accurus, you truly live up to your moniker! Good stuff!
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.
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.
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I should have 4 new acoustic panels in next week. I just ordered a pair of GIK Acoustics Monster Bass Traps for the rear wall with the range limiter option and also ordered a pair of Polyfusors for the side wall. Looking forward to hearing and measuring the differences in my system. This is the first time I will have treated anything behind the corners of the room. |
accurus - I am very anxious to hear what you think diffussion does for the Ohms. I am just guessing, but it makes sense to me that diffusion would benefit the Ohms much more than absorbtion. Absorbtion seems counterintuitive to an omni or quasi-omni speaker. Can I ask how much the polyfusors set you back? Unlike foam wedges, decent diffusion panels seem pretty pricey. |
bondmanp - The polyfusors ran $270 + shipping for the pair. Down the road I am going to pick up 8 of the gridfusors to place near the ceiling and according to GIK that should pretty much do it for my room needs minus me doing some crazy stuff that the wife won't allow and frankly with the experimentation that I did place the speakers so close sounded bad. I agree with you bondmanp that diffusion makes a lot of sense with the Ohms as they are relying on sound bounching around the room to help create their holographic imaging. In my own setup everything that I have purchased for the room has had some level of diffusion behind it minus the bass traps going behind my listening. All of the corner traps have difusion panels in them and the polyfusors obviously have difusion. I have tried removing the difusion panels and the room just goes dead. Things image like a microscope, but you sense of scale and image size is gone. |
Having an extended listening session with the Ohms this evening and I find myself again amazed how musical these speakers. Recordings I haven't listened to in years due to their poor sound on the Magnepans sound great in the Ohms. Certainly some albums sound better then others but all are enjoyable. That is a testament to a good loudspeaker and some I have not heard many speakers pull off regardless of price. |
Here's a very unique Ohm Walsh thing that I've probably mentioned before but am hearing clearly again right now and I think is very interesting. Listening to to mono recordings in this case The Beatles cover of Money on "Meet the Beatles". The music is focused dead center on my front wall with enough ambience wall to wall to make one question its a mono recording being heard. Very live sounding! Thing is is in my L shaped room. With F5s along the long wall at the base of the L facing into the length of the room,. The left speaker is in the center of the wall where the soundstage is focused and further from my listening position closer to the right wall about halfway down the length of the L than the right speaker which is about 3-4 feet from right wall essentially in front of my listening position . The soundstage tends to stay focused at dead center of the ~22 foot wall forming the base of the L no matter where the speakers are along the wall pretty much. Very unique. Makes even average mono recordings sound audiophile worthy and a very unique trick. An omni thing in general I suspect. |
With my F5s in large L shaped room, I have three 2X2 foot absorbing panels on my sidewalls at prime reflection points based on my two main listening positions. These help narrow and focus the soundstage a tad to my preference. That’s all. Omni speakers naturally diffuse the sound especially in comparison to others, no? |
mapman - interesting post. I had put a lot of foam panels up on the front wall and side walls at the hieght of the Ohm cans. I found I had too much center-fill, and not enough of a soundstage width. I removed some, and noticed an improvement without losing too much of the center fill. Since my listening area is small and asymetrical, I speculate that some diffusion might exapnd the soundstage even further. Not that I suffer from a compact soundstage now; on the right recordings, the soundstage is absolutely holographic and, as The Donald would say, HUGE! Guilding the lilly? Perhaps. But I want to hear for myself what the diffusion panels will do. |
My front wall of L shaped room is 22’ wide and sound stage extends wall to wall and beyond with most recordings. The panels reel that in just a tad. They might soften things up just a tad as well. I’ve debated added two or 4 on the ceiling at prime reflection points there but no rush to try. I’ve found isolating from floor interactions as I have mentioned to be much larger in magnitude in terms of sound improvement when needed. Total night and day differences there when floors are suspended and lively, not at foundation level. Of course every room if different as are personal preferences, so one has to carefully choose their weapons depending. No reason to rule out diffusion either if called for. |
