Vivid's new flagship Giya G1 "Spirit" launch in Chicago 11 Feb. 2017

cjf

Member
Nov 19, 2012
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#41
Obviously listening tests are not performed with the speakers placed in this position. Do you think audio reviewers are so stupid ?
Well...I agree that listening tests shouldn't be performed with speakers placed next to each other but would question if this fact should be considered obvious.

While there are certainly some fine reviewers out there with all their marbles in tact I've seen a few that could be considered...umm yes, stupid is a good description :)
 

Steve Williams

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#44

tedtag

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Jul 19, 2016
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Georgia
#46
I ordered a pair of G1's last summer to pair with new CAT amps and a CAT Legend preamp and they were about to be delivered last December when I heard about the Spirits. George with Kyomi Audio was great and let me upgrade and pay the difference for the Spirits but I've had to wait another 6 months to get them. Although this has been a test in patience, I'm starting to get pretty excited!

The Spirits should arrive soon and I'll report back on how they sound. They are going in a dedicated built from scratch room with ASC double wall construction/resilient channel, isolated power direct to the pole, JPS wiring, Furutech outlets, acoustic carpet, and a bunch of tube traps and GIK panels. I'll be hanging acoustic panels on the ceilings this week. Jim Smith fortunately lives nearby and is helping with the final set up.

Thanks to everyone who posted about room construction; Ron, Steve, and others. Your advise and experiences have been incredibly helpful!
 
Jan 29, 2014
983
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Cape Town South Africa
#47
Ted .. you wont be sorry .. the spirits are a speaker that is way beyond anything you have heard and are a substantial improvement on the G1's. I am busy with a G1 vs G1 spirit review..I am finding it difficult to put into words exactly what the Spirits do .. but they do something magical..worthy of a fully dedicated and treated room.
 

Joel

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Sep 13, 2013
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#48
Two years ago, I was asking me why pointing on a pair of Vivid Audio G2 when it was possible to elude any doubt or question about state of the art in the Vivid line-up, going directly towards the Giya flagship G1.
That was my state of mind at that time, and I could not have imagined that the ticket to serenity would have lasted not more than two years...
Not being among the G1 early purchasers, having owned previously the Oval line flagship K1, it's not really an abnormal situation having since a few month a new pinnacle of sound at the Durban's loudspeaker factory. The wonderful downside of our audiophile hobby is that there will always be something better, keeping our addiction at the top. Here comes her majesty Giya G1 Spirit...

Laurence Dickie is neither a terrorist nor a revolutionist. He's indeed moving slowly and has worked during ten years around a global maturation of his early design. "Change for change" is apparently not Vivid's moto and perhaps "evolution rather than revolution" would suit better the South African company.
Identity is also a key feature, as for other prestigious brands like Ypsilon in the field of electronics : despite tending towards the highest neutrality, there is a Vivid or an Ypsilon sonic fingerprint. All famous brands have indeed their house sound. That's quite a paradox but who will deny the fact that Wilson Audio, McIntosh, JBL or Shindo have their own sound ? Yes they do, and that's why there is such a diversity in the hifi landscape.
Visual identity is also something that cannot be ignored and the organic shapes of the Vivid Audio speakers have remained a corner stone during all this years. Dickie's loudspeakers are perhaps the closest to car industry products if we consider the aerodynamics shapes, the lightness of materials, the power of the "engines", the quality of paintings...
And each release of a new Vivid Audio speaker looks like the outing of a new sport car. Before connecting them to your playback chain, you already know that something special is going to happen...

To be completely honest, I have been a Vivid Audio enthusiast since a long time, so my review needs to be considered from this standpoint and my personal tastes don't pretend to any kind of universality. But my intimacy with the brand provides me with sufficient informative background to assess the new G1 Spirit in comparison of past achievements. I hope almost this fact cannot be denied... and that has probably motivated Philip Guttentag, CEO of Vivid Speakers, to send me a loaner pair.

View attachment DSC_3679bis.jpg

Moreover, my close relationship with the South African company makes me aware of Dickie's personal quest for improvement of his early designs. Of course, this guy is not the sole and a few other competitors in the field of high-end loudspeakers industry, can pretend to pursue the same goals. But Dickie's particular case relies on the fact that his early designs were already based on very advanced schemes and techniques. And improving what's already can be considered as a real technical achievement becomes subsequently extremely difficult. Other guys should have tried to change a few parameters to promote new products and justify the price increase, within a slight increase of the overall performance. But Dickie is not part of them. He doesn't' stop until he has achieved something really better, that's almost the Vivid Audio strategy in terms of innovation. And that's why the Vivid Audio line-up has not moved or changed radically during the past years despite many projects and prototypes being carried out to replace the older Oval line, or to develop completely new products...

