#Esotaric

[outw4rd]

woman! (homemade)

[motivationalgregory]

Have you been practicing the knowledge that gives you anything you want?

Have you been practicing the knowledge that gives you anything you want?

If you’ve been practicing what we’ve been talking about you’ve already reaped a lot of benefits most likely. The things we talk about are esoteric knowledge subjects that most people don’t know about until they’re exposed to this knowledge. This knowledge gives you the power to get anything you want in life and also the power to be positive no matter what and make things in your world plus your…

[joyfulsongbird]

i’m late but recently i’ve started to like the word esotaric. also, what’s ur favorite word? it’s only fair you tell us now

awww good word jordan!!! and lately ive been loving the word ossified which means to turn to bone/turn very rigid. thank you to the oh hellos for the gift of learning this word

[taww]

Review: Silverline SR17 Supreme loudspeaker

Silverline SR17 Supreme loudspeaker

The Audiophile Weekend Warrior (TAWW)

TAWW Rating: 5 / 5

Combining the body and scale of a larger speaker with traditional mini-monitor virtues, the SR17 Supreme is an exceptional conveyor of musical color and expression.

PROS: Organic midrange tone; top-to-bottom coherence; ample scale and dynamics; superb imaging; unfussy setup.

CONS: Smidge of lower midrange coloration; favors acoustic over electronic music; awkward recessed terminals.

This review has been a long time coming. Back in 2010, @mgd-taww​ gave the Silverline SR17 Supreme (USD $7,500) a rave review in Bound for Sound magazine, and heartily recommended them to me as an upgrade to my Merlin TSM speakers. It took me 8 years and a move to the West Coast to finally reach out to Silverline for a review pair; then another 15 months of listening to get around to this review. In the meantime, lots of speakers have come and gone in the market, particularly in the 2-way monitor category saturated with offerings at every conceivable price point. And yet, to my ears, the SR17 Supreme endures as one of the most satisfying speakers of its kind. Read on for my take on how it’s withstood the test of time.

History & Design

Silverline is a small speaker manufacturer based out of Walnut Creek, California, a short drive northeast of San Francisco. The SR17 is one of their first models dating back to a couple years after their incorporation in 1996:

1998: The SR17 debuted at the 1998 Stereophile Show in LA, sporting a Dynaudio D28/2 tweeter and Esotec 17WLQ midwoofer.

1999: Updated with an Esotec D260 tweeter and revised crossover.

2004: The SR17.5 was introduced, with increased internal volume via a deeper cabinet for better bass response.

2009: The SR17 Supreme is introduced with an Esotar T330D tweeter and further refinements.

Proprietor/designer/craftsman Alan Yun has continued tweaking the Supreme over the last decade, and though the Dynaudio drivers he prefers are out of production he’s stockpiled enough units for years of production and repairs. The enclosure, recognizable by its trapezoidal shape and depth, is manufactured in China by a shop that does cabinet work for a number of high-end marques, with final assembly performed by Alan’s own hand. He shared a bit more about their production:

California has strict environmental regulations. The paints on cabinets are governed by strict rules, and is why there are fewer and fewer cabinet makers in California. Many manufacturers now find their production overseas.

Actually our cabinets were rawly made in China, painted, and the final detailing is done by me, also putting sonic materials inside the cabinets. This job is pretty tricky for tweaking the sound. The crossovers were handmade by me, matching components, soldering, etc. The drivers were fitted carefully and precisely by my hands with European-made T-15A screws. Final testing and listening are all done by me in my workshop. 😅 Therefore, the SR 17 is rather unique. I am also the original designer of this shape/type of speaker cabinet since 1996. I did research and to the best of my knowledge there were no similar designs then.

Large, but not ungainly, atop Dynaudio Stand 6′s

The depth of the cabinet - 15 inches, to be exact - gives it a rather top-heavy look on a typical stand, but it’s mitigated by the elegant tapered profile. My pair was impeccably finished on all sides in rosewood veneer. Rapping down the sides revealed it to be very solid, but not as fanatically braced and damped as my old Merlin TSM monitors or the Audiovector SR 1. Each speaker weighs around 26 lbs. The bi-wire terminals are recessed, which made them a bit of a pain, particularly as they have larger rectangular posts that will take 1/4" spades only in certain directions - I recommend banana terminations.

The crossover sports just 4 components, with 1st order high-pass (tweeter) and 2nd order low-pass (woofer) filters. Parts quality - Solen metallized polypropylene capacitors, a generic-looking wirewound resistor and an air-core inductor - is solid but hardly fancy, a deliberate decision by Alan who isn’t much of a believer in expensive boutique parts. Based on the results he’s achieved here, it’s hard to argue.

Cardas jumpers sounded better than the stock bridges to my ears. Stick with bananas for the cable termination - spades are awkward.

Setup

The SR17 is fairly efficient (nominally 90.5 dB/watt @ 8 ohms), but more importantly it's easy to drive - my Ayre AX7e, known for being rather limited in the power delivery department, sounded open and effortless. Alan Yun said the Dynaudio drivers love current and will benefit from powerful amplifiers, yet will sing with low-powered tube amps. I can confirm it loved the grunt of the 300wpc Bryston 4B Cubed, yet I never felt lower-power amps like the Ayre or Bryston B60 integrateds were lacking for dynamics. And my favorite pairing by far was with the 55-watt Valvet A4 Mk.II class A monoblocks sporting a single pair of bipolar output devices. (Incidentally, Alan’s favorite amp paring with the SR17 is the 30-watt Pass Labs XA30.5, which @mgd-taww can attest to being a magical combo.)

