Ron Resnick

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INTRODUCTION

On December 6, 2015, my wife and I visited the home of WBF member Audiocrack to listen to his Genesis 1.1 system. Mike Kay of Lyric Hi-Fi played for me Reference Recording’s Berlioz: Symphonie Fantastique on the Infinity Reference Standard V driven by Jadis electronics and spun by a Goldmund Reference turntable many years ago, and it was that amazing experience which got me "hooked" on high-end audio. I approached the opportunity to listen to an example of the progeny of the IRS V with great excitement.

Audiocrack was a wonderful, gracious, patient and accommodating host. He generously invited my wife and me to join him and his wife and children for dinner in between listening sessions.

Audiocrack’s large house, built in 1902, has a connected living room/dining room area. This living room/dining area, which doubles as a listening room for two independent stereo systems, is long (maybe 45’) but only 15’ wide. The Genesis system resides at the far end of the living room, and the Tidal La Assoluta resides at the far end of the dining room. There is no acoustic treatment of any kind in the room.


GENESIS 1.1

The Genesis 1.1, being a planar system, however large and complex, is nonetheless a type of sound reproducer I believe I understand. I have owned and enjoyed dipole speakers since 1988. I feel like I know how to set up dipole speakers. I am comfortable with them and with how they sound in general.

In the Genesis 1.1 Operating Manual Gary Koh writes about the usual room size for the big Genesis system: “A typical room size is 29 ft x 48 ft with 12 ft ceilings.” Informally, I believe Gary suggests the minimum room width to be about 21’. Gary also insists that one must listen at least 15’ away from the speakers for the numerous and varied drivers to integrate properly. Yet, in Audiocrack’s configuration, at a distance of only about 11’ from the panels, I heard great coherence and no lack of driver integration. How is this possible?

When Audiocrack first purchased the speakers and installed them he found that the big Genesis system worked surprisingly well in his narrow (for such a large system) room. But he was not impressed with the quality of the Genesis crossover components. Audiocrack has a friend and consultant who is an experienced audio electronics engineer. Audiocrack set this consultant to work to redesign the crossovers and, according to the consultant, some of the woofer control electronics. By reworking the crossovers, by making phase adjustments, and by replacing discrete components with components of the highest quality, including large and expensive silver Dueland capacitors (to match the silver Dueland capacitors in the Kondo amplifiers), the consultant was able to reconfigure the electrical characteristics of the system to optimize the loudspeaker for a room whose width arguably is too narrow for this system. Audiocrack thoughtfully arranged for this consultant to join us for my visit.

The Genesis panels are driven by Kondo push-pull amplifiers. Audiocrack plays vinyl by switching between a Walker Proscenium turntable and tonearm with a Lyra Olympos cartridge and Lyra Connoisseur 4-2 SE phono preamplifier, and a Blue Pearl JEM turntable with a Kozma Airlaine tonearm with a Lyra Atlas cartridge and Kondo M1000 Mk I/Kondo KSL SFz step-up transformer phono combination. (My wife found the gleaming gold and silver JEM turntable to be “stunning-looking,” and she has never before commented on the design of any piece of audio equipment.)

The adoption of the Tripoint Emperor grounding unit and Tripoint Thor SE Master Reference Ground cables are the most recent changes to Audiocrack’s system. As we did not compare the sound with the Tripoint removed from the system I cannot comment on its effect. However, Audiocrack is certain that the Tripoint equipment has “greatly enhanced” the sound of his Genesis system. Audiocrack uses TARA Labs Grandmaster Evolution interconnects and speaker cables.

At the level of state-of-the-art speakers I truly believe there is no such thing as a wrong choice. I could live happily with any of the SOTA speakers, regardless of design technology. I could be just as happy with a SOTA horn system as I could be with a SOTA dynamic driver or a SOTA planar system. They are just different flavors of wonderful.

In this review I conceive in the abstract of a synthesized composite of the best sound reproduction I personally have ever heard from any audio system, and then I describe the ways in which I think, or I suspect others might think, the Genesis deviates from such composite of the best I have ever heard.

On the Genesis system I played:

"The Rose" by Amanda McBroom, Growing Up in Hollywood Town (Sheffield Lab 13)

"Send in the Clowns" by Bill Henderson, Live at the Times (Jazz Planet Records/Classic Records)

“Landslide” and “Rhiannon,” by Fleetwood Mac, Fleetwood Mac (MFSL)

"First We Take Manhattan" and "Bird on a Wire" by Jennifer Warnes, Famous Blue Raincoat (Rock the House Records/Classic Records) (I know this is a digital recording.)

