That's an easy answer...it will require you to move your system into it, LOL.A no brainer. These do most everything one could ask for without a diesel amplifier as in the older Apogees and or Magnepans. If you read the website brochure of the Alsyvox it pretty well sums it up. Now what will my larger room do?
i am with you on this...will be interesting to hear if I get the chance! Meanwhile, I do wonder if the Gryphon Mephistos might not be a great partner for them.Lloyd, from what I have heard, and another reason for the thread, these new Alsyvox's are the real deal. The designer has apparently solved the terrible impedance dip that the old Apogee's required one to deal with ( and that basically eliminated 90% of all amps out there). To that, he has addressed the panel flap that was also problematical with the Apogee's and significantly increased the quality of construction. All of which lead me to believe that this could well be the final speaker for a lot of folks... assuming one has the room to place them, and of course, the funds to acquire them. If they happen to be demoing in the UK, may well be worth a trip to hear.
Gwalt, do you have any insight/instinct on how the Alsyvox models w the additional seperate bass panels sound?
(...) This forum features a number of horn devotees, many of whom believe that the horn type speaker is the only way to listen to classical and jazz! (...)
Does anyone realize that for 200K for a system featuring these, you could hire a 3 piece ensemble to play for you for 2 hrs 3 times a week (20 man-hrs@50/hr= 1000/wk for 4-6 years. Just trying to put a bit of reality in the discussion. You could setup a rotating schedule of various musicians. Heck, if solo piano or cello is your thing, you could splurge for a 100/hr musician and do about 6-9 years, mix in some more pedestrian musicians and you could get 10-15 yrs. You could even interact with them. Setting up the talent and schedules would take less effort than what's spent here. Heck, you could even miss your own private performances and not worry about it just like when you travel and your 200K system is sitting idle for weeks. Oh yeah, that's what the Singer heiress did when living in Paris 100yrs ago.Full disclosure: I like nice gear too.
Davey,
Given what you and I have both experienced and espoused (the power of well-integrated subs)...i wonder if the designer (having custom-designed the bass panels) actually is delivering substantially greater sense of ease, expanse, soundstage...looking at the specs, it is clear at least by surface area coverage of bass panel, Michelangelo doubles and triples vs the Caravaggio being 50% more bass panel area than the Botticelli.
So i suspect a notable increase in range...but a REALLY big increase in soundstage power, SCALE.
Based on what i have read occasionally here, it seems like Alsyvox is a natural evolution of the Apogee sound...and the Apogee Stages were one of my all time favorite speakers.
On the horn side, what would you recommend?
Classical and jazz is too general to be used as a classification for audio purposes. From what I read in this forum most of these horn devotees consider mainly some very specific types of recordings in this genres in their comments ...
I once owned the Avantgarde Duos Mkll and the Edgarhorn Titan in which that can be viewed under Audiogon moniker Gwalt Virtual Systems.
I also have a friend in Omaha who owns the Avantgarde Trio with 3 pair of bass horns......and have heard the Cessnero along with Acapella hybrids......all great speakers.
My take on horns is that they can sound beautiful in the midrange/top end but have some tricks to integrate the bass with the speed of the horns.
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