hifiashok
Well-Known Member
nice, detailed review, kamalji.
my impressions; virenji excels at addressing the basic need in music lovers, being recreating the emotion, rhythm and musicality intended and blown into numbers, whether by the singers/players, composers, instruments or the hall/studio, without coloration. he seems to aim at this with a lot of passion, commercial consideration set aside. there is no doubt that the inherent expectation that drove development of the Amity, being better low frequencies' definition vis-a-vis the limitations of a single full ranger, has been suitably addressed, with the Eminence nicely handling what perceptibly the Fostex was not doing in the Harmony. however, the fact that the emotion and musicality brought out in the Harmony only got better in the Amity, inspite of the two driver concept and the cross-over coming in, is entirely kudos to Virenji, his vast experience and his choice of driver & design.
i will carry on what Mr. Sanjay Dhawan has suggested.
deep and wide open soundstaging, a given. speaker invisibility, taken for granted.
i had taken across the Sheffield Labs Drum & Track Disc, esp. as it is on XRCD, just for the reason sdhawan suggests.
on the highs, well, IMHO, the Fostex do what a good full ranger would, but understandably no more.
on the vocal presence, i felt the low female and the hi male vocals somehow were a little too pronounced, as if the cross over could not decide whether to get the Fostex to work on this or the Eminence (possibly the reason for the eventual incl. of the tonal balance switch). the feeling of them getting overwhelmed could also be owing to this or the speed of the drivers when complex pieces are to be coherently rendered. would like to go back and check this out once these babies are fully burnt in and tweaked.
the friend I had pulled along for the 1st audition, Saugato, fell in love with the speakers when 'Clarence Gatemouth Brown - You can disagree' came on. with Kalpana Zokarkar and Begum Abida Parveen (in Sufi Gold), he was hooked for good. if we'd had drinks that day I'm certain he'd have expected to meet them in person, such was the sense of presence. being an ex-station head at RedFM, he's had the privilege of listening to the likes of kailash kher and kk in person.
my expectation of Toccata & Fugue being played as it should, at the levels we played it, did it for me, personally.
i must also add, that the 6C33CB SET was able to belt out the listening levels we played at, was stupendous, esp. owing to the speaker sensitivity. @88 or 90 db, one is left yearning for more.
i wish i had met Virenji a coupla' years ago!! :sad:
way to go! and many more!!!
my impressions; virenji excels at addressing the basic need in music lovers, being recreating the emotion, rhythm and musicality intended and blown into numbers, whether by the singers/players, composers, instruments or the hall/studio, without coloration. he seems to aim at this with a lot of passion, commercial consideration set aside. there is no doubt that the inherent expectation that drove development of the Amity, being better low frequencies' definition vis-a-vis the limitations of a single full ranger, has been suitably addressed, with the Eminence nicely handling what perceptibly the Fostex was not doing in the Harmony. however, the fact that the emotion and musicality brought out in the Harmony only got better in the Amity, inspite of the two driver concept and the cross-over coming in, is entirely kudos to Virenji, his vast experience and his choice of driver & design.
i will carry on what Mr. Sanjay Dhawan has suggested.
deep and wide open soundstaging, a given. speaker invisibility, taken for granted.
i had taken across the Sheffield Labs Drum & Track Disc, esp. as it is on XRCD, just for the reason sdhawan suggests.
on the highs, well, IMHO, the Fostex do what a good full ranger would, but understandably no more.
on the vocal presence, i felt the low female and the hi male vocals somehow were a little too pronounced, as if the cross over could not decide whether to get the Fostex to work on this or the Eminence (possibly the reason for the eventual incl. of the tonal balance switch). the feeling of them getting overwhelmed could also be owing to this or the speed of the drivers when complex pieces are to be coherently rendered. would like to go back and check this out once these babies are fully burnt in and tweaked.
the friend I had pulled along for the 1st audition, Saugato, fell in love with the speakers when 'Clarence Gatemouth Brown - You can disagree' came on. with Kalpana Zokarkar and Begum Abida Parveen (in Sufi Gold), he was hooked for good. if we'd had drinks that day I'm certain he'd have expected to meet them in person, such was the sense of presence. being an ex-station head at RedFM, he's had the privilege of listening to the likes of kailash kher and kk in person.
my expectation of Toccata & Fugue being played as it should, at the levels we played it, did it for me, personally.
i must also add, that the 6C33CB SET was able to belt out the listening levels we played at, was stupendous, esp. owing to the speaker sensitivity. @88 or 90 db, one is left yearning for more.
i wish i had met Virenji a coupla' years ago!! :sad:
way to go! and many more!!!
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now hopefully someone in bangalore buys them and i can then listen to em!