”I've Got the Music in Me" by Thelma Houston, I've Got the Music in Me (Sheffield Lab 2)

The Genesis presents the largest scale I have ever heard from a loudspeaker, including the Rockport Arrakis. If you listen primarily to classical music I do not think you can do better than the big Genesis system. Notice I wrote “better than.” I also think you cannot do better than the Arrakis. But there is no such thing, especially at this level, as objectively "best." At this level compromises are few, and one's selection of "best" will be based on subjective preferences and sonic priorities and music preferences. It might not be possible for even a single individual to decide for himself which loudspeaker is “best.” One might find one SOTA speaker best for classical music, and a different SOTA speaker best for vocals.

The detail on the Genesis system was exactly how I like it: all the information is there, but it is not projected towards you. Bill Henderson’s lip smacks on the closely-miked Send in the Clowns were there in all the detail I am used to from MartinLogan electrostatic panels.

I think that ribbon drivers in general, including the ribbon drivers in the Genesis 1.1 in particular, are just one shade less transparent than the electrostatic panel on a MartinLogan speaker.

Possibly due to the dispersion of the round ribbon tweeters I did not hear the Genesis to project solo vocalists with as clearly defined an image as I hear from MartinLogan, Rockport, Wilson or Analysis Audio speakers. The solo vocalist image on the Genesis is a little bit diffuse. (The reward for this issue, if it even is an issue at all, is that the off-axis listening range is a lot wider than other planar speakers I have auditioned. Exactly as Gary Koh promises the Genesis can be enjoyed by more than one person in the “sweet spot.”)

One of the criticisms of some hybrid planar speakers is their lack of convincing upper bass/lower midrange energy. The low frequency end of a planar driver -- whether electrostatic or ribbon -- does not provide enough acoustic output in the 200 Hz to 400 Hz range before the dynamic woofer driver (in single tower systems) or the woofer tower (in four tower systems) takes over the burden, typically at 100 Hz or below, of reproducing the lowest frequencies. Even a four tower SOTA system such as the Genesis 1.1 may have a weakness in the upper bass/lower midrange region: No matter how Herculean are the bass towers, if the crossover to a planar system occurs no higher than at about 100 Hz, then there can be a richness and weight and “body” and cone excursion impact deficit in the critical 200 Hz to 400 Hz range. Even the amazing Genesis woofer towers may roll off too quickly at the high end of their working range to provide impact at 200 Hz to 400 Hz, and no midrange ribbon (let alone an electrostatic panel) is going to provide the “body” and richness to satisfy me in the 200 to 400 Hz region of the dual 9" drivers of the Rockport Arrakis or the 13" woofer of a Big Wilson or, I suspect, the four 11" woofers of the Evolution Acoustics MM7. I do believe that a ribbon driver provides slightly, but noticeably, more “body” and richness in this frequency range than does a MartinLogan electrostatic panel. If a high sonic priority for you is oomph and impact in the upper base/lower midrange area then you might prefer full-range dynamic driver systems to any type of planar hybrid.

I think I heard heard slightly greater resolution and texture from the magnetic planar woofer panel (which covers 650 Hz and below) of the Analysis Audio Omega than I heard in that frequency range from either the Genesis or the Arrakis. Of course having heard each of these speakers in different rooms and with different associated components makes such fine distinctions difficult to make and of dubious value.

In summary, the only even possible deviations of the Genesis 1.1 from my composite of the best I have ever heard are: one shade less transparent than MartinLogan electrostatic panels; slightly more diffuse center imaging of solo vocalists than what I am used to; less oomph and impact in the 200 Hz to 400 Hz region versus comparable all-dynamic driver systems; and, possibly, a slightly lower resolution and texture in the 650 Hz and below range compared to a well-designed magnetic planar woofer.

I have read that some people criticize the Genesis woofer towers for being a bit slow or bloated. I certainly am no expert on woofer towers, but I did not hear any slowness or bloat. I do think I heard on my usual audition tracks the most powerful bass performance I have ever heard in my life. Drums on two selections from Amanda McBroom, Growing Up in Hollywood Town (Sheffield Lab 13) sounded the most tonally realistic, and realistically impactful, I have ever heard from a stereo system.

