B&W 'New' 800 Series

We have the freedom to choose what we want. For example: we auditioned many streamers and dacs this years before we decided to become dealer of Lumin. At this moment we think lumin gives us the best quality for the money.

When new products in the future are better, we will change to another brand. They way we work it totaaly differrent and new in the world of audio.

For us this is the best way of protecting our clients and giving them the best sound possible.

We always say: all our competitors have the same chances as we have. The best will win. Our goal is to become the best company in sound&vision in the world. We will never do it for less. So we focus and test on an on.....

I always knew that I could understand audio a lot more easy than all my colleagues. When you train your brains thousands of times the same way for a long time you see and understand patterns in sound.

When I listen to a set and we chance one part I know exactly the difference between the first audition and the second. This is in a few tenths of a second.

What I said it is a way of repeating.

This weekend we were auditioning the Magnepan 3.7 for a client of mine. They used Pass labs XP-10 and the XA-60.5 monos and a Krell SACD player monos.

Before we listend I said I can discribe exactly how the stage and soudn will be.

- instruments and voices are a little to big ( they were)
- Very limited depth and width, based on the crossovers and properteis of the speakers.
- With dynamic speakers the energy of a bass drumm is in the middle of the speakers. With the Magnepan it is difficult to be point out ( it was)
- black level is very limited. The separation of the voices and instruments is very limited. This is based on the poperties of the Pass Labs combo. I ownend and auditioned. Pass Labs is very limited in individual focus of instruments and voices. I have had many conversations about this with Desmond Harington who is the president and creator of Pass labs pre amps.
- the articulation of voices is very limited as we would like, based on the tweeters of the 30.7.

I adviced him to bring in his Primare A33.2 power. Before we replaced the XA60.5 by the 33.2. I said; now we bring in different properties. Voices will become smaller and the individual focus will be a lot more apparent. Stage depth will be less compared to the XA60.5.

It all came out, this makes audio a lot more easy to predict. Beside this to adapt and control.

When you listen to a set you listen to all parts. All parts togheter inluding the acoustics is what you hear.

The focus is on these parts togheter. Togheter they build the stage and sound you hear.

In the set togheter with the 30.7 it was a very limited endresult.

You need to understand the properties of each part in a set when you want to understand the sound and image you hear.

When I bought the B&W 802N in 1999 I noticed that the speaker was too low in height. In 2 weeks I understood the properties and limitations.

What I did was buying an 8cm thick granite plate in the shape of the speaker. I even put Nautilus 802 and the stripe of the log on the front side. I removed the balls and used dempers.

Now I got a better presentation of the heights. Instruments and voices became more apparent and I created more space around voices and instruments. The low freq. became more tight and I had more layers.

Audio is all about understanding limitations and properties. When you are aware of them you can create much better results.

At the time I played with the 802N and 800S I had many anti-B&W people at my house. Often they said I never auditioned B&W speakers this good.

You cannot solve all limitations. Stage depth is a part where other brands do a better job compared to B&W. I never understood why B&W is not able to bring this to a higher level.

When the stage depth and width of the 800D1 would be great I would have bought them. We don't want to be negative on a brand. We want to be realistic as possible for our clients.

The new D3 series did not convince sofar. But we will listen them again. I still can't find a lot of auditions of the D3 series.

The German magazines don't say anything because they get money for the reviews. This is also a part I hate in audio. I know how it works and what money does.

Never trust a review, just trust your own ears!!

In 1999 I already owned an expensive set. Many test I did at home. I did lent expensive cables all the time to test at home. I lend stuff we did not have in our shop. I was addicted to audio for a few years.

On my free monday I visited distributers so I could audition the things we didn't have. Colleagues did not spend so much money and time on audio than I did.

We are thinking about an audio Blog as well. I will do it in english as well. So you can see how we work and what we do. I have Sony professional video stuff and the best professional microphones as well. It will be in the beginning of 2016.

Pass labs can create a very deep and wide stage. This gives you the freedom and option to create a huge stage.

I ownned many Pass Labs power amps, monos and the XP-20. I still own Pass Labs these days.

They have the same properties how they build a stage. This is wide and deep, but it lacks a sharp individual focus of instruments and voices.

Pass Labs is exeptional in diversity in the middle freq. And can let you hear exactly the sound of an instrument as in real.