Some may think that beyond my attachment to the company, my admiration for Laurence Dickie has definitely no limit. More than admiration, I am very respectful of his honesty and integrity. But that's enough for the Laurence Dickie's fan club, and let's have now a deeper look to the new kid in town, the Vivid G1S.

Is the Spirit another evocation to the luxury cars' industry ?
Not directly. The "Spirit" name is more about the purest essence of what is the Giya concept, that is to say the "cleanest window into the music" as Dickie said.
Laurence Dickie has also described the new G1 Spirit as a G1 on steroids. The Spirit is in fact 11 cm shorter (4") than the original G1. The G1S is nevertheless fatter to accommodate larger and deeper woofers though their diameter remains unchanged. The two cabinets' volume remains also unchanged. So this new outing looks like a kind of "supercharged G1".

The new flagship has indeed a more muscular bottom-end. The new woofer C225-100 has definitely more power. It uses a completely new die-cast structure with a voice coil increased in diameter from 75 mm to 100 mm, and in length by 50% compared to the original G1's woofer.
Increasing the magnetic flux allows for higher linear excursion by 30% and doubles the thermal power dissipation. The new woofers have twice the power handling, greater excursion, larger diameter voice coil and neodymium magnets that are nearly twice the size of the regular Giya G1's woofers. The magnets are no longer behind the voice coil but encapsulating them for a more efficient transfer of flux.

View attachment DSC_3688bis.jpg

G1S Tokyo.jpg

The new low-mid driver C125-75 is also an impressive technical achievement and has been considerably improved compared to the older C125S unit. That was quite mandatory considering the increased power handling of the bass drivers. This completely redesigned carbon stiffened 125mm driver is given as pushing its first break-up mode over 10 kHz (the previous G1's unit was achieving 4.2 kHz). Having decided to go for the larger 75mm coil, it seemed logical to Laurence Dickie re-optimizing the cone and to include carbon hoops. Changing the magnet topology pointing on a radial structure adjacent to the coil was also a way to strengthen the synergy with the side woofers.

The new D26k and D50k units, already used for the lovely B1 Decade, replace the former mid-treble drivers of the original G1 design. Main changes are about protective grilles and filtering, the catenary shape of the dome drivers being unchanged. But the most important feature from a sonic standpoint is the position of the tweeters which are now at the average listeners ear level for greater focus. It's clearly an improvement despite, in my own case, being clearly above the average height, I was not particularly affected by the previous tweeter and midrange domes' vertical position...

G1S Tokyo 2.jpg

Stay tuned... :)
 
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GMKF

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Aug 15, 2017
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#50
Wowza....
In my opinion the design has improved.
 

Joel

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Sep 13, 2013
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#52
The crossover has been in fact completely revised and is no longer inside the cabinet but stands in its dedicated carbon fiber enclosure. The new crossover topologies are implemented with new components exhibiting improved thermal tracking. Dickie have used only high quality 99.9% OFC copper air cored inductors (no iron cored inductors are used there, as they could lead to saturated sound issues). High grade polypropylene capacitors, Van den Hul hand point to point quality wiring (soldered directly into the circuit) and high quality silver containing solider are also used throughout. Whilst being quite similar to the regular G1 filter, following the same fourth order Linkwitz-Riley design, the new crossover has a tighter tolerance due to the new C225/100 and C125/75 carbon.

Having the crossover outside the cabinet, two extra layers of CNC machined carbon skinned composite braces have been added in the G1S' basement, making the cabinet even stiffer. Let's remind that the original Giya speakers were made of a balsa-cored composite sandwiched between layers of quadraxial glass fiber. A specific vacuum infusion process got resin applied on the whole structure which was reinforced by ten fiberglass grids placed laterally every six inches inside the regular G1.

G1S Tokyo 3.jpg

According Philip Guttentag, these new carbon braces are lighter in mass and fit much better into the curved internal cabinet shape of the Spirit compared to the former fibre glass braces of the G1. These new braces are now directly made in house (whilst the former fibre glass grids were manufactured in China). Philip Guttentag also told me that he has been impressed by the impact of the new enclosure on the overall sonic result. "When one is using decoupled low distortion drive units, the cabinet becomes so much more of an important component in the acoustic performance of the speaker".
In fact, the enclosure looks slightly different compared to my regular Giya G1. Knocking on the cabinet, the former G1 sounded like a kind of "light dead weight". With the Spirit, you still have this sensation of a complete inertia and lack of resonance but it sounds even more stiffer and heavier than the regular G1. This is a real achievement as the previous stiffness-to-mass ratio was already rather elevated, if not unequalled in the market of high-end loudspeakers.