For all here. I would really recommend taking up GIK Acoustics' offer for free room consultation. I doubt many of us here (myself included) are acoustical engineers and if you contact GIK they will let you work with one on a custom room solution. I went this route and it was pain free as I trouble issues for the room were identified and a variety of products to fix the solution were given to me to choose from. At this point I feel confident after the next batch of treatments arrives on Wednesday and I make one more order for some ceiling difusion, i.e. I followed the plan laid out by the acoustic engineer that I should have considering the confines of my room a setup that takes care of most of the issues. Anyway just my thought. :) |
Well the panels came in yesterday and I got the polyfusors setup in the side walls. Definitely an improved blackness in the room and the speakers blend more seamlessly into the room and soundstage. Imaging is also greatly improved. As solid as the anchoring of the center voice and instruments were it is now even better locked in sounds have far better separation. Everything has a separation sonic sound and things are less homogenous (Not to say they were by any stretch before). Bass is even airier and taughter. Bass just seems to float in a way I typically associated in with dipoles/planars but it has the huge advantage of the dynamic driver punch. On the objective side there was a measurable difference in the 200 to 500hz range that levels out 3 nulls that were being measured pre Dirac correction and in the post Dirac impulse response was smoothed out with the panels in place. Tonight I will be installing the monster bass traps with the range limiters in the rear since the hardware that came to mount them wasn't sufficient and I need to get some from the hardware store. One lesson reinforced to me is that regardless of digital room correct you need a solid acoustic space in the room. Dirac only improved in the latest acoustic installation, but with the added panels in place there is a clear improvement in the sound even with Dirac on. So before buying $1500 interconnects spend however much you can on room acoustic treatment and then put the icing on the cake. Looking forward to installing the monster bass panels tonight. :) |
Yeah at some point I will get the room in shape enough to feel comfortable sending out images of it on the web. Right now it needs to be repainted and it is got stuff everywhere since I just installed all these new panels. However one thought I did have is besides this thread, Ohm users don't have a place to really congregate online. I was wondering if maybe we should look into starting up an Ohm users group. I guess I miss my Magnepan Users Group. :) |
Schubert, call it what you will but there are certain music types that you hear at every stereo shop demo or magazine review. This is what I would call audiophile music. If I hear one more Patricia Barber or Diana Krall demo I don't know what I will do. :) There are certainly favored demo tracks out there. Martyki, thanks for the feedback and I will try to post another when I get more time. I have been swamped lately. |
Schubert glad you're back. Hope things are well. Obviously some orchestral music could also be considered "audiophile" music in certain contexts such as when talking about recordings that are off particularly high quality in regards to both technical and artistic merit. Yes they are not the same and not all "orchestral" music is necessarily even considered classical in its truest sense. It just means music played by an orchestra. Could be Beethoven or Frank Zappa. I doubt any slight to orchestral or classical music was intended by referencing it as "audiophile" though I know that term often gets mixed reviews. |
BTW, after thinking about orchestral music and Zappa, I had to give this one a listen. Its a very 'audiophile" recording I would say if one has ever heard a good version on a good hifi. Always makes me smile and get my feet tapping :^) Zappa was very much and uniquely into percussion in his orchestral arrangements. https://www.youtube.com/watch?v=dHx5C4O0Cvg |
Schubert, that point that I was making with that statement is that the Ohm's make all recordings sound good. As I have sound now that I have the Ohm's I am realizing how much my listening sessions were pulled in the direction of tracks that sounded good for the Magnepans. Not the freedom to enjoy my diverse collection. Don't read too much into the whol classical music thing. I certainly have a few Bach and other albums in my Audirvana library. However what impresses me with the Ohms is that if I want to listen to AC/DC they sound amazingly good with that as well. I don't feel like I am going from hi-fi Patricia Barber's heart beat being heard on one album and then jumping to a good rock album that might as well sound like an MP3. That is the beauty of the Ohms is that they can play a variety of music in a sonically pleasing way. |
While I've never heard the Micros I did pick up a pair of Walsh 2's a few years ago on this site for $500, and only afterwards discovered they were still in business here in NY, in Brooklyn, a mere 50 miles from my house. After a brief email exchange followed by a couple of phone calls with John himself I drove there to have them upgraded/updated for $1200 - a very reasonable investment. Imagine speaking with the owner directly in this day and age, walking into a very funky and obviously well used shop and seeing that independent business people CAN survive with providing excellent product and customer service. Hats off to John! |