I have said it many times overhere. During acoustic classical live concerts I learned how small and direct voices and instruments are in proportion( here I learned how direct and extreme small voices and instruments are).

This was the main reason why I bought the 802N in 1999. I call it intimate sound. Each set I audition I use this part and I want it to be there.

In 2009 I bought a brand new set of Pass labs XA100.5 and a XP-20 pre amp. The individual focus of voices and instruments with an intimate image I created this with my Meridian 800Daxv4, Acapella pure silver interconnects and Purist Audio powercables. Because you need to add properties the Pass Labs combo does not own.

When you want an intimate stage with a Pass labs set. set You need to be aware of the properties of your source and cables. So I needed properties to make it more intimate and realistic.

When we are at shows often people use Pass Labs with MIT or Shunyata. So instruments and voices become too big in proportion And you loose the intimate image.

These choices are often made on political choices ( what I really hate) and often don't work. What they do is giving people a wrong idea about how music should be presented.

When I ask the people who give the demo if he knows how big the singers head is in real; they don't know. Often we hear to a demo with a voice of 3 metres. When you are aware that voices and instruments are very small, you would never have given this demo.

In my perspective B&W should have done more research on other materials. The material Monitor Audio uses for their drivers is lighter and faster in response. Beside this they use a different new way of connecting the drivers. This give them the freedom to move faster.

The other thing is that B&W need new people who can create more stage depth and width.

I can garantee that the new ribbon tweeter blows away the diamond tweeter on all parts. I would have developed a different tweeter and never a dome tweeter again.

First you need to understand the properties. When you are aware of these, you can the best result out of them.

Monitor Audio in the Netherlands asked me 1,5 years ago can you take a look at our Monitor Audio dealers and what kind of amps they use.

Over 90% only sell 2 dimensional amps. This is how limited the knowledge is in audio.

I saw the pictures of the new B&W D3 series at the factory in England. B&W invite people who sell the new 800 series.

The demos were done with Rotel. Sorry, you must be a fool to demo 800 series with this level. Then you don't understand audio at all. I am not convinced that the best people in audio work at B&W at this moment!

First of all we do a lot of tests and research.

we test and audition many new ptoducts to find out which properties they own. Our only focus is on products which can create a deep and wide stage. All products which are 2 dimensional ( in audio over 95% is)we will never sell.

I said; when I need to go back to 2 Dimensional sound I stop with audio directly and I will sell cars!

This year we also did a lot of reseach in electricity ans smog. Mann you can create a much higher level when you use these tools to the max. These days we use our own wires ( and again by testing many) for electricity. We use fuses and we use Cylindric Fuse Cartridges as well.

We use different tools against smog ( computers, phones, data what goes through the air)

We use different professional lasers and different digital levelers. We use them for speaker placement and even for measuring the room.

I think our own developed measurement Statement Audio Pro can become a new tool to create a much higher level in sound from mid level till highend.

For us it is important that many people will benefit from it. The quality in stereo and multi channel will go to a new level. This level will make music and multi channel much more addictive and exciting.

Hee Ptss.....I am still waiting for the B&W D3 stories. And comparison with other brands.

Maybe a person auditioned the D3 series against the Focal Sopra series?

These days the word 3D is used by many. Dolby Atmos and Auro3D is using the words.

But....all demos were 2D. Because they use 2D amps and 2D speakers.

During a demo I explained the people of Auro3D ( Belgium) that there demo is 2D. After I explained that they agreed. This is the level of how audio is presented.

When you use speakers who's crossovers are not able to buils depth and width, you still hear that also with Dolby Atmos it is still 2D. This counts for the amps as well.

I use the word 3D, but the best highend can also let you hear the differences in heights. When I bought 2 sets of Audioquest Wel Signature xlr The stage became higher. The music was presented in a different zone.

Many people are not aware of what you can achieve with cables. These parts you cannot achieve with a more expensive amp or source.

I use blind shootouts to make people aware of how important cables are and what they do.

The biggest limitation of audio is that over 95% of the products at audio speciality shops is not worth the money. For cables the same story.

I saw the pictures, Mannnn put them against the 800D3 series. And the B&W will look cheap.

