Well, i wasn't one of the people to ask for this forum, but may as well take Steve upon on his kindly opening up the channel. I have heard the Tidal Sunrays along with their dual tower subs. I heard it with an all-Tidal amplification system, FM SMaster Ref cabling, Tripoint power conditioner/grounding unit, Stahl-Tek Vekian digital.
Far and away more resolution, more detail, greater depth of perception on the same track than any room i have ever been in. Ever. That includes distributor-set ups of: XLF, TAD Ref One Mk2s, YG Acoustics Anat Ref, SF Strads, CLX, Q5, Thiel Ref model (7?), Hansen Princes. A lot has to do with setup, though each was setup by distributor/manufacturer or some well respected dealers. And the equipment in all cases was the likes of Metronome Kalista Ref, Transp Audio Opus-level cables, Ypsilon Ref mono amps, etc.
But this level of resolution was so extreme (AND effortless at the same time), i really admit i was stunned. I've been fortunate to hear a lot of nice equipment...though i rarely have the time, i make it when i can. When playing a Reference Recordings orchestral piece, i specifically heard 2 things which i had never heard before or realized were part of the recording:
1. The depth of the orchestra finally made me realize the recording could actually show you the number of instruments consistent with the actual number...it spread to each side and behind the speakers about 20' where most systems produced closer to 7-10' depth. As a result of the spacing out...the harpischord actually found its own place consistently throughout the piece. It did not have any other sounds coming from that particularly space...that was impressive in an orchestra.
2. The level of contrapuntal rhythms was remarkably easy to understand...you wonder how did i miss this before? Very cool effect and all about enjoying the musical interplay plus the overriding tune
3. The negatives? When you switch to Clapton, the crowd in the opening of the album (Unplugged) is bright. Definitively bright...i have heard this on too many good systems not to feel that the crowd was properly recorded and natural.
In sum...if only someone could tone down that system a bit. The resolution was so easy, so effortless, it was truly a lesson learned for me about what is possible. Tidals are clearly a big part of this...and it does not hurt to have 2 big sub towers which alleviate bass challenges to the main towers.
That said, i will also say i have a very, very strong sense a large part of this starts with the source...the Stahl-Tek's reputation for this level of detail and effortless delivery (particularly with larger scale orchestral and remain totally in control of each instruments individual identity) is well known by those who've heard it...and without being bright as i have been told. This was first generation...there have been 3 generations since, and apparently it has gotten closer and closer to analogue tape each time.
Far and away more resolution, more detail, greater depth of perception on the same track than any room i have ever been in. Ever. That includes distributor-set ups of: XLF, TAD Ref One Mk2s, YG Acoustics Anat Ref, SF Strads, CLX, Q5, Thiel Ref model (7?), Hansen Princes. A lot has to do with setup, though each was setup by distributor/manufacturer or some well respected dealers. And the equipment in all cases was the likes of Metronome Kalista Ref, Transp Audio Opus-level cables, Ypsilon Ref mono amps, etc.
But this level of resolution was so extreme (AND effortless at the same time), i really admit i was stunned. I've been fortunate to hear a lot of nice equipment...though i rarely have the time, i make it when i can. When playing a Reference Recordings orchestral piece, i specifically heard 2 things which i had never heard before or realized were part of the recording:
1. The depth of the orchestra finally made me realize the recording could actually show you the number of instruments consistent with the actual number...it spread to each side and behind the speakers about 20' where most systems produced closer to 7-10' depth. As a result of the spacing out...the harpischord actually found its own place consistently throughout the piece. It did not have any other sounds coming from that particularly space...that was impressive in an orchestra.
2. The level of contrapuntal rhythms was remarkably easy to understand...you wonder how did i miss this before? Very cool effect and all about enjoying the musical interplay plus the overriding tune
3. The negatives? When you switch to Clapton, the crowd in the opening of the album (Unplugged) is bright. Definitively bright...i have heard this on too many good systems not to feel that the crowd was properly recorded and natural.
In sum...if only someone could tone down that system a bit. The resolution was so easy, so effortless, it was truly a lesson learned for me about what is possible. Tidals are clearly a big part of this...and it does not hurt to have 2 big sub towers which alleviate bass challenges to the main towers.
That said, i will also say i have a very, very strong sense a large part of this starts with the source...the Stahl-Tek's reputation for this level of detail and effortless delivery (particularly with larger scale orchestral and remain totally in control of each instruments individual identity) is well known by those who've heard it...and without being bright as i have been told. This was first generation...there have been 3 generations since, and apparently it has gotten closer and closer to analogue tape each time.