We did not compare the Kondo amplifiers to any other amplifiers so the following is just a suspicion. As I have mentioned I loved the tonal balance, detail and transparency of the Genesis system. The Kondo amplifiers surely contribute to those characteristics. But I couldn't help but wonder if the Kondo amplifiers are not terribly dynamic, or if perhaps they are a little bit on the low-powered side for the Genesis panels? Audiocrack did mention that I listened at a significantly higher volume than the volume at which he typically plays the Genesis system.

On the Genesis system Audiocrack played a live recording of Jimi Hendrix’s "I Don't Live Today" from the The Jimi Hendrix Experience box set. When that track came on my wife and I looked at each other like we had just been tele-transported to the front row of a live concert! (Hyperbole for poetic effect.) The realism was stunning and totally fun! There is something about the sheer scale of the Genesis system which makes it easier to suspend disbelief.


TIDAL LA ASSOLUTA

Audiocrack’s La Assoluta is the very first La Assoluta delivered by Tidal to a purchaser. The Tidal La Assoluta, being a large dynamic driver system, is one with which I am not as naturally comfortable as I am with dipole speakers. We listened to the La Assoluta only briefly.

From inspecting the LA you would never guess it is the first “production” copy Tidal has made. All seams and fittings look perfect, and all hardware and screw-heads look perfect (and I am very picky about cosmetic stuff like that). The woodworking and the finish on the wood cabinetry of the LA was the highest quality wood finish I have ever seen on a speaker. Imagine the most beautifully polished wood stock you have ever seen on an expensive, custom hunting rifle. The LA’s finish was at least as good as that.

Audiocrack drives the LA with Kondo SET amplifiers. We listened to various digital downloads.

My primary sonic impression of the LA is amazing transparency for dynamic drivers. Was the LA slightly more transparent than the Arrakis? I heard them in different rooms and with different associated components so I have no idea. I sort of want to say “yes,” but it would be unfair to do so. The Arrakis has the more laid back sound that I prefer, and a more forward presentation can give one the sense (or the illusion) of greater transparency and more detail without it actually being so.

I felt that I heard from the LA more treble energy than I am used to. I felt like the LA projects detail towards the listener in that “better than live” way that I find a little uncomfortable.

The LA “sounds” very quiet and very clear. This may be due entirely to the fact we were listening to digital, to which I am not accustomed. Audiocrack believes the “silence” of the LA is a result of the extraordinary build quality of the speakers and the cabinets. The inertness of the cabinets, Audiocrack believes, allows you to hear only the music as reproduced by the electronics. Heroic cabinet inertness is the reason the Arrakis, also, sounds very quiet and very transparent.

The Genesis is laid back compared to the LA which is more “in your face” (totally relative and completely unhelpful descriptions, I know, but that is the only way I can think of to express the point). I found the tonal balance of the Genesis to be ideal, and equal to the best I have ever heard. I found the tonal balance of the LA to be a little forward. I assume audiophiles who like a more detailed sound than I do would find the LA to be sonic heaven.


COMPARISONS

Audiocrack’s Genesis system is one of the two best stereo systems I have ever heard in my life. The other one of the two best systems is the Rockport Arrakis, driven by two pairs of VTL Siegfrieds with a Lyra Atlas cartridge on a Triplanar tonearm on a Brinkmann Balance turntable sitting on a Herzan table with an ARC phono preamp, a VTL line stage and all Transparent Audio cables.

The third best system I have ever heard is Steve’s Wilson Audio X-2 with JL subwoofers with all Lamm electronics and a TechDAS Air Force One turntable with a Graham Phantom Elite tonearm and an Ortofon Anna cartridge, in a dedicated and heavily treated listening room. The main difference between the Genesis system and the Arrakis system, and the Wilson system, is scale and effortlessness (effortlessness is difficult for me to explain). On most other audiophile-type sonic attributes the Wilson system comes very close to, or equals, the larger systems. (Rightly or wrongly I attribute a lot of that competitiveness to the all Lamm electronics.) But that difference in scale and effortlessness does create a more realistic, involving and exciting presentation.

Would I buy the Genesis Dragon or would I buy the Rockport Arrakis? At this point I do not know.