The drivers are white (ceramic drivers with aluminium), and are totally one with the speaker. They use new leather. More smooth, like the leather B&W used for the 800D

I loved the 800D in high black with full leather.

There is only a small protection for the drivers, so you can see the full leather. The above plinth of the Platinum series was silver and is now more one with the speaker and is black.

The drivers are new and lighter and stiffer than the ones they use now. Monitor Audio developed a new way of how drivers are connected. The connection is more from the centre. This gives the best response in the market.

What it does is that you have a lot of dynamics and speed even at very low volume. This makes the response a lot faster. Monitor Audio is a head in this area compared to B&W. And this is what I don't understand why B&W has a less fast response.

The new ribbon tweeter is wider and bigger. This gives a deeper and wider stage as well. They changed and improved the crossovers. The mid freq. is even more open en natural.

Roksan uses the same tweeter in the Darius S1. Monitor Audio uses it till 100khz. Even with a 2D amp this speaker could crerate stage depth and played almost 1 metre ouside the speaker. There was no harshness at all.

B&W is using copper from Van den Hul inside their speakers. Monitor Audio uses 100% full silver and the best WBT terminals.

3 dimensional sound is in the world of highend more common and not unique or special.

We always say: when you spend highend money and don't have a 3D stage you never will be taken seriously.

When you are able to create diversity in stage height the music comes to you differently.

It is my living and I am addicted to music, but I understood that for most people it is very difficult to create it.

Height speakers for Dolby Atmos/Auro 3D only will work when your amp/speakers both can create stage depth and width.

B&W is a big company, but this doesn't garantee them to create speakers who can give you a huge holographic stage.

I think they need new people and other materials and systems to create a speaker which can build a 3D stage. I also think that the D4 series will look differently than the D3 series look today. Mark my words!

I can garantee you on thing: I am so much better in sound than I ever will be in words.

The way we work is always creating a superior level in sound than any competitor can give. That is why I love to send clients to competitors. Audio is shootouts and the freedom to compare. Believe me people will always choose the most convincing and emotional sound.

We are dealer of Stillpoints. Mann they can do things what you never can create by buying an amp, speaker or source of 100.000 dollar.

A better timing ( what stillpoints also do) create much more precision. Instruments and voices become more apparent. The space is getting bigger but the black level is getting higher as well.

You need to understand what each part in your set does, before you can create stage depth and width.

We are not even talking about stage height, this is a league on it's own. It even influences the sound when 2 voices come toghter. Beside the blending of voices you still can hear were they are at the recording.

When people of Auro3D/Dolby Atmos talk about 3D and height, I always spoil there part. And I will explain in details why we are listenign to 2D sound. After my explanation they are always quit. This is the level of audio these days. Customers get stuppid information of these people.

I give you the reason why the Monitor Audio ribbon tweeter outperforms dome tweeters.

First of all voices and instruments are sharper focussed and they are more physical apparent.

The can create easier depth and width compared to a dome tweeter.

The most fun part is that it is able to project voices and instruments even in front of the speaker. This is combined with projecting the music beside the speakers.

When you listen to speakers with dome tweeters, the voices and instruments stay more at the front line of the speakers.

I give an example: Miles Davis; Kind of Blue DSD by the Lumin S1: It brings you back to 1959.

You are there in the space of the recording. You hear the differences in heights of the recording. They were one of the first to use microphones this way.

The piano on the left side sounds more like real bur also gets a shape. The drums is fully free at the left side. It plays beside and in front of the speaker. And you hear the heights of the high hats in the space.

The ribbon tweeter can create much more space than a ribbon tweeter can. Beside this the focus is sharper. Not even for free I would want a speaker with a dome tweeter.

Audio is using the properties to the max. The ribbon tweeter gives me much more space and diversity to use.

The reason why I think B&W will sooner than normal chance the series is the reaction of people I heared. I think they took too much risk with the looks. Even most of the B&W minded people prefer the older look. I know many B&W users and I asked them at the shows.

I will ask B&W if they have the gutts for a shootout in the beginning of 2016. This is how audio need to be done!!

It doens't make sense to compare B&W with B&W, you need to compare the 800D3 series with competitors in the same price range.

The demo of the 802D3 was done by B&W England with Classe and was very limited. I have talkes with different people who also work in audio.

Were are the great stories of other people who auditioned them?

