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.
Glad to see there is another happy camper. There needs to be a resource for Ohm owners and perspective owners to hang out and discuss these great speakers!
Thanks, Mapman. I'm not a beer drinker, really, but this "virtual Bud's" for you, since you were the one who convinced me to try these puppies to begin with.
I had a little more time to listen to them yesterday. (Every time I post here, I become aware how pathetically busy my life is these days...)
I guess I'll cut to the chase and say that after about half an hour listening to a number of different cuts from various CDs, I nearly picked up the phone and called John Ohm to tell him how thrilled I was...
Okay, granted that the Totems were not nearly broken in, but I have to say that the bass response on the Micro-Walsh Talls absolutely puts the Totems to shame. The bass on the Walshes is not only far more robust, but it also impresses me as being more fleshed out and more articulate than on the Totems. For example, the title cut on Donald Fagen's most recent solo CD, "Morph the Cat," opens with a very deep and very powerful solo line on the electric bass. On the Totems, the the bass is "there," but it sounds rather anemic and homogenized. On the Ohm's, not only is the bass much "fatter," but you can also hear more than the notes themselves: you can hear the texture of the notes... you can hear that the notes are coming from a stringed instrument which is being plucked. It's wonderful!
I've already mentioned, in a previous post, how impressive the opening Japanese drum crashes on the Princess Mononoke film soundtrack are. I guess what makes them so impressive is not just, at least perceptually, how deep the bass seems to go, but that these little tower speakers are really capable of "moving some air."
The other thing I noticed is how amazing the speakers are at imparting a sense of depth and presence when presenting well recorded live recordings.
For example, I was listening to a fairly new, James Taylor live CD called "One-Man Band." It was recorded in an old, historic theater somewhere in the Berkshires of Massachusetts.
It's really difficult to describe just how thrillingly these little speakers reproduce the sense that you are sitting in that theater, the performers arrayed in front of you on a stage. Yes, James Taylor's voice does sound miked, but far from being offensive, is actually pretty stunning, because it sounds the way a concert public address system would sound if you were sitting somewhere out in the audience. Furthermore, on one gorgeous performance, "My Traveling Star," Taylor is accompanied by a large choral group, singing harmonies. The sense, again, of the members of the chorus standing mid-stage, with "air" and proper acoustic space surrounding them, is... well, it's "thrilling..." I just can't think of a better way to describe it.
I know this sounds rather trite, but the speakers make me want to take out all my old digital and final sources and "rediscover" them.
So far, in any case, I am a very happy camper.
I will continue to log my impressions as I have more time to listen.
I had a little more time to listen to them yesterday. (Every time I post here, I become aware how pathetically busy my life is these days...)
I guess I'll cut to the chase and say that after about half an hour listening to a number of different cuts from various CDs, I nearly picked up the phone and called John Ohm to tell him how thrilled I was...
Okay, granted that the Totems were not nearly broken in, but I have to say that the bass response on the Micro-Walsh Talls absolutely puts the Totems to shame. The bass on the Walshes is not only far more powerful, but it also impresses me as being more fleshed out and more articulate than on the Totems. For example, the title cut on Donald Fagen's most recent solo CD, "Morph the Cat," opens with a very deep and very powerful solo line on the electric bass. On the Totems, the the bass is "there," but it sounds rather anemic and homogenized. On the Ohm's, not only is the base much "fatter," but you can also hear more than the notes themselves: you can hear the texture of the notes... you can hear the notes are coming from a stringed instrument which is being plucked. It's wonderful!
I've already mentioned, in a previous post, how impressive the opening Japanese drum crashes are on the Princess Mononoke film soundtrack are. I guess what makes them so impressive is not just, at lease perceptually, how deep the day seems to go, but that these little tower speakers are really capable of "moving some air."
The other thing I noticed is how amazing the speakers are at imparting a sense of depth and presence when presenting well recorded live recordings.
For example, I was listening to a fairly new, James Taylor live CD called "One-Man Band." It was recorded in an old, historic theater somewhere in the Berkshires of Massachusetts.