I prefer the dipole presentation, the midrange transparency and the four tower scale of the Genesis. I prefer the upper bass/lower midrange realism and impact, and the greater vocal and instrumental “body” above 100 Hz of the Arrakis. (To my ears dynamic drivers beat any electrostatic panel or magnetic planar driver or ribbon driver for corporeal “body” and weight.)

How amazing is it that one of our WBF members has not one but two of the greatest loudspeaker systems ever made? Audiocrack is a true music lover, more than he is equipment-focused. He simply loves having two different interpretations of sound, two different sonic prisms, though which to experience and enjoy his music.

Thank you, again, Audiocrack, for the rare opportunity to hear two amazing audio systems!
 
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ack

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Terrific indeed! Everyone one of them
 

Audiophile Bill

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Fantastic reviewing, Ron. I enjoyed that read very much. I would be very cautious about making an evaluation between Genesis and La Assoluta with an analogue vs digital front end. I don't know, but I would bet money that the transparency / resolution of the LA system is so refined that changing from one source to another like that would give you a completely different sound and presentation. Rudolph once said to me that the LA is so resolving that virtually any change to the system in any department is immediately revealed. Shame you did not hear the Walker on the LA as you are an analogue man at heart and truthfully no digital will ever truly speak to you if that is your preference.
 

Ron Resnick

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Thank you, Steve! Thank you, ack!
 

Ron Resnick

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Fantastic reviewing, Ron. I enjoyed that read very much. I would be very cautious about making an evaluation between Genesis and La Assoluta with an analogue vs digital front end. I don't know, but I would bet money that the transparency / resolution of the LA system is so refined that changing from one source to another like that would give you a completely different sound and presentation. Rudolph once said to me that the LA is so resolving that virtually any change to the system in any department is immediately revealed. Shame you did not hear the Walker on the LA as you are an analogue man at heart and truthfully no digital will ever truly speak to you if that is your preference.

Thank you, Bill! Yes, you are right. Audiocrack was not able to play vinyl on the LA. I recognize and I agree that I might have had a very different first impression of the LA if we had been able to play vinyl. But Audiocrack himself agrees that the presentation of the LA is at least a bit more forward than the presentation of the Genesis.
 

Audiophile Bill

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Thank you, Bill! Yes, you are right. Audiocrack was not able to play vinyl on the LA. I recognize and I agree that I might have had a very different first impression of the LA if we had been able to play vinyl. But Audiocrack himself agrees that the presentation of the LA is at least a bit more forward than the presentation of the Genesis.

Aha - ok. Thanks for the clarification. Lovely easy writing style btw. Are you any closer to deciding what direction to travel?
 

Audiocrack

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Dear Ron,

First of all I want to thank you for your visit and extensive report. Secondly I hope you and your wife can 'go home' soon (although your wife will of course leave her native country) and enjoy a happy life together in LA.

As regards your report or review please allow me a few comments.

First of all, as you already mentioned, my listening room is completely untreated because I do not want to turn my old/original listening room into a sort of 'audio mausoleum'. The acoustics are pretty/very good but I know for sure that in a dedicated listening room both systems would flourish even more, in particular the Tidal LA (cones) loudspeakers.

Secondly, wow ... you Americans play really loud! For my taste the Kondo Gakuoh 300B amps have more than enough power to drive the Genesis 1.1 loudspeakers properly at the loudness level I prefer but of course a more powerful (tube)amp will deliver the music with (even) more dynamics. However, I prefer the finesse of the Kondo amps to eg the more poweful Jadis and Convergent Audio JL 1 limited edition amps that I used in he past, no mattter how good both these amps are.

You are clearly a vinyl lover and I could not yet let you hear the Tidal LA's with a vinyl set up. Next time you will visit Holland I will have the Forsell Airforce 1 or the DaVinci Audio Gabriel mk II turntable ready with a Koetsu (diamond) coral stone and Kondo IO-M cartridge.

Please keep in mind that Anton and I have been working on the G 1.1 system for many years now and that system is more or less 'tweaked out'. However, we only recently started working with the Tidal LA's. The latter are barely broken in (actually I am still not sure if they are completely broken in yet). And of course the musical presentation of cones loudspeakers differs significantly from a planar. Obviously you adore planars (like I do) and that is competely fine of course. As you implied in your report, in the end it is always a matter of taste what kind of sound you prefer and that is exactly what makes our hobby so interesting.