Where are the shootouts against other competitors?

Tell me what were the electronics used the TAS Factory tour? Because the articles I read about it they used Rotel.

Rotel ( what I sold for many years) has a full flatt stage, there is no depth. Beside this there is almost no diversity in the middle freq.

When you want to judge a speaker like the 802D3 you need to have an idea about the aspects of highend to get an idea how good it is. With Rotel the demo will be in 2D with hifi sound. It is a hifi demo.

Even in England many demos were with Rotel. This doens't make sense. It is the same when you would put a Ford engine in a Ferrari.

When audio is being presented this way, customers never will get a good perspective of a product. And where it is capable of!!

I am here not to get my rights. I hope that other people will look further just as we do.

In my world each person deserves the best. We still meet new clients who spend a lot of money but still play at a very low level.

In our world inferior products do not add anything in the world of audio. But there are many. And many are still being sold. For what.........for who.......

When you can get much better results for the money, you would be a fool to buy inferior products.

A brand does not garantee you anything you need to look further.

We never say to a client you need to buy this, we only say you should listen to this.

I always say to my clients: what do you want to hear? The truth or the thing you would like to hear.

The last group people I cannot help. And believe me they are there!

Why a demo with Rotel make sense?

The quality B&W offers today cannot convince me at all. There are too many limitations. 

Classe it not bad, in our world it lacks quality as well. B&W is owner of Classe. On political choices it is used. This I can understand. It is still by far not the best student of the class. So does it add something in the world of audio? We don’t think so. 

I can even demo it and explain in details what is missing. This counts both for B&W and Classe. The only reason why we say these things is that we can proof them. We are only focussed on the best sound possible. So B&W has to proof they are the best. This is how audio needs to be used. 

There were different B&W owners who were irritated about the negative info B&W gave on their older models during the show they gave. The week after the show, these stories were the ones people in audio were talking about. Tell me what is here to laugh about? 

I will try to get a dialoge with B&W in 2016 if they are prepared for a shootout. 

Audio is all about the best you can get and the truth, and not about a story on what people would like to hear!!

information Monitor Audio Platinum series II:

http://www.cepro.com/article/monitor_revamps_with_platinum_series_ii

First of all Classe can create a deep and wide stage. But brands like Pass Labs are able to create more stage depth and width.

The crossovers of the 801N and 801D were not that great. There are different brands in that price range who create more stage depth and width.

I am still curious about the thoughts of the new 800D3 series. 

What I said earlier, the individual focus was not that convincing. They use extreme toe-in. Here is a picture of a demo with  Ken Ishiwata. When you use so much toe-in, all depth is gone. 

http://www.hifi.nl/artikel_pagina2/24065/Muzikale-prestaties.html

Dear Dave, in over 5 years of time I did many shootouts with Audioquest cables against MIT cables. Audioquest did win all shootouts.

All these MIT owners doesn't use it anymore. MIT is dead in the Netherlands. The distributer had to stop because they could not earn money with it anymore.

The differences between the interconnects and loudspeakercables of Audioquest and MIT is huge these days.

MIT has done not enough research and innovation to compete anymore. And this is the hard truth. Welcome in the world of audio. Where the best and most convincing sound always will win!!

I see they use the Nordost Odin loudspeakercable. I sold Nordost for over 9 years of time. I sols a lot Valhalla. Beside this I owned the Valhalla loudspeaker cable 11 years. 

I doens't make sense when you are aware of the properties Nordost owns to use them with Classe and the new B&W 800D3 series.

The Nordost is not the best for individual focus. The always make the stage less wide and deep. And the diversity in the middle freq, is not their best pasrt either.

Audioquest would work a lot better based on their properties!

In 1999 I was visiting a distributer to listen to the Revel Studio at that time. I was looking for a new speaker, which became the 802N at the end.

When I went to the toilet overthere I saw a black pair of B&W 800 matrix when I was taking a piss. This was the first time I saw them. Mann those were my dream speakers in the 90’s.

Monitor Audio is superior in timing and response. I can garantee for 100% that the timing of the new Platinum Series II is superior to the D3 series. With the old Platinum vs 800D series it was the same.