It's really difficult to describe just how thrillingly these little speakers reproduce the sense that you are sitting in that theater, the performers arrayed in front of you on a stage. Yes, James Taylor's voice does sound miked, but far from being offensive, is actually pretty stunning, because it sounds the way a concert public address system would sound if you were sitting somewhere out in the audience. Furthermore, on one gorgeous performance, "My Traveling Star," Taylor is accompanied by a large choral group, singing harmonies. The sense, again, the members of the chorus standing mid-stage, with "air" and proper acoustic space surrounding them
I had a little more time to listen to them yesterday. (Every time I post here, I become aware how pathetically busy my life is these days...)
I guess I'll cut to the chase and say that after about half an hour listening to a number of different cuts from various CDs, I nearly picked up the phone and called John Ohm to tell him how thrilled I was...
Okay, granted that the Totems were not nearly broken in, but I have to say that the bass response on the Micro-Walsh Talls absolutely puts the Totems to shame. The bass on the Walshes is not only far more powerful, but it also impresses me as being more fleshed out and more articulate than on the Totems. For example, the title cut on Donald Fagen's most recent solo CD, "Morph the Cat," opens with a very deep and very powerful solo line on the electric bass. On the Totems, the the bass is "there," but it sounds rather anemic and homogenized. On the Ohm's, not only is the base much "fatter," but you can also hear more than the notes themselves: you can hear the texture of the notes... you can hear the notes are coming from a stringed instrument which is being plucked. It's wonderful!
I've already mentioned, in a previous post, how impressive the opening Japanese drum crashes are on the Princess Mononoke film soundtrack are. I guess what makes them so impressive is not just, at lease perceptually, how deep the day seems to go, but that these little tower speakers are really capable of "moving some air."
Mine didn't come with any kind of manual - I emailed John if I had a question - he always emailed back quickly.
If the room is live and they're close to the back wall, they can generate lo end - try to keep the speakers away from the back wall, but experiment. In my case, I tuck them about a foot away for casual listening/TV, but move them out for critical listening (equal triangle). Like you said, they're very easy to move around, so that helps.
Thanks! And does anybody know what the recommended break-in period on these puppies is? The review on Six Moons.com seem to imply that it was something like 40 hours...
I am nearing the end of a very, very busy time at work and look forward to getting to spend lots of time with the Ohm's during an upcoming stay-at-home vacation! I'll report back as I have impressions to share.
I hope you all enjoy your new Ohms. I have enjoyed both the micros and the 100s. Give yourself some time to get used to the sound and I'm sure you will be very pleased!
I think Ohm recommends separation equal distance from listening position in order to direct the tweets towards the prime listening position.
If the speaks are too far apart, you can get a hole in the sound stage in the middle, so just listen for that and move them a bit closer together if needed to get focused imaging near the center of the soundstage.
Got to listen to them for about 20 minutes today before having to get into work. Sweet spot is huge, indeed. I'm sure they're not placed optimally, yet. Not enough time for tweaking. I must say that it's a pleasure having those nice flat plinths and not having to mess with getting floor spikes leveled!
Presentation is very different than the Totems...
Played a few cuts from Steely Dan's "2 Against Nature." They "filled the room," that's the best description I can give in shorthand. I need to listen more.
Bass is strong and copious and well defined. Not yet sure what distance from back wall is optimum in this regard...
Played a few minutes of the "Princess Monononoke" soundtrack. The opening drum crashes were HUGE. The orchestra sounded like an orchestra... not like "a stereo reproducing an orchestra." I think these things may smoke the Totems for orchestral music. :-)
I need more time with these things...
More to come...
By the way, for you guys who already have the MWT's, what's a good starting point for messing with positioning? Separation of speakers equal to distance to listening position, or what? And how far off the back wall? And did yours come with any kind of instruction sheet? Mine didn't.
Unboxed the smashed carton this morning and the speaker inside looks fine. I will write back when I've had the chance to actually hook them up and listen to them... should be around the weekend.