G1S Tokyo 4.jpg

The position of the centre of gravity seems to be lower and the new enclosures looks definitely more stable on my wood floor meanwhile it's quite mandatory to adjust the rubber feet of my own G1 pair very precisely to make it completely stable. Subsequently, the new G1 Spirit seem more connected to the ground and this might impact their setting in your room compared to the regular G1s.
I have declared two years ago that, in my opinion, the Vivid Audio G1 had the purest shape of the whole Giya line, and that the smaller versions were somehow a scale compromise.
Today, I still confirm my thoughts about the shape of the regular G1 compared to its younger sisters. The original G1 still looks as a beautiful sculpture, a true piece of art, in the same way of the older Nautilus. But the new Spirit looks more like the result of a golden section's design. The purity of its line made me think about a frozen water drop.

The tapered tubes of the dome drivers (D26k and D50k) have also been redesigned to achieve a one-piece moulded absorber transmission line. Compared to the previous version, they are lower in mass and subsequently store less energy resulting in better attenuation of the standing waves.
The way it works remains nevertheless the same: a tapered hole in the centre of the pole piece smoothly couples the diaphragm to a fibre damped, exponentially tapered tube. This tube acts as an ideal enclosure, being completely free of resonance or reflection. The exponentially tapered tube behaves pretty much like a straight tube but occupies about a third of the volume. When adding the damping material, naturally compressed by the tube’s narrow end, it has resulted in a performance which actually exceeded that of a parallel tube.

G1S Tokyo 5.jpg

The painting process (similar to automotive standards) allows a rather wide choice, with possible specific color on demand, and the "mate" finish, which becomes more popular in the car industry, provides an undeniable touch of modernity. I still think anyway that the standard white pearl still looks truly gorgeous.

G1s two.jpg
 
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Joel

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Sep 13, 2013
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#53
Sound:

My first impression has been the robustness in the low-end. Damned, this part of the bandwidth has been drastically improved, and despite I had no particular reasons to complain about my regular G1s as far as bass are concerned. Those bass are amazingly clean and powerful. It reminded me of my best listening souvenirs with such extremely talented loudspeakers like the Magico M Project or the MBL 101 Extreme.
The bottom end goes undoubtedly deeper, with incredible speed, and have a greater authority compared to the results achieved through my regular G1s. But the salient point as far as bass are concerned is the fact they now blend much better with the mid-bass unit.
It's also not easy combining powerful and defined bass. I have always been convinced about the necessity of preserving a very accurate response over a correct amplitude of the lower octave. A few speakers are able to deliver such accuracy at realistic level in the low-end. And the G1 Spirits have good chance to be part of the world top five speakers. The explanation seems quite simple : you have a stiffer chassis so you can use a more powerful engine without losing control. And there is definitely a lot more power available with the Spirit edition...

Another striking point was the increased level of details in the low-mids. Hence it sounds richer and provides more weight and density to the strings and wind instruments. Of course drums and percussions are also more nuanced and detailed, but that's usually what we expect from such an evolution... I had also the feeling of a seamless overall result compared to my Giya G1s (i.e. not only for bass). It seemed like the bass and the low mids were blending in a more natural way. And the same impression applied also to the whole midrange, and subsequently to the blending of the C125/75 cone driver with the D50k dome driver.

View attachment DSC_3469bis.jpg

The Vivid Audio C125S transducer used in the original G1 was already an achievement per se and the internal structure of the driver was claimed as quite "acoustically invisible". But more invisible than invisible seems anyway possible with the new C125/75 and its magnet radial structure. It's rather difficult to define precisely which part has the greatest impact among the stiffer enclosure, the new mid-bass driver and the crossover. But the overall result just sounds outstandingly.

All the weight added to the bottom-end called nevertheless for a specific adaptation of the loudspeakers in my room. It has been mandatory as the bass' strength was definitely saturating the upper mids and trebles, whilst the speakers were placed in the exact same place of my own G1s. Another change resides in the fact the thread pitches which are now directly inserted in the carbon fiber bottom plate whilst they were integrated to the enclosure's vacuum infusion frame on the regular Giya speakers. The new position of the thread pitches slightly increased the coupling with the wood floor of my listening room.
Whilst the tonal balance of my regular Vivid G1s sounds better to my ears using the rubber feet, I experienced slightly better results in my room using the spikes, but the difference was not so significant to impact drastically the overall result...