Similarly, I found the SR17 easy-going when it came to cables. My preferred cable had more to do with the amp used, but I got good results from a single run of Audience Au24 SX [review], Cardas Clear Light and DH Labs Q10 Signature cables. With the Audience, I felt the speaker was the sweetest and most dimensional; the DH Labs brought out more bass power and treble brilliance; while the Cardas brought out more upper midrange presence. With the Bryston 4B3 amp, I settled on the Cardas; with the Ayre and Valvet, the Audience was the clear winner. Unlike with the Audiovector SR 1 Avantgarde Arreté (review forthcoming), I didn't find bi-wiring to lend a noticeable improvement, but I did prefer replacing the stock metal jumpers with nicer Cardas ones from my Merlin TSM's for a little more refinement.

As with any high-quality monitor, stands are important. Something around 24-25” height seems right, though I wouldn’t be afraid to sit them an inch or two lower as the speakers are capable of projecting good image height. A trend these days is to decouple speakers from the stands/floor, but the SR17’s are “old school” in that they prefer tight coupling, meaning heavy suckers with spikes and a judicious amount of BluTack on the top plate. My old Osiris stands, heavy dual-column steel beauties loaded with sand, were a perfect match, but sadly I sold them with my Merlin TSM’s; they were replaced by higher-WAF but inferior-sounding Dynaudio Stand 6’s, which in stock form are quite light and choked the sound of the Silverlines. Fortunately I was able to get them to a better place with some tweaks; not as good as the Osiris, but close. A better choice sonically might be something like the Target Audio MR stand with the four pillars mass-loaded.

Pulling them out further improves imaging, but they still work well relatively close to the back wall.

Placement was pretty standard for a monitor speaker - keep it at least a couple feet from the back wall, with a 2:3 width-to-listener distance ratio and toed in about halfway. In my room, which has a number of living constraints, I had the back of the speaker about 21” from the wall, tweeters 76” apart and the plane of the speaker 8 ft. from my ears. While many small-box monitors rely (often excessively) on rear ports for low-end boost, the bass tuning on the SR17 is far more subtle and sophisticated - putting my ear to the port, I heard a fairly modest amount of output. I remarked this to Alan, and he described the port as more a method of pressure equalization than bass volume. This means in a pinch I could push the speakers as close as 12" from the wall without fear of low notes booming out of control. All in all, for being such a high-performing design, the SR17 is remarkably easy to live with.

The Sound

The first thing my wife, a professional oboist, noticed about music through the SR17 is how dynamically alive it was. I had just wrapped up my review of the Silverline Minuet Grand, a superb $2k speaker that is no dynamic slouch itself. And even though the SR17 was fresh out of the box and Alan warned me it would take some time to run in, the very first notes from the SR17 sung with expressiveness and vibrance. I think it took all of 15 minutes of listening to Royal Concertgebouw Orchestra streaming radio for her to remark, “I like this speaker.” She’s normally nonchalant about hi-fi, and yet has ears that can pick apart sonic deficiencies in about 90 seconds, so that amounts to a rave! And what made it so immediately engaging wasn't some artificial emphasis or hype; it was a feeling of unimpeded dynamic flow that makes most other speakers sound a bit drab. The SR17 lets music breath freely, carrying you with the ebb and flow of a tune and conveying every turn of a phrase with a sense of ease and conviction.

The next thing we noticed is how natural and palpable everything sounds through the SR17. Tonally, the SR17 is on the very slightly warm side of neutral; it combines reassuring solidity and density from the mid-bass through the midrange with an open, extended top end and fine harmonic resolution. Its ability to paint with a wide palette of tonal colors brings out the distinctive character of instruments and voices, making orchestral music a delight - just put on a Living Stereo recording such as Debussy’s Iberia [Tidal, Qobuz, Spotify] and the front of your room will explode with the virtuosity of the Chicago Symphony Orchestra’s playing. Scale it down to smaller stuff like a Beethoven string quartet, and you’ll savor the finer gradations of timbre between the cello, viola and violin.

What you won’t notice is any discontinuity between the woofer and tweeter. These Dynaudio drivers were made to work together, and the minimal crossover mating them is superbly executed. The upper midrange around the crossover point is seamless, and I can’t remember a single moment over the course of hundreds of hours of listening when I noticed the tweeter sticking out on the face of the speaker, something that ails even the finest, most expensive dynamic speakers from time to time. In this respect the SR17 is up there with the very best and is utterly free of listening fatiguing.

As a violinist, I feel obliged to point out the Silverline’s superb reproduction of the violin G string. If you ever want to test out a speaker’s tonal truthfulness in the lower midrange (right around middle C, 262Hz), put on the 2nd movement of the Glazunov violin concerto performed by Jascha Heifetz [Tidal, Qobuz, Spotify], or the 2nd movement of the Sibelius concerto performed by Lisa Batiashvili [Tidal, Spotify]. This is oh-so-tricky to get right; as the lowest string on the instrument, it’s the richest and deepest; and yet the violin is not a viola or cello - it’s a more subtle and delicate richness. Speakers that lack body will sound thin and washed out and minimize the difference in timbre vs. the D string above; woolly or bloated speakers will thicken it or blow the instrument out of proportion. The SR17 performs this balancing act better than anything I’ve heard in my living room, or in most any system for that matter. It rides the line between warmth and clarity in that register, lending tangible realism to piano, male vocals and low brass instruments as well.