Here is an update on my Walsh 1/2.200 upgrade. I have allowed some months to pass for break-in. Recently, I bought some old Yamaha NS-6 speakers at a yard sale for $10. I proceeded to recover the grills and replace the drivers as a gift for my son. The result was decent and I was able to compare them to the Ohms. The Ohms had much nicer bass with more rounded tones and lower frequency respose. Also, the Ohms sounded more open with clearer treble. None of this surprised me, but it was nice to get some confirmation. When my son (a lawyer and musician) came over to pick up the speakers, I had him audition some CDs he was familiar with on the Ohms. To cut the story short, he was blown away by my Ohms. One sample he played was a tecno track that had very fast bass notes from a synthesizer. He couldn't believe that the Ohms could keep up. He said most speakers he has heard play that track created a muddy sound. I have to say that I really am enjoying my upgraded Walsh 1 speakers. They intergate well into the rest of my modest system (Parasound 1500A amp, B&K Reference 5 S2 preamp/tuner and Sony NS-315 CD player). Thanks to John S. |
Thanks for the update, t8kc. I wouldn’t say that everyone who has heard my 2000s has had the same reaction as your son, although several have (and more react positively than not). In fact, my son-in-law was so impressed with my 2000s that he is trying to plan a new basement man cave around a complete 5.1 channel Ohm set up. Taste in speakers is like any other personal preference. You like peanut butter, someone else doesn’t. But the good news is that you have many years of great listening ahead of you. Six and a half years in (I was one of the early buyers of the 2000s) I still can’t get enough of my 2000s. I constantly lament that I don’t have enough time to do serious listening. Every change I make in electronics and room acoustics is quickly exposed by the 2000s as either a benefit or a detriment. As I have said before, barring hitting the Powerball, the 2000s will most likely be my last speaker purchase. |
Mapman - LOL! Flipping the direction of the fuse is on my "to do" list. Believe it or not, even 5 minutes for that is hard to come by. You won't hear any hyperbole from me about the fuse. I am not really a hard core tweeker. It is what it is. FWIW, I would have been happy with a much cheaper Acme fuse (well regarded by other local audiophiles), but the value I needed is not offered by Acme. It may possibly end up being one of those things where I know that my fuse is not holding anything back, even if the stock fuse didn't either. Sort of a piece of mind deal. I did think it was funny, or interesting, that someone on that thread read my initial impressions and immediately *knew* that I had the fuse installed in the wrong direction. Maybe he's correct. |
Yes, I’m in the same boat. I’m using the Red Fuse that was sent to me for free to try for pretty much the same reason. I’m tempted to put the ARC stock fuse back in my sp16 just to be safe but "Living on the edge" for the moment and my baby is happy with the pricier free fuse as well. Very funny! Just don't take my OHMs away and I will likely find a way to survive in audiophile hell ..... |
Bondman, I don't see changing my music system anytime soon unless I move to a different house so the Ohms are here to stay. I like the fact that they sound good even in another room. Apparently, this is a characteristic of the omni aspect of their design. I may do some minor upgrading of the cables as time goes on. |
JS at OHM posted about listening from another room as a test for how well a speaker and room are matched. Very interesting and something I've never seen mentioned before. FWIW when I walk down the stairs into my basement listening room and the music is going at real life volumes, I often think it sounds like walking into a nightclub and that must be a good sign. |
Actually, mapman, I have read about the "other room" phenomenon in the audio press for years. I am lucky (especially at my age) to have a bathroom in my basement near the man cave. When I go in there I leave the music on. I am always fascinated by how much the music sounds live, but in another room, in the bathroom with the door closed. I would suggest that there are more similarities between live and recorded acoustic music when heard from another room than there are when heard from the same room. |