Their new ribbon tweeter what is 8 times as big as a dome tweeter is so much more open, transparent and realistic in the high freq, that it will outperform the D3 diamond tweeter with ease. When I compared the 805D with the Platinum 100 it became clear how much opener the Pl-100 was. The stage was so much wider and deeper as well. The individual focus of instruments and voices was a lot sharper than the 805. I remember the face of the 805 owner. He was not amused. 

I also did a comparison between the Pl-100 and the Dynaudio C1 ( first series) and here was the same outcome as with the 805D. Dome tweeters are not of this time anymore. They are outdated and inferior compared to the best ribbon tweeters. This person bought the C1 a few weeks before we did this shootout. His face said it all.

I even think this speaker can outperform the Dynaudio Evidence and Temptation. This is based on the superior timing and the superior new ribbon tweeter compared to the old fashion Esotar tweeter. Monitor Audio is also superior in crossovers. In all tests the Platinum had a much wider and deeper stage. And again the individual focus of instruments and voices is much sharper.

What I said many times our Statement Audio Pro measurment can become the new level in sound quality in every home.

In the past I hated subwoofers for stero use. But stealth low freqency made me think totally different. These days I can reach a higher level for stereo by using a fast subwoofer measured with our own developed S.A.P. measurement. That is why I bought the new Platinum subwoofer as well. This is a subwoofer with two times15 inch low freq. units and 2 separate amps.

The material Monitor Audio uses is lighter than the material B&W uses. But the biggest difference is how it is connected inside. The connection is more from the centre. This makes the unit much faster in response. This technique is the best I ever auditioned in audio based on timing and response.

I sold many Platinum Speakers in over 8 years of time. I never got one back. The only thing I had was with my own Platinum subwoofer. I blew it up, to be honest it was my own mistake.

The only reason why they build a new factory in China is based on the lower costs. When they still would produce the speakers in the U.K. prices would be about 40% higer. The stock of all their speakers is still in the U.K. 

B&W spends a lot of money on advertising. They pay for trips to England for the shops who sell it. This week I got feedback of a person who visits many audio shops every week. He said: the people of shops discribe the speaker as technical with the lack of emotion. The people who sell it, have the same remarks. 

So I understand Dave his reason why he keeps the 802D2. I want to listen them a few times more. I think they made a mistake with the looks and also with the properties. You can pay as many audio magazines as you want,  but the best product will be the winner.

Listening to a wider and deeper stage with a more fysical stage of instruments and voices. And with much more resolution and decay will be prefered by almost all people. They way we create sound, I can garantee that we can outperform B&W with ease. And I will proof it. 

I will let you know!!

Audio for us is not based on brands, but only on quality. After time it can change. We test and compare and are only interested in the best results. 

I have my doubts if B&W took the right decision with the new looks and different sound and properties compared to the older series.

I owned the B&W DM580 in the past. It was the last series John Bowers worked on if I remember. I sold many many B&W speakers in the past. 

Time goes on just like techniques, I remember when the Nautilus series came out. Every one was talking about it. Now when I hear people talk about the D3 series, it is a different world. 

We love to test and compare, that will always be the fun part of audio. I remember when I was looking for myfirst expensive set of loudspeakers. I took 7 months for this. It was by far the most exciting time in audio in over 17 years.

I wonder if many of the same people as in the Nautlilus period still work at B&W. I remember that I had contact in 2000 with a developer of the Nautilus speakers. I wrote him that they should make the series after this one higher. About 10 cm higher.

Monitor Audio gave me the 3 dimensional physical image I was looking for. I tried it with the 800D1 at that time. But the stage was not as wide and deep as I wanted. So I stopped with B&W. The new look would be a 100% no go for me. It is not possible to accept this. When Monitor Audio would come out with a llok like this, I would not even want to sell it. Loudspeakers are more than sound.

Yesterday I spoke with Monitor Audio about the new Platinum Series. I am a perfectionist and very demanding. I made several remarks as well on the loudspeakers. I think this is how you need to respond to products.

I hope that people who sell them are as open as I am. And tell the people of B&W what they would have seen and heard differently.

Dear Dave, the differences were that the silver AQ interconnects had better separation of voices and instruments and more details and a better timing and dynamics. A much better presentation of the differences in heights of a recording. 
 
Voices and instruments are more realistic in proportion with the AQ. I hate the demos with MIT when voices are about 3metres wide. The people who give these demos don't understand anything of real music. These are the fools in audio!