View attachment DSC_4568bis.jpg

I was still experiencing nonetheless too much bass and low mids emphasis before I tried to use another amplification device than my regular Luxman M800a combo, replacing them with the Red Dragon S-500 Class D amps, also run in BTL configuration. That has been surprisingly a real game changer, improving significantly the Spirits' overall behaviour and clarity. I didn't understand why there had been an issue with my two Luxman amps which are normally perfect partners for my regular G1s until I experienced several changes in my personal setup. I realized then that these speakers are definitely more complicated to address than my own pair. They need to be set up with a level of precision and accuracy that I had never experienced before. Everything needs to be addressed very carefully and even the choice of the jumpers used to connect the high-mid frequencies biding post to the low-end connectors has a huge impact on sound. I cannot say that my regular G1s are completely insensitive to such minor changes but the overall result doesn't vary so drastically. The Luxman amps finally regained the leadership over the class D amps within a very accurate selection of cables (that need to have very low capacitance), and power cords.

Obviously, the break-in time needed for the Giya speakers is very long. It took me almost six months to get the best from my pair of regular G1. But the consequence of changing amplifiers, wires, power cords, was so obvious, that I honestly think a few additional months won't have impacted so drastically the overall result.
 
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Joel

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Sep 13, 2013
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#54
Another great strength of the G1 Spirit is their ability to get an even more stable and focused image. The background seems darker, and there is no longer that kind of "pump effect" I could have felt during the tutti and forte of a symphonic recording, that is to say the sensation of increasing the size of the sound stage with the sound pressure level. It was quite an obvious feature with my previous K1 pair, whilst it was definitely better with the regular G1, and now it's close to perfection with the new Spirits. The size of the sound stage does no longer vary according to the volume pressure. That's a sensation very comparable to the one felt listening to the best contenders such as Magnepan 20.7 or Leedh E2 Glass.

Another striking feature is the reduction of the audible distortion level that allows you to listen even louder compared to the previous Giya flagship. I did not remind of such low distortion level except my experience of the MBL 101E Extreme, or my more recent review of the Leedh E2 Glass speakers which could not compete nevertheless in terms of dynamics with the Vivid speakers. Listening to such difficult hard rock pieces like AC/DC's "Highway to Hell" or "Thunderstruck" at realistic (i.e. very loud) levels, the sound remained surprising sweet, resolved and "natural". It was really close to what you can feel at the live event when you are surrounded by this huge sound pressure without feeling any particular ear pain.

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he same impression applied to Sia Furler's album "This Is Acting" despite she often shouts more than she sings. If I can hardly imagine allowing my daughters to organize a party using my regular G1s, I think it would be nevertheless within the realms of the possible with the new Spirits as they behave on this musical genre as big JBL speakers: you have the sensation that you will never reach the saturation point. It's nothing but impressive. And many of my best friend had the same thought : "your kids are going to organise giant parties in your room !"
In the same time, and far beyond JBL speakers capabilities, the level of detail has also increased compared to the original G1.

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Listening to Bruckner's fourth symphony performed by the Hamburg Philharmoniker conducted by Simone Young (OEHMS DSD recordings), on the first movement (allegro), the strings acquired unusual clarity and tonal density. We are more commonly used to hear the bows' moves than the strings vibrations on these symphonic pieces. It generally makes the strings sections sounding a bit ethereal and mysterious. But this time, instrumental timbres sounded definitely more natural than with my own G1 pair. The Spirit provided me with the sensation of having more organic and less ghostly presence, especially on violins. It sounded more like a baroque music recording and that was indeed very close to what you can hear at the best places in the concert hall. I am even not far thinking it was finally better than any seat you would have chosen at the live event.
That was incredibly accurate and concert conditions rarely met our highest expectations in terms of sound quality.

The Sprits' accuracy was also highlighted by the precise location of each instrument among the whole orchestra. Listening to the Spirits, I had the feeling that each instrument had its own exact localisation within a three dimension perspective. This sensation relies on the fact that each instrument seemed well separated and distinct from the others. At a certain point, I had the impression of receiving perhaps too much information compared with a more global listening of the whole orchestral mass. But at the same time, everything was perfectly organised in width, height and depth. This sensation of hearing so many details, without feeling at any moment some kind of chaos or sound disorder, has been a real ongoing enjoyment.