Going down the frequency range, the SR17’s extra cabinet volume vs. a typical mini monitor gives it power and scale more akin to a floorstander. My room is a 17 x 19 x 8.5 ft. open layout living/kitchen area with floor-to-ceiling windows and an offset listening point along the long wall, so while not huge, it presents a bit of an acoustic challenge that smaller speakers have struggled to fill. The SR17 had no trouble projecting a big, bold sonic image, and can cleanly play as loud as you’d reasonably want in such a space. It has sufficient body and power down to 60Hz or so to give music real foundation, with meaningful output down to 40Hz. I think Silverline’s quoted 32Hz bottom limit is a bit optimistic (or perhaps you just need the right room), and I preferred the speaker with my REL T-9 subwoofer providing a little extra oomph. But for a great many listeners in moderately-sized spaces, this will be all the speaker you ever need. Listening to “The Elephant” from Saint-Saëns Carnival of the Animals [Tidal, Qobuz, Spotify], a track I’ve heard on some very full-range speakers (e.g. Focal Grande Utopia EM Evo), the double bass is big and present, lacking a bit of rumble that was easily provided by flipping on the REL sub. Piano left hand similarly has nice weight, never sounding diminished in scale as typically happens on small monitors. Debussy’s Ariettes oubliées song cycle from the album Paysages by soprano Susanna Phillips and pianist Myra Huang [Tidal, Spotify] is a lovely test of colors, with ethereal vocals floating above dark undertones from the piano’s lower register. The Silverline possesses suficient extension and body to bring out these contrasts with depth and balance.

At the opposite end, the old-school Esotar tweeter is still one of the most musical high frequency transducers around. It balances detail with smoothness, extends low enough to mate perfectly with the woofer, and never sounds strained - a substantial upgrade in resolution and realism over the typical metal or silk domes in lesser speakers. In top-end extension and speed it might be bettered by some of the newfangled devices like Focal’s beryllium or B&W’s diamond domes, Scanspeak’s latest Revelator or the fantastic AMT in the Audiovector SR 1, but it’s a relatively small sin of omission and a worthwhile trade off to avoid any hint of unnatural edge or ringing. And it still has plenty of sharpness and sparkle, lending nice bite to trumpets and sheen to triangles and cymbals.

Last but not least, there’s that soundstage - present and tactile, but never in-your-face. Particularly when coupled with gear with sufficient resolution to relay subtle ambient information, e.g. the Pass XP10 preamp, there’s a real sense of the layout and layers of a symphony orchestra. The hi-res LSO Live recording of Mendelssohn’s "Reformation" Symphony with the London Symphony/Gardiner [Tidal, Qobuz, Spotify] paints a vivid picture of the stage of the Barbican, with brass fanfares anchored closer to the back wall of the fan-shaped stage, and the smaller string section sounding up front and intimate. An interesting twist in this performance is Sir Gardiner had the violinists standing to emphasize the virtuosity of Mendelssohn’s writing, and while I can’t say I would have been able to tell this from listening alone, the Silverline does convey a subtle sense of freedom and space to the violin section that I’ve missed when listening to the recording on other systems. And it has no trouble imaging well outside the bounds of the speaker, with percussion and harp on the extreme left of the stage floating eerily behind and beyond the left speaker.

I think my wife put it best when I asked her one day how the system sounded with the Silverlines: “this is what I imagine it sounded like in the concert hall.” While I’ve broken down a bunch of its strengths in audiophile terms above, it’s the way it puts everything together into a musically vivid whole that makes it special. There’s an evenness of tone, a naturalness of perspective, an ease of dynamic expression, a consistency of refinement from top to bottom that gives music a sense of rightness that allows one to forget the hi-fi aspects and focus on the musical performance. In this respect, Alan Yun has crafted something truly masterful in the SR17 Supreme.

Caveats & Comparisons

I’ll nitpick a few things that were relatively minor deficiencies to my ears, but may weigh more heavily for people with different tastes. These were highlighted in my own home by direct comparison with another very fine monitor speaker, the Audiovector SR 1 Avantgarde Arreté ($6,200 in premium finish). I also have my long-term reference, the Merlin TSM-MXe (around $6k several years ago) as a baseline.

First off, I suspect the Silverline’s hint of lower midrange warmth, while sounding natural and consonant with much of my favored acoustic music, may come from a bit of otherwise well-controlled cabinet resonance. It gently highlights the woody quality of acoustic instruments, but with electronic music it comes across as a slight coloration - a bit like wearing orange-tinted sunglasses that make everything look a little less cool. It’s very subtle, and not enough to sound overtly “boxy” or throw voices off, but it’s not transcendentally-clean like the Audiovector or, say, a Magico. My sense is Alan wisely tuned the SR17 cabinet for this response, as additional bracing would just make the resonance peakier and higher in frequency where the ear is more sensitive; as it is, it’s a gentle and diffuse coloration. Part of this may also be the sonic signature of the Esotec woofer’s magnesium silicate polymer cone, which I’ve heard in a number of speakers and to my ears trades better damping for a hair less crispness vs. some of the fancier treated paper or composite cones out there. On the plus side, it never sounds dry as some of those drivers can, but with Erlend Øye’s Unrest [Tidal, Qobuz, Spotify] or Carley Rae Jepsen’s Emotion [Tidal, Qobuz, Spotify] I found the Audiovector conveyed more of hard-wired immediacy and edge suitable for those albums. 

Taking turns with the Audiovector SR 1 Avantgarde Arreté

Another area where the Audiovector came out slightly ahead of the Silverlines was in resolution during loud dynamic peaks. The Audiovector is truly special in this regard, being designed for minimal signal compression and sounding incredibly collected the louder you play them. The Silverline also plays loudly with ease, but vs. the über-clean Audiovector it’s very slightly thicker and more congested. Case in point are the fortissimo climaxes and interruptions in Rossini’s L’italiana in Algeri overture [Tidal, Spotify] - when the orchestra comes crashing in after the pianissimo pizzicato opening, both speakers are clean and explosive, but the Audiovector sorts out the different instruments playing in unison for that brief moment a hair better, while the Silverline has more low-end oomph.