Hey guys! Hope you don’t mind my jumping into this thread, (Infinite Jest got nothing on this thread). I began reading it a couple of weeks after my Ohm Walsh’s, (I believe they called them F-4049’s) arrived. They are refurb pyramid cabinets with new drivers, bought on sale. I wish I’d come across this thread earlier, as I had a number of misconceptions about these speakers, and might’ve chosen differently. Having never heard, or even seen them “in person”, I was concerned about bass reproduction. From the pictures, I thought the cans were much smaller than they are. As you all know, I needn’t have worried. But I was certain I would need Super Walsh’s, with their built-in subs, and of course the biggest driver I could afford. And when I first looked at the “beta” F-5015’s on their site, I thought, “Hey, I can almost afford these!” I was ready to pull the trigger. Then I noticed it was the “per speaker” price. Ugh, I hate when speaker companies do that! Who buys one speaker? Four grand was really my upper limit, and yes, I needed more than one speaker. Long story short, the sale came around, and I decided at the time that I would deal with non-existent problem of bass later. I have always purchased used equipment. You get more for your money and, as a working guy, that’s what I can afford. So I had no idea what to expect in terms of break-in. Out of the box, these speakers sounded terrible with most recordings. Very fat on the bottom, and recessed in the upper mids. They had a weird, hard to describe character, almost as if I was listening with a cardboard tube next to my ear. Yet, with certain types of recordings, mainly acoustic recordings, or sparsely-arranged amplified instruments, they sounded quite decent. They were very unforgiving of most multi-track rock recordings. To my ears, they had a very pronounced mid-bass, and I felt very much that I was hearing the cabinets. I was expecting a much more airy, non-cabinet/non-boxy sound. Into my fourth week, much of that seems to have worked itself out. Certainly the high end has opened up, and whether I’ve gotten used to the sound of the cabinets, or whether that has worked itself out too, I cannot say. It should be noted that I was used to folded-ribbon tweets, as I’d long been listening with ESS Heils. These were a modified/upgraded pair of AMT1-a’s which, aside from what the tweets did, made very transparent bass, (passive radiator design). Different in every way from the Ohm Walsh’s. As I say, these initial problems have worked themselves out, one way or the other. I do wonder though, whether I should’ve (could’ve) went with smaller, (and cheaper), drivers? This particular set of speakers comes with one three-position switch. It’s a low-end cut, although I don’t know exactly what it does. In the end, I settled on the bottom position, which provides the most trim, or whatever. I was having trouble frequencies in the mid-bass, or low-mids, and that bottom switch position seemed to tighten everything up. And it didn’t hurt bass response much at all. For instance, last night I pulled out Snoop Dogg’s classic “Doggy Style”, (now there’s an audiophile record, my friends!), and played the side with Gin and Juice. There’s a lot of very low-end synth bass throughout these cuts, and the Walsh’s conveyed that to my diaphragm very nicely. The highs are smooth and sweet, neither recessed nor harsh, with the sleigh bells sounding positively magical. I felt immersed in the music. Laid back, indeed! A big reason I bought these speakers was because I thought they would solve the problems of fussy seating and fussy speaker arrangement. As it turns out, more the former than the latter. I’m fairly limited in how far I can pull them away from the wall, and I have them about as far out as I can get without impeding traffic - 20” from the center of the cans. Nevertheless, this seems to work, again, as long as I use the bottom position of the switch. All in all, as these speakers open up, I’m becoming happier and happier with them. I have to admit, I was having second thoughts at first, but I knew I had to give them a chance to break in. So many people rave about these speakers, I thought, there must be something to them. As others have mentioned, I am now able to go to recordings that the Heils had problems with, and the Walsh's tame them. In fact, lately, I’m throwing all sorts of recordings at them - from Loretta Lynn, to Minor Threat, to Thelonious Monk, to the Feelies, to Led Zeppelin, to Stereolab, to Dr. Octagon - and they handle them all nicely. Living-room = 20’ x 15’ x 8’ = 2400 sq. ft. Speakers and seating are along the long walls. Speakers are 10.5’ apart, and about 11’ to “sweet spot” (triangle). I sit off to the left of this spot, though. They’re driven with a McIntosh MC352, off the 4 ohm taps. |
sudont: Welcome to the thread and to the world of Ohm. I was very interested about your comments regarding the Hiel folded ribbon tweets vs. Ohm. I have yet to hear a folded ribbon tweeter that I didn't like. But, and this is key, the Walsh driver goes up to about 7kHz, where the super-tweeter rolls in (the Walsh driver rolls off by itself above 7kHz). So, a large portion of the treble is being reproduced by the Walsh driver. As to the positioning issue, you are fortunate to have the switch, to reduce the bass reinforcment you get when placing any speaker too close to the walls. Also, at some point, you may wish to experiment with diffusion panels at the side and rear reflection points. But please be patient. Unless you are playing them many hours each day, they will take several months to fully break in. Mine took close to six months. Also, while the speakers don’t insist you sit in a narrow sweet spot, I prefer to listen dead center for optimal soundstage presentation. YMMV, of course. And don’t forget that John Strohbeen is always available if you have any questions or concerns. You can usually reach him on business days at the Ohm factory in Brooklyn. He’s a heck of a nice guy, and a very talented speaker designer/voicer. |