And on the most violent passages, I have been impressed by the possibility given by the speakers to hear so many tonal contrasts despite such increase in volume pressure. During the most demanding tuttis, the hoboes, the flugelhorns were always distinct, as well as the violins and the percussions.
That's so far a unique experience highlighting the key role of the speakers in the overall result.
Indeed, with a good but affordable amplification like the small Red Dragon amplifiers, the Spirit went far beyond what were able to deliver the regular G1s in terms of detail and tonal accuracy. They were indeed closer to studio monitors, providing me with an impressive level of information, within a more stable and solid sound stage.

In comparison, the regular G1s provide a thinner sound, with perhaps more air and clarity in the top octaves. It's finally quite a totally different proposal, more romantic with a less focused and stable soundstage compared to what the G1 Spirit can afford. I think nevertheless that the original G1s could also provide a bit more finesse for classical music lovers compared to the Spirits that are definitely more versatile speakers. And if I am completely convinced about the superiority of the Spirits over the regular G1s, I also believe the choice between the two generations of G1 could rely on what you are listening to. If clarity in the upper octaves is a priority over midrange density and bass robustness, then perhaps you could prefer the original G1s. I think it's important to highlight they finally are two very different choices in terms of sound. I could describe the G1 Spirit as a kind of hybridisation between the previous G1 DNA and the Magico Q7, summing the qualities of each speaker inside one sole design.

But that difference of tonal DNA between mother and daughter that I have been sincerely convinced of during several months turned out to be completely inaccurate.
That's an important fact as, in my opinion, it could be a deal breaker or a game changer depending on the nature of your floor...

View attachment DSC_3483bis.jpg

Indeed I have used on my wood floor during many months the rubber feet which are provided by the manufacturer under the crossover chassis. In fact, equally to the loudspeaker itself, you have the choice between the usual spikes and the rubber feet. You will easily understand that, when you have a wood floor, the rubber feet are a better choice under such big speakers. They allow you to easily move the loudspeakers and I assume they are so far quite neutral from a sound perspective.
It was also quite a pragmatical choice using the same feet under the crossover boxes. And I could not have imagined that vibrations on my wood floor would have impacted so drastically the behaviour of crossovers enclosed in their carbon fiber chassis.
But when I tried the spikes without expecting something special, I have been amazed by the increased quality of sound. At that stage, no particular argument or particular musical genre can defend the cause of the original G1s. The Spirits outclass them in all aspects.
I understand that in the previous versions, the internal crossover had a greater inertia due to the overall weight and stiffness of the enclosure. Obviously, the new external version needs a more careful setting...

UNADJUSTEDNONRAW_thumb_3c3c.jpg

It could be also useful to provide you with almost a few words regarding active filtering capabilities of the G1 Spirit. Of course, the game become a bit more complicated, and as for the previous Nautilus design, you will need as many amplifiers as ways to be filtered (i.e. 8 monaural or 4 stereo amps). You will require also special speaker cables as you will have to use from the speaker side the dedicated Neutrik NL8 connector and from the amplifiers side 8 regular cable's terminations. And last but not least, you will have to acquire a 8 channels capable active filter, such as the Trinnov Altitude 32 used during the last year Munich exhibition.

According to Dickie's previous tests, the choice of the digital filter is a key issue. Indeed, Laurence is used to work with digital filters in order to benchmark his own passive designs. The passive external crossover used with the Spirits is said to provide better results than usual digital crossovers.
It's nevertheless possible to acquire the Spirits without their external crossovers, which represents a saving of $ 3,000 on the retail price. In front of that, it's important to have in mind that you will have to spend a higher amount for all the necessary stuff to go forward with the active mode. All things considered, the purchase of the passive crossover boxes remains in my opinion totally recommendable.
I asked Trinnov for a loaner to explore tis possibility, and having received from Vivid Audio the required speaker cables. Unfortunately, the French company had a very limited number of demonstration equipment and we didn't succeed in crossing our agendas. My second choice has been so far a less ambitious setup consisting of a Monacor digital crossover DSM-48LAN and 9.1 Yamaha Home Theater amplifier.
It hasn't been an easy task as the cable's color codes on the amplifier side were not identified and I had to test each driver's connection with a battery.
It was difficult in this case to compare apples with apples and the results achieved through this home theater setup and also with 4 stereo amplifiers (two Luxman M800a + two Red Dragons) were clearly below what I could achieved through the regular passive crossover.
My understanding is that this option could deliver interesting results but at a very elevated price (Trinnov Altitude + 8 good monaural amps). And the potential better result would be at some extent more or less directly linked to the possibility to adjust the phase response of the speakers in the listening room, which slightly digresses from the sole active amplification scope...

