".what sort of image height do you perceive when the vocalist is at realistic listening levels i.e. singing between speakers or slightly behind the speaker plane? If 5-6ft, does this effect extend to multi-tracked lead vocalist in either channel?
That's a hard one to answer.
Specific recording parameters are a big factor. You get what's there. Often, that is a lot. There is always good natural ambience to vocals that make them sound natural in the space and easy to locate, usually somewhere between the driver height and the ceiling, from a typical listening position, but are seldom pinpoint in location, more like a live performance than what you would hear typically between two smaller stereo speakers.
THis tends to carry over even into mono recordings and make those seem very lifelike with a natural 3-d ambience, though not stereo, sometimes it can be hard to tell it is pure mono.
The omni-like wide dispersion helps keep the presentation sounding coherent from most anywhere you would listen from, so the sweet spot is essentially quite broad.
"Reading back through this Thread I'm staggered at some of the amplifier power reserves being rumoured. In the case of 500W or 1000W > 4 ohms, how does the Ohm 5000 react to Telarc 1812 type peaks? I've seen this type of program material blow many a fine bass driver :(
What is your experience?"
I have 5s, series 3, not 5000s, which I expect are similar, but I can speak for the 5s.
I have some old telarc CDs and records and I have witnessed exactly what you are talking about back in their heyday. They are known for overall dynamic range and peaks.
Lots of music I play has very demanding peaks, like orchestral, big band, electronica, etc., both on CD and record.
My goal with the OHM 5s and use of monster amps as I call them with same was to be able to raise the roof and go as loud as I would like without stress, breakup, compressed dynamics, etc. Like the biggest baddest systems one might hear out there, but at a price point I might handle.
I would say I accomplished that goal and have been most pleased. WHen I listen, I realize how fortunate I am to have been able to get to where I am audio/sound wise.
Some recordings make me nervous when I know what is coming next, not wanting to have to deal with any expensive repairs due to accidents, but I have yet to hear any of those bad things in my main rig with the BC ref1000m amps and the OHM 5s. I am not as brave with the rest of the gear I have at home, though most of it does quite well still in these regards by most any audiophile standards I would say.
That's a hard one to answer.
Specific recording parameters are a big factor. You get what's there. Often, that is a lot. There is always good natural ambience to vocals that make them sound natural in the space and easy to locate, usually somewhere between the driver height and the ceiling, from a typical listening position, but are seldom pinpoint in location, more like a live performance than what you would hear typically between two smaller stereo speakers.
THis tends to carry over even into mono recordings and make those seem very lifelike with a natural 3-d ambience, though not stereo, sometimes it can be hard to tell it is pure mono.
The omni-like wide dispersion helps keep the presentation sounding coherent from most anywhere you would listen from, so the sweet spot is essentially quite broad.
"Reading back through this Thread I'm staggered at some of the amplifier power reserves being rumoured. In the case of 500W or 1000W > 4 ohms, how does the Ohm 5000 react to Telarc 1812 type peaks? I've seen this type of program material blow many a fine bass driver :(
What is your experience?"
I have 5s, series 3, not 5000s, which I expect are similar, but I can speak for the 5s.
I have some old telarc CDs and records and I have witnessed exactly what you are talking about back in their heyday. They are known for overall dynamic range and peaks.
Lots of music I play has very demanding peaks, like orchestral, big band, electronica, etc., both on CD and record.
My goal with the OHM 5s and use of monster amps as I call them with same was to be able to raise the roof and go as loud as I would like without stress, breakup, compressed dynamics, etc. Like the biggest baddest systems one might hear out there, but at a price point I might handle.
I would say I accomplished that goal and have been most pleased. WHen I listen, I realize how fortunate I am to have been able to get to where I am audio/sound wise.
Some recordings make me nervous when I know what is coming next, not wanting to have to deal with any expensive repairs due to accidents, but I have yet to hear any of those bad things in my main rig with the BC ref1000m amps and the OHM 5s. I am not as brave with the rest of the gear I have at home, though most of it does quite well still in these regards by most any audiophile standards I would say.