $700. What makes and models would you folks recommend keeping an eye out for in the used, tube preamp arena?
mapman's avatar
mapman
22,563 posts
 
Reb,

I think you can do it for $1500 and separates can deliver better performance, especially since you already have the separate phono pre-amp.

You could do a Juicy Music Peach + Musical Fidelity A3CR or something similar for about that. That would have been my choice at that price point had I not gone for the more expensive ARC pre-amp (with phono).
bondmanp
1,828 posts
 
Update: Vinyl! Finally tried some vinyl on the 2000s this weekend. I have an original VG+ Fredereick Fennel conducting a Cole Porter song book, a Mercury Living Presence Wilma Cozart (pre-Fine) production. Sound was very good, very clear, and again, with marvelously true-sounding timbre. So far, truth of timbre seems to be the Walsh 2000's strongest attribute, followed closely by detail retrieval. Even on a mono copy of "Invitation to the Dance", sound was spacious and full (although of course not as widely-staged as stereo LPs). Perez Prado - "Prez" in RCA Living Stereo (older pressing but not a shaded dog), was dynamic and exciting, with great horn sound - not too edgy, but plenty of bite and blat. Drums were especially realistic on this LP. An Isaac Stern Mozart recording from the 1970's was less appealing, but I am guessing it was the LP, which seemed to have a miniaturized soundstage.

I then played a few cuts from some Sheryl Crow CDs that would give me trouble on the Vandersteens. Especially "Safe and Sound" - a terrific song, btw - would sound very congested and pinched during the louder passages toward the end of the track. The 2000s passed this test very well, pushing Crow's voice back in the mix a bit relative to the Vandersteens. Not necessarily better, but different, and this allowed the band to be heard more clearly. Soundstage on this cut should, and did, extend into the room. The producer uses phase to make some of the sound sound like it is coming right out of your ears. I heard this with the 2000s, but to a slightly lesser degree than the Vandersteens, which was a bit of a surprise. But the greatly reduced sence of congestion and pinchiness during the louder passages was a real home run.

I am expecting the support pads from Ohm soon. Once in place, these should stabilize the 2000s on my uneven floor, and I can revisit some of the tunes I've played.

I still haven't tried them without the subs, or dialed-in the subs for the 2000s, but I will. Just need time!

Rebbi - I use a Conrad-Johnson PV-11 w/phono I got here on the 'gon a few years ago for $800. I am very happy with this unit, and it will probably be in my rack for a long time. Keep an eye out for one if you are thinking of separates.
rebbi OP
1,326 posts
 
Bondmanp,

I like hearing Sheryl Crow on my 100's, too. Some of the tunes on her greatest hits CD sound wonderful there -- and I know what you mean about the engineers using "phasey" tricks to get the sound to do dramatic things. The bongos on "Every Day Is A Winding Road" sound especially great. :-)
mamboni
75 posts
 
Check out this outstanding review of the Ohm MicroWalsh Tall SE in Stereo Times:

http://www.stereotimes.com/speak092409.shtml
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