I had lately some problems with my Lampi server that were resolved only shortly before your visit. After you left I changed the server settings from native playing (the only setting you heard) to dsd 256 upsampling. The time was too short to include this change in our - compared to the listening session with the G 1.1 - very short session with the LA's. As mentioned in one of my comments in the thread dedicated to the Golden gate dac - and I believe (Audiophile) Bill agrees with me - in this setting the presentation of the GG dac becomes more airy, smooth and somewhat less focussed. very likely more to your liking.

Although I have never heard the Arrakis loudspeakers I listened to an awful lot of other cones loudspeakers and furthermore owned quite a few (such as the Tidal Sunrays, the four box Marten Coltrane Supremes and various Goldmund loudspeakers). To me the Tidal LA's are by a very, very wide margin the best cones loudspeakers I have ever heard. The transparency of these speakers is (indeed) out of this world and in my view as good as the (inter alia Martin Logan) electrostatic loudspakers I heard in the past. The LA presentation is more direct (less laid back if you will) than the Genesis 1.1 and is also more precise (or less diffuse if you will).

Listening to both my very different sounding set ups on one day creates a lot of times quite some confusion; even experienced audiophiles need to adjust themselves and find it hard to do so. I believe you did a good job although I promise you next time you will be (more) impressed with the LA set up

I am really happy that you and your wife could visit us and that we all had a great afternoon and evening. Thanks again for your kind words and I hope we can meet again in the near future.
 
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LL21

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BRAVO for a remarkably detailed, friendly, and truly enjoyable read. You have discerned with care and respect, and articulated the finest nuances with great ease. Like a SOTA speaker!!! ;)

My wife and I have had the pleasure of hearing Audiocrack's mighty Genesis system about 2 years ago, and we too were 'teleported' to Dire Straits, Rachel Podger (Vivaldi Extravaganza - Channel Classics) and our own personal selection of deep house, orchestral, acoustic and many other recordings. Interestingly, I can only find one other system i have found to be in its league...and it is Ernie Lau's Rockport Arrakis system in Hong Kong with dual VTL Siegfried Monos.

I can only say that upon the first handful of notes of the mighty Genesis, my immediate reaction was: they make my big Wilsons seem like Sashas. It was that much bigger, more effortless in its ability to scale crescendos with ease and no hint of compression. In truth, when i heard the Arrakis (yes, of course, different room, etc), i sensed they made my big Wilsons seem like Alexias...so not quite the scale of the Genesis...but every bit of coherence, effortlessness and propulsive BASS...but BASS that felt every bit as effortless and 'just there' as the clarinet playing along in the upper mids.

And yes, Audiocrack certainly lives up to his own moniker! He truly has TWO addictive systems that are absolutely pristine in the care with which they are designed, setup and maintained. (In fact, i believe the consultant you refer to actually worked with Arnie Nudell of Genesis at some point in the past...and so in addition to his tremendous experience generally, i recall he actually had particularly unique insights into the Infinity/Genesis family of speakers.)

In any event, back to your review...i can only say bravo and 'encore'! I look forward to reading more, Ron. Thanks for taking such time and care in your exceptional writing.
 

microstrip

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Great to read Ron, many thanks!
 

amirm

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Ron, that was a great review and read.

I have heard the Genesis at Gary's warehouse. Despite being a massive space, it needed a lot of distance for the lobing to go away. The way you could tell full integration had happened was by going forward and back. If you heard a tonal change, then you were too close. I have done the same test with a number of other array type speakers and the issue is the same for all of them.

And yes, the Genesis is a grand system and presentation. What I heard was immense power to fill the massive space they were in. In that sense, they do have a sound of their own.
 

carolkoh

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Great read Ron, you have a good turn of phrase. You'll be pleased to know that the Genesis "Dragon" is basically version 1.2 - with Gary's design, improvements in the cross-over, completely new design in the amplifiers and improved servo feedback circuit as well as servo-bass cable. We've also improved construction and materials by being able to do the materials and construction design with a local artisan (who purchased a CNC machine to do our business) and there is even a narrow wing version to fit smaller, narrower rooms!

Gary is traveling in Asia right now or else he'd have read your review and said a few words too. :)
 

Audiocrack

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Great read Ron, you have a good turn of phrase. You'll be pleased to know that the Genesis "Dragon" is basically version 1.2 - with Gary's design, improvements in the cross-over, completely new design in the amplifiers and improved servo feedback circuit as well as servo-bass cable. We've also improved construction and materials by being able to do the materials and construction design with a local artisan (who purchased a CNC machine to do our business) and there is even a narrow wing version to fit smaller, narrower rooms!