sudont, If you are finding the bass too much or not clean and articulate due to the larger driver size and if your floors are lively and have some give, like most modern suspended plywood floors found in upper levels of homes these days, consider placing the speakers on an isolation platform to clean up the bass and improve detail and clarity overall in conjunction. I use Auralex Subdude platforms (about $60 each) under my smaller Walsh 2 cabinets. Subdude 2 platforms are 15" square. May or may not be big enough for your speakers. Very good at taming the bass nicely by eliminating interactions with acoustically lively floors. Most floors are that unless directly on foundation level of the house. If you jump up and down and feel the floor give at all or anything in the room moves or vibrates, you have lively floors that are probably best tamed with most any speaker that is delivering the bass it should. |
Bondman, Yes, the Heil tweeter begins at 850 Hz, and goes up to, well, I don't know exactly, but out of my hearing range. I imagine they rated them to 20k. Amazing upper-mids, crystal treble. But, perhaps because of that mid-range crossover point, the Heils did not have quite the lower-mids that the Ohms have. It's possible I'm not used to hearing that, and that's why the Ohms sounded a little fat down there. As for bass, yes, that switch is a big help. Mapman, I read your discussion about the SubDudes. I, too, wonder if they'd work with these cabinets. This is the old pyramid cabinet, and it has a set of casters on the bottom. Do you guys have those on your speakers? My floor is a suspended design, carpeted plywood over two-by-fours, over a crawl space. My TT will pick up footfalls if I'm not careful. It would be nice to find an affordable solution. If anyone has any suggestions, I'd love to hear them. |
sudont: I also thought I might have been hearing the cabinets "sing" in the lower mids. The cabinets of my 2000s do vibrate. But I think I was actually hearing the hollow body of instruments like acoustic guitars, cellos, etc. I would bet that John Strohbeen was well aware that inexpensive cabinets will resonate, and works with that rather than drive up costs by trying to prevent it. Also, with the drivers sitting proud of the cabinet, I don't think a lively cabinet is as much an issue as it would be with typical dynamic speakers mounted on a baffle in a cabinet. As for the floor, please note that my 2000s sit on a custom pair of Sound Anchors cradle bases. These solid, heavy bases have three-point adjustable spikes and enabled me to level the speakers very easily. They sharpened up the imaging and transients noticeably. I think they cost me about $350 shipped. Worth every penny. That said, I use them on a carpeted cement basement floor, so YMMV. |
Sudont I also have larger F5 series 3 Ohms. Listening to them as I write. I believe these are same cabs as yours, refurbed OhmF cabs on casters. 12" cans. These are are on foundation level in my home so no need to isolate those from floors like my smaller models with Walsh 2 cabs upstairs. It it looks to me like casters might just fit on subdude platforms. I'd measure and determine for sure if considered. Also of course you'd want to get the location right first then put speakers on platform. And lock castors. There res are other effective isolation products out there as well I'm sure but have not researched. |
On my Walsh 3's I got rid of the casters, I simply unscrewed them and replaced them with solid rubber footers. I made sure that the final height was the same as the casters for proper vent clearance. I won't say the difference was dramatic but the bass tightened up nicely and overall clarity seemed improved. The speakers are more stable now and in my opinion better looking. |
Polarin, Agree with you about looks! OTOH, when you first get the speakers, the casters are convenient. Long-term though, they have to go. I like your solution. Spikes on heavy equipment can make it difficult to move around. I always imagine one of those spikes going right through my foot. Mapman, Thanks! Maybe Polarin's rubber feet on top of the SubDudes would work? Will the SubDudes support that kind of weight, though, even if they do fit?Here's another thing I wonder: Mapman, you have a couple of different Walsh drivers at home. How do they differ in terms of sound? Do the smaller ones do better at the high-mids? From what I've heard you guys say, they seem to do no worse at the low-end. What about sound at lower power levels? Do the smaller drivers do better in this regard? I find I have to play mine fairly loud to open them up, although this also seems to be a diminishing problem. Bondmanp, I think the cabinets have to play a significant role. After all, it is a type of bass reflex design, with its port on the bottom. I'm really not clear at all about how the CLS driver differs from a conventional driver, e.g., how they get it to vibrate the cone, and behave less like a piston. But looking at the "bottom" of the driver, it looks very much like a conventional driver, with a diaphragm, magnet cover, and flexible surrounds. This is firing into the cabinet, so it has to produce resonance. If I'm not mistaken, stuffing is used to control midrange within the