Well, the speakers arrived today. I haven't had the chance to open them yet, but man, you wouldn't believe how badly UPS mangled one of the boxes. I called John at Ohm right away, and he said that the speakers are double boxed deliberately to handle what UPS dishes out. Yikes!
By the way, I had them shipped to my office so that somebody would be there to sign for them. Well, they arrived after closing time, and UPS LEFT THESE TWO HUGE BOXES SITTING OUTSIDE OUR BUILDING ON THE FRONT STEP! Yowie!
Rebbe, for what its worth my wife has very high standards in home furnishing and has never complained about any Ohms I've had over the years in our living or sun rooms.
I think size-wise, they will be more or less the same size as the Arros, ie very minimal footprint which works great for WAF.
The big decision for most is whether to keep the cover on or off.
For a number of years, I re-did the covers of my old Ohm 2s myself using nice loose weave fabric to replace older covers that were worn. The thing I liked about the custom fabric I used was that it was loosely woven and when the light shined through them, you could see the "cans" inside in an almost translucent fashion...very cool!
I think the new black ash finish will look very sharp!
Yeah... the fit and finish on the Totems is really tight as a drum... "furniture grade," as they say. I don't care that much so long as they're not flat out awful looking... just hoping they pass muster with my significant other. :-)
Mine are both refurbished units from Ohm. Fit and finish are fine if not exceptional...probably not in the same "fine furniture" league as say Dynaudio or Quad.
Have fun auditioning! Take advantage of the 120 days - really let 'em break in.
Finish-wise, I think they look great. I think the black ones will look really nice, and they can hold their own in any decor. I just did a major renovation - custom cabinets... and my Ohms look great in the newly renovated space (mine are walnut).
If you have questions along the way, just let us know, and call John at Ohm!
I cannot believe I did this, but I actually ordered a pair of Micro Walsh Tall's today! :-D The description of these things by the people who have and love them is just too good to pass up.
The Arro's are still breaking in, and they're clearly very fine speakers, but I'm bugged by the fact that the sweet spot is so narrow in my listening room... it's just not relaxing to have such a narrow physical window for the best sound... it's actually a little stressful, which totally negates the point of having a good system. I just want to be able to relax and enjoy my music. Anyway, I'm still tweaking the position of the Arro's and trying to dial them in (yesterday I tilted them backward a few degrees to try to get the tweeter height aligned properly)...
I ought to have the Ohm's in a week or so... I'm getting them in black for the "WAF." ;-)
If the Ohm's float my boat, I'll just bite the bullet and put the Arro's up here on A'gon. I'm going to take a hit on resale value if that happens, but I'll chalk it up to a learning experience. And if I decide to stick with the Arros, I'll return the Ohm's.
Thanks to everybody for their help... I'll report back.
For larger scale ensemble recordings that require this, as well as rock/pop, I think this is where you would hear the biggest difference between Ohms and other speaks in the same price range, including Totem.
They will hold their own with most anything else in their price range for less demanding recordings as well.
no more bouncing than a conventional speaker. the sound stage is what ohm is famous for. the fact that they are balanced across the bandwidth, and convey weight, is the icing and the cherry on the cake.
In my experience, the sound doesn't bounce around so much, as the room is "energized" by the sound that comes from the speakers (I think John Potis used that term). In other words, as Ohm used to advertise years ago, the back wall of the room just disappears.
Although the Ohms aren't hyper detailed - I heard, or rather saw, the placement of the instruments in an orchestra with the Ohms in my room. They don't have that Hi-Fi, super detailed sound with images floating in space - it's more tactile than that.
The non-fatiguing aspect - I don't think of the speakers as warm, but smooth. But not smooth in the sense that you're missing out on the performance, just natural, I guess... I think it's the fact that the the tweeter crosses over so high - the mid-range is not affected.
You must have a verified phone number and physical address in order to post in the Audiogon Forums. Please return to Audiogon.com and complete this step. If you have any questions please contact Support.