As mentioned prior, the Silverline’s superb Esotar tweeter isn’t the state-of-the-art in extension. It has plenty of resolution, but if you favor extremely extended and airy highs, e.g. the 52kHz-rated AMT tweeter in the Audiovector will give you more of that. I don’t think that ultimately matters so much for musical enjoyment (and many people can’t hear very well above 10kHz anyway), but it does make a subtle difference in realism. It also makes the Silverline’s treble a bit more forgiving of poor recordings and upstream components (silver cables could work) - it’ll never, ever burn your ears off.

The $7,500 price tag of the Silverline puts it squarely above the very crowded $5k-and-under monitor crowd, but short of the $10k+ “super monitor” category. Comparisons with other speakers are more conjecture on my part as I haven’t heard them in my own room... but I’ll mention a few things I’ve gotten a good listen to at shows, dealers, and other people’s systems.

Paradigm’s Persona series seems to be mentioned quite frequently in audio forums these days, and I heard the Persona B monitor ($7,000) briefly at RMAF. I’ve also listened to the floorstanding Persona 3F a bit, and there’s definitely a common house sound - fast, crisp, detailed and dynamic. I’ve never warmed up to either of them - they’ve struck me as rather strident, with instrumental interplays like oboes and clarinets playing in harmony tending to sound compressed. The Silverline by comparison may sound a bit thicker, but it has far more natural instrumental timbre to my ears, is less bright and thus easier to match to more systems, throws a more dimensional and properly-placed soundstage, and is very nearly as “fast” without sounding edgy. I’m honestly at a loss as to why the Personas are garnering so much praise, so maybe it’s just me? A similar argument could be made for the B&W 805 S3 ($6,000) - while I haven’t auditioned them specifically, I’m pretty familiar with the 800-series sound and again, it’s not my cup of tea. The Silverline’s balance and openness just strike me as much more natural than anything I’ve heard from B&W. So if the likes of B&W and Paradigm leave you a bit cold, the SR17 Supreme might be a step in the right direction.

An obvious comparison is to Dynaudio’s own bookshelves, specifically the Contour 20 ($5,000) and Special Forty ($2,995). You can read about them in my quick review from a dealer audition, and while I haven’t heard them head-to-head, I posit that the Silverline a worthwhile step up in coherence and musicality. If you can’t stretch the budget for the Silverline I think the Special Forty would be a good alternative, but it does not have the near-reference level neutrality of the Silverline. In the past Dynaudio had a bit of a reputation for not being as good at implementing their own drivers in complete loudspeakers as other companies were, and while I think their latest efforts are much improved, Alan Yun still seems to be squeezing more out of the old Esotar/Esotec drivers in the SR17... methinks this is a reflection of Alan’s sharp ear and painstaking hand-tuning.

A few more offhandish observations based on extremely limited auditions, so take with a block of salt: I heard the Wilson Audio TuneTot ($9,800) at a dealer shortly after its release. With the caveats that it’s designed for a totally different use case, it was in an unfamiliar setup and this pair wasn’t fully run in, I didn’t find it nearly as compelling or expressive. I got a good listen to the TAD Micro Evolution One ($12,495) with a couple different amps and found its midrange rather dry, upper midrange a bit peaky and its bass lacking fullness and extension vs. the Silverline. The Artist Cloner Rebel Reference ($16k w/stands) wowed me at RMAF - it seemed to have more speed and resolution than the Silverline, though the upper midrange was a hair pronounced. It would be an interesting comparison, even at twice the price. Another interesting monitor at RMAF was the Stenheim Alumine Two ($13k) which was super clean and detailed, but perhaps not as liquid. A more logical competitor/upgrade could be the Sonus faber Electa Amator III ($10k) that I also heard at RMAF. That speaker absolutely blew me away with its expressiveness, natural richness, insane dynamics and huge presentation in the show setup. It’s the speaker that I’m most dying to compare to the Silverline.

And to wrap up the comparison to my Merlins and the Audiovectors - I sold my beloved Merlins shortly after receiving the Silverlines, and wound up purchasing both the Silverlines and the Audiovectors as I just couldn’t decide between the two. That should give you an idea of just how much I like them both; I’ll have more to say about the Audiovector in a forthcoming review.

Verdict

It's been said speakers mirror the personality of their designers, and if you've met the talented and affable Alan Yun no doubt you’ll feel his influence. Much like the man behind it, the SR17 Supreme is sharp, earnest and engaging, yet easy-going, with an unforced warmth and great attention to detail. There’s something grounded and unfussy about the way it allows music to flow forth, feeling like it's taken an expressive limiter off of a recording without hyping it in any way. It checks off many of the audiophile boxes too - imaging, tonal balance, bass power and extension, etc. etc. - but focusing on those mechanical aspects, as excellent as they are, would be selling Alan’s accomplishment short. The SR17 Supreme is first and foremost a faithful and thoroughly enjoyable reproducer of music, one capable of strongly evoking the beauty of the original musical event. There are countless 2-way monitors superficially like this one, but few that I know that are so meticulously and lovingly tuned to such great effect.

I've spent a lot of words espousing this speaker, but I think it's deserving of it, not just because of the obvious quality of the product, but because Silverline is a small manufacturer flying under the radar without a big dealer network or advertising budget. While Alan continues to develop his entry-level Minuet and Prelude lines at a more rapid pace to keep up with market demands, he doesn’t pen up new versions of his reference models every couple years to generate hype. He’s instead chosen his design fundamentals wisely and focused on perfecting their execution through years of painstaking refinement, much as the late Bobby Palkovic @ Merlin Music did. Like Bobby, he has a great ear for music, does a lot of the production work himself, and gains most of his sales through word of mouth. This does make it trickier to find than the big brands at a typical shop, but I strongly encourage seeking out an opportunity to hear it. The SR17 Supreme is a special speaker, and it won't be leaving my living room any time soon.