cabinet. It would be interesting to know how much, and what kind of, stuffing is in there. A person who knew what he was doing might be able to make some adjustments there. I feel fairly certain I'm hearing the cabs, or the room, (or both). But as I say, much of this odd sound seems to have worked itself out, and the bass cut switch has helped in this regard. I'll need to go back to critical listening to see where I'm really at. I'm not distracted by their sound anymore, and that's a good sign. Martykl, Thanks for your comments! I can't help wondering sometimes if I bit off more driver than my room can chew. It would be nice to compare a smaller version of the Talls, just to see, particularly for quieter listening levels. But again, the sound is improving, and perhaps all these problems will work themselves out as I exercise the speakers? |
Mapman, Let me just add: When I first talked to JS, I brought up low listening levels, and he said the bigger speakers are easier to drive, i.e., more efficient. Does that make sense? I’ve always thought you wanted small speakers for lower level SPLs, and because they have less mass, they should be easier to drive. Anyway, what’s your experience with the different Walsh’s? |
One of the most unique things about the Walsh line is that each driver from smallest to largest in a particular generation of product inherently sound the same. The resulting sound will depend mainly on fitting the right size speaker to the room. So a micro Walsh in a smaller room sounds like a larger driver in a larger room all other things essentially held constant. So your room size alone dictates what speaker is needed for great sound. My my two Wash models. Are both series 3 one with 12 inch driver and larger cabs and one with 8 inch driver and smaller cabs. I've put both in a suitable size room for both to fit well and sound is in fact essentially the same. Id only add my larger F5s have the larger 12 inch drivers and the four 3 way level switches that allows one to fit the larger speakers well into even smaller rooms if desired. Personally I have no issues with the casters and actually like them in that they make moving the large F5s around super easy as needed. I've tweaked location and other things enough that the castors are a non issue for me though I see no problem with them sound wise on paper. Lots of ways to tweak sound as needed and the castors and controls on the F5s are both a boon for that. |
My opinion on Walsh speakers and low levels is that they are very good there when driven optimally by amp in particular but some different things to consider. The difference is the sound dispersal pattern compared to more directional speakers. A more directional speaker will fire more of the sound directly at you which may make it seem like things sound better at lower levels. They well may depending on what you expect to hear. No doubt the Ohms achieve their most realistic presentation at higher volumes as do most good quality speakers up to the task. Low volume listening is always a compromise when frequency response is flat because our ears are not flat in response. We do not hear extreme frequencies as well at lower volumes. That is the issue that loudness controls on amps used to tackle more often than not. |
Glad to hear others discussing the cabinet vibration issues. I really wonder if a modification could be done to the Ohms to make them vibrate less and what that would sound like. My first though was maybe some damplifier on the inside of the cabinet and my second though was something similar to what the Vortex Acoustics does which is take two boards and sandwich a rubber or goo between them to counter resonance at different frequencies. |
Yeah you have mentioned this before, but I have noticed sound emanating from the side wall of the tower. It wasn't exactly quiet either and must have an impact on the sound. Do remember that I am using the smaller and from what I can tell less well build cabinets of the 1000 series vs you who is retrofitting to older and better build enclosures. So the difference maybe far more relevant to new Ohms then Ohms of days past. |
Accurus, Have you popped the top had a look in the cabs? I was reading up on stuffing and cabinet sound, and came a cross this article: The Cabinet Face & Stuffing They say that cotton, followed by fiberglass, are the best materials, and that neither are much used today for various reasons, not least of which is cost. Scroll down the page a bit to get to it. Here is another internal "tweak" I came across. I should say, I haven't tried any of these, but you might find it interesting. Not sure what's inside the Ohms, as I haven't looked inside yet. Mapman, I sometimes miss the tone controls and loudness button on my old McIntosh. I worry about my ears as I get older, and a little bump in the treble and bass could be useful here. But just try to find a preamp with these today! It seems only McIntosh still includes them. |
Accursed are you saying you get cabinet noise from vibration? If so I'd talk to JS and maybe take a look inside for anything loose that should not be. I recall internal braces in my old original Walsh 2s coming loose after a number of years and reattaching them myself fairly easily. Otherwise that's a new one for me. |