Suggestions for high efficiency speakers?

I liked the Volti room too, but, they had a little bit of a problem with bass response (probably the room and show conditions)--the bass was not well integrated with the rest of the sound.  Still, the old school technology (horn drivers, tube electronics) was quite impressive at the show when it came to just presenting music.

You will probably have even better sound in your own home, given that you will have more time and resources to make the speakers work well for you.  

Great thread.  I agree with the premise of course.  
 

We would be interested to know why, if you heard what you wanted from the Audio Note speakers why you're not intent on those.  Placement constraints?   
 

The ear/brain has a tipping point- if the speed isn't there, the brain moves the music processing from the limbic system to the cerebral cortex- robbing the music of some of its emotional impact
 

The above perhaps one of the most important comments that I've ever read on these forums.  And, it is at the heart of the answer to the OP.  
 

That aside,, I’m beginning to believe most important component in a FR is the cone material.

 

I suppose the above may be common knowledge but posts in these recommendation related threads are not often explicit on this aspect.  Anyway, I think this writer is really on to something.   Tone.   Poly-anything drivers (Devore included) to me make instruments sound a little bit like they're made of plastic.  Great speakers to be sure but I couldn't live with the tonal effects (affects?).   
 

Seems like there are always trade-offs.  Emotion vs. precision a big one.    I love the presence of the music that comes from my Kornerhorns but sometimes I wish I could experience better stereo imaging on them.  I understand why they don't image like Vandersteens but love the horns regardless.   

I also love the beautiful sonic images that come from my ESL rig, but the suspension of disbelief that happens listening to my horns just isn't there.  I'm always conscious that music is being reproduced on my ESLs.   
 

So I was thinking of suggesting that perhaps the answer to the question of which speakers to get will reveal itself when you figure out what kind of tone you want; what shape sound you want to live with (e.g. concentric vs horn ); and then, if you want a flat, precise, audiophile kind of sound or something more human.   
 

You're in an enviable position.  I admire your taste.

spirtofradio,

I am a fan of horn systems too.  I think that some cornerhorn systems don't develop a free-floating image and a sense of depth because of the placement close to the back wall.  I hear the same sort of limitations when non-horn systems are also placed close to the back wall (and/or side wall).  As you noned there are always trade-offs involved.  I have owned all sorts of systems, including ESLs and I've liked certain attributes of all these systems.  ESLs can sound very pure, delicate, and "fast," but most don't have the midrange "punch" that makes horn and certain other high efficiency speakers come alive in the midrange.  

While I do tend to hear tonal issues that seem to follow the type of material used for the driver, I find there are enough exceptions that I don't hold to any kind of hard and fast rule.  I tend to not like ceramic cone speakers, for example, but, with some brands, I don't seem to mind the material nearly as much as is the case with others (Tidal speakers don't bother me as much as other brands).

While some people relish finding certain guiding principles and rules, I actually like being surprised by stuff that defy my expectations (prejudices?).  For example, I've heard many single driver fullrange systems and liked their liveliness but I never expected them to be smooth enough or extended in frequency enough to be satisfying.  But recently, I've heard several examples, from the likes of Charney Audio, Voxativ and Cube Audio, that have changed my mind.  Perhaps, some day, I will hear a high-powered tube or solid state amp that will change my mind about those type of gear.

Line Magnetics makes field coil speakers that seem to be very highly regarded for around $9000.00.

@atmasphere --

"Its just physics, physiology and its not my theory- its that of Dr. Earl Geddes IIRC."

I'm aware of that. By "your theory" I simply implied that you presented it.

"I'm not certain of what you are trying to say in parenthesis."

That was a bit elusive, yes. I tried to touch upon that using a sub setup the way I outlined as being my preference is a matter of having a different "design" goal - i.e.: high-passing the mains fairly high to a pair of subs, (the need for) symmetrical subs placement, high sensitivity, pro drivers, very large overall size and usually not direct radiation - all in the service of loads of headroom in the lower frequencies (that translates into easy of reproduction and very low distortion) and optimum integration. 

"If you are careful with placement, you can get good bass at the listening position with only two subs."

Indeed. 

"In my case, having done many installations at shows and the like over the last three decades, I've found the DBA to be a nice solution for a vexing problem of getting the bass to play properly where the listeners will be sitting."

Makes sense, and not least over a wider listening area for more people to enjoy a fairly smooth sounding presentation in the lower octaves. 

"I recommend the Swarm becuase its designed to be as innocuous as possible. Its also reasonably priced. I've no financial association."

The Swarm a la Duke is no doubt a capable solution, but for high efficiency main speaker designs there are compelling reasons to go high eff. with the subs as well, and that requires very big size - plain and simply. It's not a requirement that sells well in audiophilia in general, but sonically I'd say it's a necessity in this particular context. DBA with high eff. subs is an option as well and just a scaled up Swarm, if you would. Maintaining symmetry of placement, be that with pairs or DBA, is paramount to my ears. 

"Having recorded a number of LPs, some of which I mastered myself, its nice to be able to compare to my own expericence of having been there when the recording was made. If you can better that reproduction as you seem to be claiming, I'd love to hear it."

I don't know if that's my claim other than recommending another viable subs option, but what I'm advocating would certainly be benefitial into vital aspects of live acoustic music reproduction as well as other genres - again, not least in the context of coupling to high eff. main speakers.