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

Finsup,

I use the Velodyne SMS-1 to room correct a pair of Rythmik subwoofers. My Ohm 100s are crossed to the subs at 75hz by an analog NHT x-2. The "subwoofer out" signal from the x-2 goes to the digital Velo unit and on into the subs (no digital processing in the main signal path, FWIW). Two bassbusters handle the excess energy between about 80hz and 125 hz in my room. Side reflections are dispersed by a wall of irregularly shelved LPs on one side and a bay window on the other. The wall behind the speakers is 2/3 covered with absorbtive and dispersion materials.

This set-up produces really good results, both subjectively and measured.

Marty

Just a note to say that I'm still amazed by how much the 100's like better amplification. The Manley Shrimp preamp / Bel Canto S300 combo sounds very sweet. I was listening to Donald Fagen's "Goodbye Look" the other day and wow... marimbas everywhere, and you can follow every harmony line in the vocals.
My room is quite lively, though -- hardwood floors, painted drywall and windows, and I wonder how some judiciously placed absorption might benefit things... at least a rug on the floor!

I've managed to get both pair of OHMs tuned into their respective rooms pretty well and to my satisfaction without having to add any special room treatments.

One thing I have to add is that the last thing I felt my system was coming up just a tad short on until recently was ability to deliver all the details of a larger scale orchestral or symphonic work totally coherently in comparison to some of the best systems I have heard in this regard from digital source. The final tweak that resolved this and has me swooning of late was switching to all DNM Reson ICs from source to pre-amp and pre-amp to amp. My conclusion is that the minimalist single solid conductor design of these ICs is darn near optimal for letting complex musical passages pass through coherently and totally in phase. I've been stunned by the results frankly. At all volumes now, even the most complex passages come through in a most coherent and involving manner.

Its made justifying switching to a bigger amp even more difficult for me to justify than before. Everything just sound so right now, regardless of content/complexity. I set my music server to jukebox mode and just never want to stop listening. Whatever the next cut that happens to come up is I can just tune in and listen contently wondering what I will hear next that likely I had never heard before.

Mapman that is sweet!

Good to hear it, Mapman.

Finsup, nothing I sent you is private info, so feel free to share.

I did indeed install some absorbing foam panels at a first reflection point. This has greatly evened out the sound from the L/R channels, which had been very different in my asymetrical room. I also placed foam pipe insulation along some sharp edges that drop down from my ceiling. Along with some careful dialing in of the speakers, I am hearing a significant improvement in the sound overall. The forwardness that had bothered me on piano passages is greatly reduced. More treatments will come, but I am too busy and too broke right now. Overall, I am pretty pleased.

A succession of audiophile buddies have passed through my listening room. Although there was some limited criticism (these are very critical listeners!), they all have been fairly impressed, and amazed at the value the 2000s represent.

Last night, I listened to disc 2 of Danny Elfman's Music For a Darkened Theater, #2. Fantastic dynamics, long sustained tails of musical notes, startling percussion that made me jump, and a huge soundstage. And that timbre, always that true-to-life timbre. Perhaps it could be a little better, but I was hard-pressed to put my finger on exactly how.

One more audiphile friend is stopping by tonight (and his system cost him easily $40K). Unless he thinks I can do better with a specific speaker for $3K or less, I expect to be keeping the 2000s (just 9 days remain in my trial period).