I found and read this article:
? https://sublimeacoustic.com/blogs/news/making-the-case-for-active-crossovers-vs-passive
The Aida II has three set of binding posts, for tri-amplification.
Michel Fremer in his review I don't believe experimented with this option.
Me, I would, with six quality monobolck amps, if I was a professional hi-end audio reviewer. The more I can give to my reader's audience the better for them, and the better for me, and the better for the speaker's designers, manufacturers, importers, audio dealers.
We love simplicity, the vast majority, but the best is not always that simple.
Hundred-thirty Gs is a reasonable amount of dough for most.
Most expect some of the very best sound reproduction from a mechanical loudspeaker, like the Sonus Faber Aida II, you betcha. It better delivers in spades.
Yes the inside looks nice, the vibrating metal rod and the quality crossovers using premium parts.
The cabling too looks high quality, and the exterior is simply gorgeous, finished from impeccable mastercraft.
I'd like to hear comparisons with similarly priced Magico speakers.
Because they are not as nice looking externally, but internally they are very impressively designed and built. And to help the reviews are high praise, and secondary, the measurements fare very well.
Plus we have a good bunch here who are Magico speaker's owners.
The room where the speakers go in, will always have the biggest effect.
In Michael's room the Aida II had great effect on Michael's emotional music enjoyment level; his review was clear, his music selections well chosen and impacting from the Aida's.
He didn't mention that it was better than sex, but he did wrote the word "sex" in the third line of his review, in reference to an article of long time ago.
Would the Aida II sound better if tri-amped, if the crossovers were not inside its enclosure?
Sonus Faber must have explored various options, and with and without that vibrating rod running in the center between few driver's compartments/sections. Computers and measurements are part of any serious audio loudspeaker's designs. And divulging too much is no good in a very competitive high-end audio world where the high rolling money is chasing above the sky and around the moon.
? https://sublimeacoustic.com/blogs/news/making-the-case-for-active-crossovers-vs-passive
The Aida II has three set of binding posts, for tri-amplification.
Michel Fremer in his review I don't believe experimented with this option.
Me, I would, with six quality monobolck amps, if I was a professional hi-end audio reviewer. The more I can give to my reader's audience the better for them, and the better for me, and the better for the speaker's designers, manufacturers, importers, audio dealers.
We love simplicity, the vast majority, but the best is not always that simple.
Hundred-thirty Gs is a reasonable amount of dough for most.
Most expect some of the very best sound reproduction from a mechanical loudspeaker, like the Sonus Faber Aida II, you betcha. It better delivers in spades.
Yes the inside looks nice, the vibrating metal rod and the quality crossovers using premium parts.
The cabling too looks high quality, and the exterior is simply gorgeous, finished from impeccable mastercraft.
I'd like to hear comparisons with similarly priced Magico speakers.
Because they are not as nice looking externally, but internally they are very impressively designed and built. And to help the reviews are high praise, and secondary, the measurements fare very well.
Plus we have a good bunch here who are Magico speaker's owners.
The room where the speakers go in, will always have the biggest effect.
In Michael's room the Aida II had great effect on Michael's emotional music enjoyment level; his review was clear, his music selections well chosen and impacting from the Aida's.
He didn't mention that it was better than sex, but he did wrote the word "sex" in the third line of his review, in reference to an article of long time ago.
Would the Aida II sound better if tri-amped, if the crossovers were not inside its enclosure?
Sonus Faber must have explored various options, and with and without that vibrating rod running in the center between few driver's compartments/sections. Computers and measurements are part of any serious audio loudspeaker's designs. And divulging too much is no good in a very competitive high-end audio world where the high rolling money is chasing above the sky and around the moon.