Gary is traveling in Asia right now or else he'd have read your review and said a few words too. :)

Hi Carolyn,

Can you please inform us what kind of caps are you cureently using for the Genesis 1.2 xovers? No Duelund silver caps (at all) I believe?

Are you (still) offering the woofer amps (only) in class d? I am using the non class d amps that Paul designed for Arnie. Are customers - who like me do not like class d amps - allowed to order non class d amps with the Genesis 1.2 loudspeakers? I am asking because a speaker like eg the Gryphon Pendragon is using non class d woofer amps to apparently great effect.

Are there any advantages - from a musical point of view - in your and Gary's view by using class d amps for the bass towers?

Thanks and kind regards.
 
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XV-1

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Where are the photos of the wonderful speakers and systems.

Ron, you cannot go on this journey without photos?
 

Ron Resnick

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Are you any closer to deciding what direction to travel?

No. But I am learning, or at least confirming, a lot. The easiest, and most obvious, choice for me is the Neolith, but I have not been able to hear it under leisurely, quiet circumstances in a private audition. No dealer in Western Europe has a pair. The demo pair in the USA is making the dealer demo rounds.

I likely will have to visit Mike Ware at LMC in Arizona or a friend in Las Vegas sometime next year to hear the Neolith in a quiet audition.
 

Ron Resnick

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Ron, that was a great review and read. . . . And yes, the Genesis is a grand system and presentation. What I heard was immense power to fill the massive space they were in.

Thank you, Amir!

I can only imagine how much more grand and realistic a big Genesis sounds when it has more room to "breathe."

Audiocrack's experience has given me hope that I could make the standard wing Dragon work (or, more accurately, that Gary could make the standard wing Dragon work) in my current room size of 19.5' wide by 24.5' long by 14' high. (No matter what the system, my back is up against the rear wall. But I could have the wing panels 8' to 10' from the front wall, and sit 15' to to 13' away.)
 
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Ron Resnick

Site Co-Owner, Administrator
Jan 24, 2015
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Beverly Hills, CA
Great read Ron, you have a good turn of phrase. You'll be pleased to know that the Genesis "Dragon" is basically version 1.2 - with Gary's design, improvements in the cross-over, completely new design in the amplifiers and improved servo feedback circuit as well as servo-bass cable. We've also improved construction and materials by being able to do the materials and construction design with a local artisan (who purchased a CNC machine to do our business) and there is even a narrow wing version to fit smaller, narrower rooms!

Gary is traveling in Asia right now or else he'd have read your review and said a few words too. :)

Thank you very much for your kind words, Carol!

I have studied the Genesis 1.2 & "Dragon" Update Fact Sheet on your website. Those enhancements seem terrific!
 

Ron Resnick

Site Co-Owner, Administrator
Jan 24, 2015
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Where are the photos of the wonderful speakers and systems.

Ron, you cannot go on this journey without photos?


I understand. But the in-home auditions have been private, and sometimes people who either are not into the audio forums or who just want to maintain their privacy do not appreciate photos of their systems being published.
 

wisnon

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Dec 12, 2011
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No. But I am learning, or at least confirming, a lot. The easiest, and most obvious, choice for me is the Neolith, but I have not been able to hear it under leisurely, quiet circumstances in a private audition. No dealer in Western Europe has a pair. The demo pair in the USA is making the dealer demo rounds.

I likely will have to visit Mike Ware at LMC in Arizona or a friend in Las Vegas sometime next year to hear the Neolith in a quiet audition.

I unfortunately missed the Golden Tulip and all the goodies there; Noeliths/Vox Olys and LumenWhite Silverlights. however, my partner in crime made it and did this write up. He is smitten....

http://parttimeaudiophile.com/2015/12/07/warsaw-2015-martin-logan-neolith/
 

Ron Resnick

Site Co-Owner, Administrator
Jan 24, 2015
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Neoliths . . . my partner in crime . . . is smitten

Almost all of us have heard MartinLogan speakers and so, collectively, we have an excellent sense of what they do well and where they fall short.

I stand by my theory that we are using the wrong ML benchmark and that the Neolith is a lot more satisfying than the Summit/Prodigy. I expect the Neolith will be fully competitive with state-of-the-art single tower loudspeakers.
 

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