The MIT had a more warm mid frequency. This was the only small benefit.

We can also create a much higher black level than all our competitors. We go so much further than all of them. We have done a lot of research in electricity and electrosmog this year. We made a lot of progress in sound by using different tools for this.

I love the new cables AQ developed. I own 2 sets of the newest AQ Wel Signature xlr. They can bring you to a much higher level in listening to music. Many people are often not aware of how important they are. I also use 2 new sets of the Purist Audio LE luminist powercables with Oyaide M1/F1. They create the best black level what can be achieved with powercables.

Ringing tests: we all thought hey B&W are you F. deaf. You don’t need computers to find out that it has more distortion than some other materials.

I think they made a big mistake, when you use materials who are extreemly dead it does not garantee you to get a better sound, or more natural sound.

What were the remarks of listeners ( shop owners and clients) during listening to the D3 series?

It lacks emotion, Sonus Faber had a great story about this. They wrote that a violin or cello uses it’s distortion in sound to create an emotional sound.

In the past e auditioned many speakers who used materials who almost had no distortion. They souded rather dead. 

During listening of the 802D3 with the song: ’Thank you’ from Chris Jones.  The energy of the acoustic guitar could not get free of the speaker. It sounded like a coloration of the speaker. 

The other thing we noticed was that we missed the diversity in  the middle frequency. Both the 804D 3 and 802D3 were not able to give us a rich and diverse middle frequency. 

Another remark of shop owners of the D3 series was: you need a warm sounding amp to get an invloving sound out of the D3 series.





 

Dear Dave, a friend of mine had a small concert room in his house with a Steinway wing. He gave small classical concerts for about 65 people. What amazed me was the intimate focus of a voice or an instrument. 

I thought this is what I want in my system. These days intimate focus has become an important part of my personal sound.

I learned many people who owned MIT cables that voices and instruments are in real very direct and small in proportion. Beside this I want to make clear what this does to your emotion. That is why I have done a lot of research in creating a better blacklevel as well.

Friday I had clients who visited me, they had to travel 3 hours tot come to me. He is fan on Phil Collins ( he will start soon writting again becaue his children wants to see him sing) and I played the song 'I don't care anymore' He had tears in his eyes. It is not only the energy, but the blacklevel and fysical apperance what makes it so impressive. This is what intimate sound does with our emotion.

Here is some more information and pictures of the new Monitor Audio Platinum Series II.

https://www.facebook.com/media/set/?set=a.992370524152361.1073741834.909223975800350&type=3

I did test Auidioquest Wel Signature powercabels this year. To be honest silver does not work well for amps, sources and pre amps . Powercables of copper work a lot better in the tests we did this year.

Quality of silver is what makes it impressive compared to low quality silver what often does not work well.

You reach a higher endresult with the best silver interconnect compared to copper. The benefit with the silver interconnects like the Audioquest Wel Signature cannot be created with the MIT Oracle.

The higher level of details, superior fysical apparance, better differences in height and a sharper individual focus of instruments and voices is priceless.

I work the other way around. I create sound by using different properties of each part of an audio set. This makes is very easy for me to have no harshness as an endresult.

Using only copper will create a lower endresult. For a perfectionist this is a 100% no go. The focus is always on the best results possible.

I sold Avalon for over 6 years of time and even sold some to my best friends. But.....Avalon is very poor in intimate focus. 

Why? Because instruments and voices do not get the real shape and physical appearance as in real. They can create a deep and wide stage, but within this stage the individual focus of instruments ans voices is not as sharp and small as in real.

The biggest mistake is using MIT with Avalon. Why? Because this makes the stage even less intimate. When we did shootouts of MIT against AQ with Avalon speakers. The AQ were in each part superior.

You need to understand the properties of MIT before you can adapt them in a system. 

It is not the acoustics, a voice and even an instrument is extreemly small and direct. AQ cabels win in resolution and decay of each MIT cable with ease. 

You need to auditioned many live acoustic small shows to understand it. Then you understand what it means and that MIT lacks a realistic individual focus and has a low black level as well.

Out level in resolution and deacy is so much bigger than when we audition any set at an audio shop or show. Because we can adapt much more different parts in a set. 

