Sonus Faber Cremona Auditor old v new

Influence

That is just about the strangest thing i have ever read, my experince is the exact opposit.

I have demoed the elipsa cremona M and auditor cremona M, against the orginal cremona all well runned in at least 7 times with various different amps and sources and the very thing I dislikede most with the new sonus fabers are the aggresiv trebel region .
I have sensitiv ears also and the org cremona on the other hand is a very seductiv speaker in this region, yet still lest the detajls through and that very very rare.

At the time i was offerd to buy new org cremona and new cremona M at the same price , and bourgt the org cremona because it was the better speaker espicialy for my gear and the seductiv balanced sound.

The org cremona is a special speaker, very responsiv to what to drive it with, it will sound slow dark and muddy with the wrong gear but try with somthing like linn klimax and you will be in musical heaven.
The new sounded more or less the same no matter what amp we tried it with and that was great hifi, amazing bass hot trebel and not very musical.

The review you refere to are the elipsa (same tweeter as the M`S) and both stereophil and hificlube both bashed the elipsa for being to aggresiv and producing surthen unwanted frq in the trebel region just like i heard it and other to.

Try reading the reviews for the orginal cremona ,stereophil quate, Do you have a bad case of high-tech, metal-dome tweeteritis? Sonus Faber offers a cure. In the midrange and treble, the Cremona reminded me of a Sonus Faber minimonitor.


My dealer wich is very alternativ (so is his prices) tells me that alot of german SF dealers are complaning about the new sonus faber sound because of the lean sound espicialy in the trebel region ,and are looking for somthing to replace them , this was what the old sonus fabers where so special at , complet earpleasing sound you can listen to forever.

With all do respect it almost seems that you are mistaken the org for the new.

thanks

Hulskof

Your findings is the same as mine.

Heard the cremona many times and it the diddent sound very good, always muddy overly soft and and with some gear BIG uncontroled bottom end.

The export/import dealer that actually sold my cremonas have for many years not liked them at all, then suddenly one day on a hifi forum said the sound like a dream, and he now has a set in his collection.
He heard them with the right gear.

Linn gear sound rather dry, completly naked and uneuphonic , and lean yet very musical and rytmicly saisfing and obaove all very tunefull.
The top of the range klimax 500 solos i have play the music without eny sonic compression at all and have a amazing dynamic headroom that makes them go deeper then enything else i have experinced .
The are also lean, naked sounding

somhave the cremonas balances all the leanness out of the linn and vise versa creating a strange musical synagi that must be heard to be understood.

Old cremona is also very picky to room placment, sure you can get out sound out of them in less then ideal placment but give them a BIG room with tall selling and the really open up.
As stated before the are very sensitiv to what amp and source you use with them.
Are this a good thing or bad?
Franco clearly diddent wanat to make compromises with the org cremona , but have to make them as good so possibel in great room with great amplifires.

The new one is much easyer to place, easyer to find synagetic amps for , to some thats a good thing to each his owen i ges.

In my book the more a speaker changes sonics with different rooms amps the better it is.
Just like old amati it sounded horribel with entrylevel gear but feet it some SET tube power and the are heaven.

I think its actually very simpel, the cremonas are much more transperent then there balanced soft sound are given crdit for, thats why the CAN sound muddy and bloated with the WRONG gear.
The can sound great with alot of gear and with the right gear like heaven.
I think overall the cremona is one very musical speaker regardless of what you drive them with, problem here is many people dont even know what musicality is or even like it.

To my great horror i have come to learn that there are alot of audiophils out there that only use music as a measurment tool for have hifi there system sounds, and typicaly buys music because the recording is good.
And in my experince with HIFI speakers my cremonas are the opposit of the equation , so why some dont like it and find the m`s better because of the more hifi right sound dont mean a thing to me.

Well my experince is there sound change rather dramaticly by going from primare/ and rotel amps to jadis ja30 class amps and then finaly to the linn amps.

Hulskof

I can asure you that the crmonas with 500 watts of Linn klimax power up there behind creates a sound that is eything else then what you hve descried.

Its completly open , with awsome transperant midbass and awsome awsome dynamics, voices and instrument sounds real yet everythng is just netural not bright not warm not muddy not lean not to smooth just right, and wih my new linn DS its i hear sound and music ´that i havent heard better live or playbacked
It really needs to be heard to be understood.

I really wish you could listen to my system.

Hi Influence

Nice write up.

The cremona is by no means a speaker that cuts of the higest frq like some of the old sonus fabers.
But the key here is to use a source that have a smooth and analog sound, somthing like linn source wich i found to be the key.
When i first got them i had a slimdevices transporter and there where some brightness to the sound i diddent like.

When i demoed the cremona and cremona m , it was in the same room using the same gear.
The room was around 25 sq meters and in that room the org cremona sound to strong and basss heavy maybe even boomy, sound was also thick and muddy, the sound was so different from other speakers.

The m`s havever where very controled and gave the impresssion that the would work just about enywhere, overall the sounded like other well designed speakers i have heard from gamut, dali,Dynaudio, but are much prettyer.

Its a fact that sonus faber tightend up the drivers when the new design team took over and franco serblin left just after the stradivaruius sonus faber.

Here in denmark where we have lost of speaker manufactors and speaker driver manufactors the answer is clear old cremona used better drivers and crossover parts then new one.
Old cremona uses all scanspeak revelator drivers wich are arguably the best and most musical drivers you can buy today + all mundorf supreme crossover components + franco serblin used 3 years to perfect it.

New one uses SEAS bass drivers wich is carbon design, the are good for bigger drivers as the ones in the strad, but the scabnspeaks are ALOT better for smaller aplication + the ms where diffently not given the atension that the old one was given from franco.
After the elipsa the design team launced 3 new models in half a year.

All this is just tech talk we all here it differently and we all love different kinds of sound.
In fact the very thing i love about the old is what others dont like.
I also love linn gear wich is has unqestionble synagetic with the OLD sonus faber sound and im not sure i would have boutgt linn or sonus faber if the diddent sound so good (to my ears>) together .
But living with both i know i would .

check out my system just uploaded it

reegards

On more thing.

Source first , the speaker can only reproduce the signals its being feat, if you hear the old cremona as being hard on the ears, its not he speaker thats the problem its 99.9 % surthen that its the source/uptream gear the problem lies.
I recorment if you have the chance to demo it again the ask to here them with different sources.