Silverline Audio P.O. Box 30574 Walnut Creek, CA 94598 USA

[gbou93]

Going live on Twitch at Twitch.tv/ACES_GBou Come join and chat with me. I'm going to talk about esotaric knowledge to small talk seeing how everyone is doing. I will be jamming lol. Let's go!! @aces_gbou link in bio there Check out @motivationalgregory for truth, spirituality and a bunch of goodies. Go to motivationalgregory.gregorybou.com link in bio on insta. Check out the rest of my websites Motivationalgregory.gregorybou.com Businessgregory.gregorybou.com Gregorybou.com Acesgbou.gregorybou.com Acesoflove.gregorybou.com #GregoryBou #Live #StreamingLive #LiveStream #Twitch #TwitchStreamer #Love #Yahuah #God #Jesus #Yahushuah #GodLovesYou #GodLovesMe #ILoveYou #Leggo #LetsGo #Positive #PositiveThings #AgeofAquarius #Heal #AgeofHealing #Water #EverythingisOkay #EverythingisAlright #EverythingisGood #EveryoneisGood #EveryoneisOkay #ItsAllGood https://www.instagram.com/p/Ci1LvN8OtHU/?igshid=NGJjMDIxMWI=

[newgameplus]

tag game

tagged by: the DARLING @gadflysuite​! mwah!

rules: answer these questions and tag 20 blogs you’d like to get to know better.

nickname:too many,,, just. close your eyes and attempt to type ‘clint’ practlycally any typo you come up with has, at one point, been a nicname. highlights enclude: flinyo, clubt, clibby, clim, and a few words that are Not family friendly

zodiac: virgo

height: 5′11 or 6ft

time: 5:27pm

favorite band/artist: i like most music, i cant think of anything i love above the rest- i usually stick to songs more than artists

song stuck in my head: “spring and a storm” by tally hall!

last movie i saw: i honestly cant fucking remember the last movie i watched. 

last thing i googled: “ironing beads”- rose wanted an english equivalent to the dutch “ strijkkralen “- we figured out they were perler beads!

other blogs: i have 16 other blogs- a good portion are saved urls, some are personal blogs/archives n small sideblogs fr my more esotaric intrests that i post on when i feel like im annoying everyone haha- my witchy blog is @outsunder​ tho

do i get asks: not really! i get the occasional ask from my dear duck anon, and a handful now and then when i do ask memes, but its usually quiet

why did i choose this url: peter nureyev. trans. thts the tea

following: 460

average amount of sleep: between 7 and 12 hrs, depending on when i fall asleep, lately its been more to the 7

lucky number: oh yeah, 7, 3, 21! 

what am i wearing: dark grey sweat pants, large green shirt, and a grey hoodie cuz it started raining

dream job: not needing one

dream trip: italy somewhere? or the netherlands to see my friends... i’d also like to visit japan sometime

favorite food: uhhh i dont know man whats food... i guess, sushi

play any instruments? the flute! i have a basic grasp of the piano but i gave up before i really learned how to play

eye color: blue

hair color: lightish brown

describe yourself as aesthetic things: lot and lots of rings, constellations, a campfire, stacks of books and notebooks, sweet pastries 

languages you speak: english, very minor grasp of french

most iconic song: uhhhhmm!! idk?? Tungs by the frights

random fact: idk how abt i find myself clenching my jaw/teeth sometimes so i stick my tounge btwn them to remind myself not to bite down and i end up doing tht cat ‘blep’ thing

tagging: @killianbillian @sophsona @breathtakinglymiraculous @alessandrastronger @that-one-catbird @bowserswoleaf @thiefwithoutaname @zestycheck

[ajani]

GW2 is one of those games where I wish I could erase most of my progress and my memory of playing the game so I could do it all over again but I think I have everything out of that game that I want really until another expansion comes.  Like I think what sealed the end for me the first time was getting 100% tyria map completion, and then after that was finishing unlocking all Central Tyria Masteries.  It was really fun getting there and I enjoy the gameplay but the PvP isnt good enough for me to invest into learning it/doing it and the other weird esotaric quests just are not enough for me to go into the.

[thehifiman]

Rockport Technologies Hyperion Loudspeaker System RRP: £98,000 Our Price: £38,900 Original Boxes and Packing. Finish : Metal Black by Steinway & Sons Pianos Quite superb condition. The legendary Hyperion Loudspeaker from Rockport Technologies. Finished in stunning High Gloss Black with all factory accessories. The rarest of true utopian loudspeakers, these need no introduction............... The Hyperion is a three-way, five driver loudspeaker whose custom, Audiotechnology drive units and Esotar tweeter are arranged in a D’Appolito configuration in symm... https://www.instagram.com/p/CBPeby8Jm02/?igshid=53ody0scyg3l

[miy-taww]

Breaking in Silverline’s SR 17 Supreme loudspeakers (MSRP $7500), sporting some of the finest Esotar drivers Dynaudio ever made

[motivationalgregory]

Manage Your Thoughts and Your Things You Have

Manage Your Thoughts and Your Things You Have

They Called me Stupid but I’m Not They Called me Stupid but I’m Not I was called every name in the book but I’m better then that. I’m being the best I can be and what I want. Bad guys don’t want you to do good. The good people do what they can to reach the people. Do your best to stay away from negativity. Maintain your brain. There’s Knowledge then There’s Certainty There’s knowledge and then…

[trustknives]

Water creates an interesting problem for Cipher's stealth tech. When he moves in it, the ripples are clearly visible. However, when he is still, he becomes even more indistinguishable from the surrounding environment, due to the natural appearance of water. It's like submurging a transparent cup. Any heat-like waves he would have created before from swift movement are unnoticable. If he submurges completely, good luck finding him. Even the most esotaric sensors are often fooled by this.