A realistic proportion of instruments and voices is a totally different part than resolution and decay. A voice or instrument get a realistic shape when yiu can create a deep and wide stage, but also a sharp and intimate focus of instruments and voices. You need a lot of air around voices.

In this part the AQ silver interconnects blow away the low detail cables of MIT. It was very easy to listen the limitation of the MIT cables.

For the loudspeakercables we had the same outcome. Audioquest owns more different properties compared to MIT who owns less properties. This makes the overall sound more complete when you use and bring in the AQ cables.

Stealth low frequency is able to give voices and instruments their dynamics. In this part we are far ahead of all our competitors.

Because it let you feel the energy/dynamics were it is at the recording. 

The same according to details and space, we can create much more resolution and the air in a space compared to all our competitors.

In Munic at the highend show we found out how much further we are in sound qualtity. It was for us if we were back in time. They all still live in the past, and we live in the future!

We were looking at their new amp, and a woman asked us what we think about the amp. I made the remark that I miss a colour and this is dark grey. She started to smile and said this is the colour we were discussing about.  After this she asked us what we do in life. I told her about our way of consulting. And that we developed our own way of roomcorrection. She was zo amazed by our story and I showed her pictures of how we work. She went to Dan who was speaking with other peolple. She said; you have to come here to listen to this story. I talked 2 times that day and he gave me his card.

The old way of audio without our way of roomcorrection is far inferior. This also counts for highend. What I said earlier: we are far ahead in each part you judge sound for.

Total Sound are 9 different parts you judge sound for. This means that we focus on each part. We want to improve each part all the time.

This is a much more effective way of using audio. The rest is only able to connect a source, amp, speakers and cables. Then they audition the endresult. This is a very ineffective way of using audio.

We collect properties and we build our 3 dimensional physical sound by these properties. This way we can outperform every competitor. I am sorry, but this is the truth!

Noooo I hate too small individual focus like too big. It has to be realistic. Just as in real. I had many discussion about this for many years with different people who play in an ochestra and play an instrument as a profession. many said; this is the first time I hear an instument as in real and also in proportion.

You need to understand properties of a speaker first before you can sell it. I have proven that I can outperform Avalon loudspeakers by Platinum they way I work and use audio.

Tomorrow I will proof that I outperform Wilson Audio Sasha the same way. I will let the person write the story here at Audiogon. I have proven to Monitor Audio Holland that they and other shops are not able to get the same quality of sound as we can achieve with Monitor Audio speakers. 

Individual focus of instruments and voices is a part of Total Sound. Black level is a different part. Decay and air is a different part as well. 

3 dimensional sound means that an instrument and voice is standing physical free with air around it. 

Audio is comparing and that is why I said: you need to do a shootout with different brands with the same set and compare it.

The best way of doing this: B&W, Dynaudio, Monitor Audio, Focal and Kef all togheter. Put them behind a curtain and let different people judge. 

When you don't see a speaker it is the best way of comparing. I will try to arrange something like this when other people want to cooperate.

Yesterday I had a new client who visit me. He plays with the Wilson Audio Sasha one and only plays classical music.

I will phone him tonight to aks him about the differences of his set between mine to write it down overhere. He called my set; the new reference frame. 

The reference frame are all the parts togheter. So you have an idea what the difference is between a highend set and mine.

Dear dave,

during a big concert the inyimate focus dissapears. At my friends house it was very small and direct. I love acoustic music. Like classical music with one or a few instruments. 

The physical intimate appearance is based on differrent parts.

- You need depth and width
- you need a sharp individual focus of voices and instruments
- you need a stunning black level
- you need the air around voices

This creates the same experience I had at my friends house.

In the last years I have doen many shootouts with Audioquest cables against MIT cables in differebt sets. At the end they all preferred the AQ cables. 

This is based on the more physical 3D stage with a more intimate presentation.

Dear Dave,

I loved the older looks as well. I wanted to buy a set of 800D high gloss black only when the crossovers and stage depth would have been better.

The first time I saw the pictures of the new D3 series, I thought I was looking at B&W 800 copy speakers from China.

They don't look and sound like 22000 dollar speakers. When Monitor Audio would have come with speaker who look this, I would have been very irritated. 

I will try to listen to them this month again, but I have my doubts. It looks like they have become more clinical sounding speakers. This is the last thing you want!