View attachment DSC_3674bis.jpg

Summing up, the final question could be: "are they the best speakers ever hosted in your room ?"
The answer is: "yes they are, definitely !"
Laurence Dickie has undoubtedly released another new state of the art benchmark in loudspeaker's design.
On all aspects, except perhaps the liveliness that was already very good with my own setup, they are objectively and subjectively far superior to their taller mother.

The salient feature remains the way they reproduce dynamics and transients. I have never heard something so impressive. And for all amplified music lovers, especially rock, they are in my opinion the best proposal I could recommend to audiophiles having sufficiently deep pockets, and looking for higher versatility of a speaker able to deliver extreme acoustic pressure but also stunning finesse.. But even for classical music addicts like me, they are fantastic speakers, and my new personal reference.
When I listened for the first time two years ago the very commendable Magico M Project speakers, after coming back home, I was quite disappointed by the sound of my regular Vivid Audio G1 speakers. Now, having the G1S in my listening room, there is nothing of the Magico speakers that could convince me to leave the South African manufacturer.
The G1 Spirit is without any contest a response to who was thinking Vivid speakers had not enough slam or not enough density in the low mids. Now, the Vivid Audio flagship has everything that the best competitors can deliver to their healthy customers, and perhaps even more...

Cheers,

Joël.
 
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Jan 29, 2014
983
0
0
Cape Town South Africa
#55
Great write up Joel.. your experience with the G1 vs G1s mirrors mine
Bass output is prodigious .. Dirac measured the G1 spirits in my room as -2db down at 8hz!!!! (at pretty high levels)
In fact I have had to put in a severe high pass filter .. my room has a 20db peak at 21hz (node + most likely port resonance)
The g1's do have an "airyness" I miss a bit in the spirits , but the spirits have far more a sense of immediacy and reality over the G1's
Currently I *am* using a trinnov st2 as a room correction device. If you think the spirits are good , well then the trinnov just puts the cherry on the top
Ultimately , if funds permit , I will go down the quad amped active path but Im not sure I could get it right , the trinnov multichan units are complex..im sure dic can talk me thru it however.
 

Joel

New Member
Sep 13, 2013
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#56
Great write up Joel.. your experience with the G1 vs G1s mirrors mine
Bass output is prodigious .. Dirac measured the G1 spirits in my room as -2db down at 8hz!!!! (at pretty high levels)
In fact I have had to put in a severe high pass filter .. my room has a 20db peak at 21hz (node + most likely port resonance)
The g1's do have an "airyness" I miss a bit in the spirits , but the spirits have far more a sense of immediacy and reality over the G1's
Currently I *am* using a trinnov st2 as a room correction device. If you think the spirits are good , well then the trinnov just puts the cherry on the top
Ultimately , if funds permit , I will go down the quad amped active path but Im not sure I could get it right , the trinnov multichan units are complex..im sure dic can talk me thru it however.
Indeed it's a rather expensive road...
As I am using a huge collection of DSD recordings in native playback, Trinnov correction is not made for me. But no big issues with my room...
4 or 8 monaural amps are in my opinion a very expensive solution except if you lower the intrinsic quality of amplification device. But with the same amount of money, what should you decide finally two or one very fine amplification gear(s), or 4/8 ones of a lower quality ?

A few bonus pics to highlight new comers at home... :D

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:cool:
 
Jan 29, 2014
983
0
0
Cape Town South Africa
#57
It's too much of a chance to take , at least $40-50k for me to go active and Im not really able to test drive before a purchase.. I would also not want to compromise on amplification.
Im pretty happy right now ... until the G0 spirits II is announced :)
 

GMKF

VIP/Donor
Aug 15, 2017
322
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Munich
#58
What amp's are the big guys in the front ?

Very nice room by the way.
 

Joel

New Member
Sep 13, 2013
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#59
Thanks.
These are two monaural integrated amps made from Apurna, a very new comer to high end which will have its first exhibition in Munich this year.
Very good but very expensive stuff...

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And customization at the top... :)
 

GMKF

VIP/Donor
Aug 15, 2017
322
4
18
Munich
#60
Thanks

I'll have a listen in munich... Are visiting the show aswell ?
 

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