[taww]

Review: Silverline Minuet Grand loudspeakers

Silverline Minuet Grand

The Audiophile Weekend Warrior (TAWW)

TAWW Rating: 5.0 / 5

Alan Yun's latest and greatest assault on the $2k price point, and it's a masterpiece.

PROS: Superb midrange resolution and rightness, great dynamics, punchy and accurate bass, does everything else well too.

CONS: Could be slicker-looking, treble could be more refined.

Silverline’s original Minuet speaker debuted with a splash a decade ago, making waves on the show circuit where Silverline proprietor Alan Yun would fool people into thinking larger speakers were playing. It was one fun little speaker, and a huge hit for Silverline that continues to be refined and improved (it’s now the Minuet Supreme Plus, USD $700).

Like its little brother, the Minuet Grand (USD $2,000), or MG for short, also debuted with a splash and aspires to punch way above its price point. But with 3x the budget to play with, Alan Yun has created a different beast, one that exudes true high-end aspirations from the first notes it plays. Read on to see why it’s worthy of your consideration, even if you’re prepared to spend twice as much.

Design

The first thing I noticed is the depth of the enclosure - while the baffle has traditional bookshelf proportions (12″ high by 8″ wide), the cabinet is a hair over 14″ deep. It’s more volume than a typical 5.25″-woofer bookshelf, and it’s vented with a relatively small and short port lined up directly behind the tweeter to aid in relieving its rear-wave pressure. The combo of oversized cabinet and conservative porting make for an interesting bass alignment, something I’ll hit on in the listening notes.

The driver complement includes a 5.25″ treated paper woofer and 1″ titanium dome tweeter, crossed over at 3kHz. The hand-assembled woofer sports a rigid diecast basket and high-excursion motor + surround, and the cone is treated to SIlverline’s spec. The choice of a titanium dome tweeter is interesting considering that the MG’s stablemates, the little Minuet and floorstanding Prelude, have moved from metal to silk domes over the years. Unlike most speaker manufacturers who share common components across many models, in the Minuet/Prelude family Silverline employs 3 different tweeters (titanium, silk and aluminum/magnesium) across 4 models, which shows you just how much Alan is tweaking with and optimizing each design. The minimal crossover has 5 passive parts: 2 air core inductors, 2 wirewound resistors and an SCR metallized propylene capacitor - hooked up to bi-wireable binding posts that thankfully accept both standard 1/4″ and larger spades.

I wouldn’t exactly call the MG a looker - it a boxy affair, and the depth of the cabinet gives it somewhat awkward proportions. I think an all-rosewood treatment like the little Minuets might look better than the satin black baffle of the MG, but like all Silverline speakers the overall fit and finish are superb, with a real sense of craftsman.

Setup

The MGs were propped on my trusty Osiris 26″ stands, heavy dual-column steel affairs loaded with sand. They were unfussy of placement, with good off-axis response and an even tonal balance in most any reasonable position. Surprisingly I could place them as close as 12″ from the back wall without ill effects - trying this with most rear-firing port designs results in bass that’s out of whack. I preferred them toed in slightly, with their centers about 6.5′ apart and my listening position 8′ away.

Primary amplification was the 60wpc Ayre AX-7e integrated, which had no trouble driving the 8 ohm, 89 dB-efficient MGs to plenty loud levels in my 13′ x 19′ living area. The Bryston B60, another 60wpc integrated, also proved to be a good partner, delivering a bit more midrange richness than the Ayre, albeit without the same level of speed and resolution as the Ayre. I wish I had tried a more powerful amp, as the MGs definitely seem like they can handle it, but alas I didn’t have one on hand.

For speaker cables, I found the Cardas Clear Light to be a better match than the Audience Au24 SX (which isn’t the most logical pairing anyway given that it costs much more than the speakers). Though the Audience is a more refined cable, it was a bit too laid back and mellow with the MG; the Cardas wasn’t as silky smooth in the upper registers, but the extra midrange pop and forwardness made for a more engaging sound. Methinks you could get away with a more affordable cable than the Cardas too - e.g. while I didn’t have them on-hand, the DH Labs Silver Sonic T-14 is a reliable wire.

One critical tip: immediately toss the included gold-plated bi-wire jumpers. Most any wire will sound better than the stock metal affair, which imparts a coarse texture to the treble. Just make sure not to interfere with the primary connection between the speaker wire and terminal. E.g. if you have cables terminated in bananas, clamp down some solid core copper in the posts - anywhere from 14 to 18 gauge copper from your local hardware store should work just fine. Alternatively, if you’re using spades or bare wire for your main termination, you’ll probably want to use bananas for one end of the jumper. I used nice Cardas jumpers from my Merlins, which sounded good. Or you can splurge some disproportionate amount of money on specialty jumpers, if you feel so inclined (I wouldn’t be).

Sound

By my measure, the Minuet Grand is an excellent speaker in many important aspects of musical reproduction. But where it really shines is in the all-critical midrange, where it's emotive and communicative in a way that many more expensive speakers struggle to achieve. The term "musical" is thrown around to describe gear that sounds euphonic, but the MG achieves its musicality the hard way - through artfully-balanced fidelity. Designer Alan Yun has carefully played his cards between being fast and warm, forgiving and revealing to create an articulate and dynamic speaker that's easy to live with.

Let's start with what it does well, keeping in mind that my frame of reference is my Merlin TSM-MXe, a nearly $5k speaker in its final iteration a few years ago. Being a ported design, I expected the MG to be fuller but looser in the bass than the ultra-damped, sealed-box Merlins. And it was certainly fuller, with low-end dynamics and extension that the Merlins can’t touch. But it was also incredibly tight and well-defined, with a comparable level of speed and resolution. After a couple hundred hours of break-in, the bass started to really open up and develop both tunefulness and pop. In my room it didn't have a ton of output below 60Hz or so, so I still preferred it with my REL T-9 subwoofer, but it was also quite satisfying on its own. Low string sections of a symphony orchestra had satisfying heft, and bass lines in pop songs were enjoyable. I particularly liked its reproduction of the C string of Colin Carr's cello in his live recordings of the Bach Suites (Tidal) - it had depth and weight without sacrificing clarity or articulation. The lower registers of the piano had similar naturalness, and I really enjoyed any works that involved piano accompaniment, e.g. Debussy songs performed by soprano Susanna Phillips (Tidal). The only thing I could fault was a hint of chestiness in the upper bass, probably from a cabinet resonance, that the Merlin was free from. The MG's cabinet is solid, but not as inert as the fanatically braced and damped Merlin. It's a very slight coloration that tends to manifest at higher output levels, and was barely a concern in my listening. From my quick audition of the Dynaudio Special Forty (USD $2,995), the MG is significantly better balanced through the upper bass and lower midrange, but the Dynaudio has a ridiculous amount of bloom and weight (probably too much). 

At the opposite end of the spectrum, I was pleasantly surprised by the naturalness of the treble. I tend to be allergic to metal domes, having heard so many of them sound zingy or artificial in the past. The MG's titanium dome had none of that - if you blindfolded me and told me I was listening to a good silk dome, I wouldn't have doubted you. Compared to good soft domes in speakers like the Merlin or Role Audio Canoe ($1,500), the MG had a bit more speed and tinkle to it, and perhaps a little less inner detail in the lower treble, but overall pretty close in quality. You get a bit more sparkle on triangles and cymbals with a hint more splash on brighter recordings and dynamic climaxes, but nothing untoward. Spending 50% more on the Dynaudio Special Forty (or nearly 4x for Silverline's SR 17 Supreme) will get you an Esotar tweeter which is in a different league, but the MG's tweeter is no slouch and doesn’t commit any major sins to detract from the music. And most importantly, it blends really well with the midrange, but more on that later.

Soundstaging and imaging were also excellent, and the speaker plays much, much bigger than you'd expect. There was plenty width, depth and layering with big symphonic material, e.g. Brahms Symphonies (Berlin Philharmonic/Simon Rattle - Tidal) or Mahler Symphony No. 5 (Philharmonia Orchestra/Benjamin Zander - Telarc) symphonies, and it had a sense of scale that totally belied its form factor - it plays much bigger than the Merlins and similar 2-ways, almost like a floorstander. But I also loved how it could scale things down and sound intimate with chamber and solo works, or get super focused and tight with pop tracks like from Carley Rae Jepsen's Emotion (Tidal). Little blips and sound effects coming from hard left or right were often startling in their clarity and distinctness. Compared to the Merlins, which are razor-sharp in their spatial resolution, the MG's lacked some stage height and air, and weren't as precise with image size and positioning, but they were more than satisfying in their portrayal of a soundscape.

Ah yes, and finally, we get back to the midrange. This is where the MG punches way, way above its weight class, and performs with a degree of polish and conviction that can measure up to some of the big boys in the high-end. It is fast and resolving, revealing layers and layers of detail and expression in the music. My Merlins have remained entrenched for years because they have a uniquely satisfying blend of midrange speed, clarity and naturalness. Based on my experience with the original Minuet, I was expecting the MGs to be musical, bold and fun, but I wasn’t prepared for it to be so refined and incisive that I wouldn’t immediately miss my Merlins. Even my wife, a sharp-eared musician who’s very partial to our speakers, needed no aural adjustment and liked the MG off the bat.

The MG balances this with terrific density, as opposed to overt warmth. Let me explain... generally, when we have a speaker (or any gear) that sounds full and fleshy, we call it "warm." But in my mind, warmth is a coloration - it's a constant deviation from accuracy, whether it be via resonance, frequency response or some other aberration. A warm speaker will never be truly accurate because it will bias all reproduction in a certain tonal direction. And that's ok, because warm speakers can sound wonderful which is what counts, but I want to call it out nevertheless.

On the other hand, density is about reproducing the natural fullness and completeness of a sound when called for, without adding undue coloration when it's not. Density, not warmth, is what the MG has in spades. Listen to the famous Adagietto of Mahler Symphony No. 5, and you'll melt at the lushness of the string sound; but switch to Shostakovich Cello Concerto No. 1, and all that will be replaced by the robotic austerity of the opening motif. The MG is able to flip a switch and follow these contrasts faithfully with a fundamental rightness to its midrange reproduction. In this respect, it addresses a longstanding grievance with my Merlins - its overriding leanness, particularly with solid state amplification. I would feel comfortable recommending the MG in a wide variety of systems because it is so beautifully balanced in the midrange and perfectly rides the line between warmth and leanness.

Complementing this is a harmonic completeness that reproduces acoustic instruments with great fidelity. My wife found its depiction of wind instruments to be both realistic and lovely, which just the right amount of body and brightness to oboes. I found a similar rightness with strings, e.g. it convincingly captured nuances of Jascha Heieftz's inimitable violin tone and clearly differentiated the timbres of celli, violas and violins when playing in a similar register. And you could clearly make out the changing overtones of a piano as it worked through its range, its lower registers exciting the entire body of the instrument while its upper registers rung brilliantly. All this contributed to a musical realism that drew you into the performance and made it easy to forget all the hi-fi stuff. 

Ok, I've been gushing for a while now - surely there's a catch?? The frequency extremes, as I mentioned, are worthy supporting partners to the exceptional midrange, and the bottom end in particular is impressively dynamic and punchy. That said, they're not at the same level of performance as that glorious midrange - for that, you would need to give up something, and/or pay some big bucks. I suspect there’s a very slight emphasis in the 250-500Hz octave that enhances the midrange magic and subtly highlights vocals. I enjoyed pop songs immensely for this reason, even more so than on its much more expensive big brother the SR 17 Supreme - the MG was a bit more forgiving of suspect production quality and really brought out the catchiness of a lyric, but it's a slight deviation from absolute accuracy. And while the woofer and tweeter blend beautifully, I did sense a slight speed gap between the two drivers, which results in the upper midrange sounding a bit less resolving than the treble immediately above it. Alan seems to have made a couple wise design choices here - crossing over the tweeter at a relatively high 3kHz, and treating the paper woofer to dampen its breakup modes. Methinks this is what keeps both of them clean in that 2kHz to 4kHz range where the ear is so sensitive, with the tradeoff being the woofer is asked to go a little higher where its resolution drops off. It's the right tradeoff IMO, and makes the MG easier to listen to for extended periods than my Merlins which have some peakiness in the same region.

To use an automotive analogy, the MG reminds me of a fine European sports sedan that handles extremely well, but has just a touch of understeer dialed in to make it more forgiving at the limit and keep the driver out of trouble. By this I mean that the MG has terrific speed, detail and neutrality, but at the edges of the performance envelope it errs towards forgiveness to save you from potential disaster. Feed it a bright pop recording, and it’ll give you plenty of insight and energy without letting the inevitable harshness of the track burn your ears off. Crank on a Mahler symphony, and it’ll gently compress the extreme dynamics rather than pushing itself to the limit and breaking to pieces. Pair it with a brighter source component and the tweeter will let you hear the brightness, but it won’t ruthlessly remind you of it every waking moment. It's a skillful balancing act that makes the MG uniquely coherent and flexible, and able to work with a wide variety of musical genres. I listened to Magdalena Kozena in Mozart Concert Arias (Tidal) or Ella Fitzgerald in Ella and Louis (Tidal) time after time, totally captivated with the beauty of their singing, but when the mood struck I could cue up Synchronicity by The Police and feel fulfilled on a totally different level.

Verdict

Silverline has created a masterpiece, one that captures much of the joy of high-end music reproduction at a very reasonable price. $2k is a substantial amount of money for most people, but in a world where some designers seem to make excuses for their $10k “budget” models, Alan Yun delivers an incredible amount of performance, musicality and coherence for the money. If you cherish the beauty of acoustic instruments and vocals, I can’t think of a better speaker near the price - and yet it’s also more than capable of rocking out, with great bass slam, midrange dynamics and overall extension in a compact package. Add ease of placement and system matching and you have the perfect speaker for the apartment dweller or music lover who wants maximum satisfaction with minimal fuss. I immensely enjoyed my time with the Minuet Grands and give it my highest recommendation.

Specs & Info

Description: 2-way, bass-reflex bookshelf loudspeaker. 1" (25mm) titanium dome tweeter, 5.25" (13cm) treated paper woofer, first order crossover. Rated frequency response: 40 Hz to 25 kHz +/- 3dB Dimensions: 11.875” (300 mm) x 7.875” (200 mm) x 14.125”(352 mm) (H X W X D). Shipping weight: 44 lbs (20 kg) per pair. Price: USD $1999/pair

Silverline Audio P.O. Box 30574 Walnut Creek, CA 94598 USA Phone: (925) 825-3682

Correction: I initially stated the Dynaudio Special Forty's price as $4,000, however it is $2,995.

[gianhovn]

Chọn loa theo nhu cầu thưởng thức: Điều đơn giản nhưng không phải ai cũng biết

Ngay cả nhà sản xuất cũng không lường trước được nhu cầu và số lượng tiêu thụ quá lớn từ thị trường Châu Âu và Trung Quốc dành cho sản phẩm của họ. Tại Việt Nam, Dynaudio Music chính thức được giới thiệu vào cuối tháng 5/2018 trong triển lãm thiết bị âm thanh di động. Sự có mặt của Dynaudio Music nhanh chóng nhận được nhiều quan tâm và đánh giá cao từ giới chơi âm thanh, các tín đồ yêu thích đồ chơi âm thanh công nghệ và cả báo giới chuyên ngành.

Vượt trội ở thiết kế hi-end Bắc Âu và linh kiện “nhà nòi”

Dynaudio Music có 4 mẫu loa 1/3/5/7 với kích cỡ khác nhau và các loa to hơn sẽ được trang bị đa năng hơn nhưng tất cả đều dựa trên 1 triết lí nền tảng của Dynaudio là “truyền tải các bản thu một cách chân thật, tự nhiên nhất”. Ngay từ thiết kế ngoài, Dynaudio Music đã tách khỏi những motip loa di động quen thuộc với hình khối vuông mà thay vào đó là cấu trúc đa diện độc đáo kết hợp vải và kim loại phay xước, mang rõ bộ gien của đồ nội thất hi-end Bắc Âu. Tuy tích hợp bên trong nhiều tính năng nhưng thiết kế tổng thể của các loa Music đều đảm bảo sự tối giản, nút bấm, cổng kết nối và dây nguồn đều được bố trí ẩn rất khéo.

Sở hữu driver hi-end chính là điểm nổi bật nhất của dòng loa di động Dynaudio Music so với các đối thủ ở cùng phân khúc cao cấp. Dải cao các mẫu loa Music sử dụng tweeter Esotar dome lụa, vốn là thiết kế quen thuộc với audophiles, cho đặc trưng chất âm đầy chi tiết nhưng luôn đảm bảo độ tự nhiên và tơi mịn. Trung và trầm là những driver công nghệ màng Magie Silicat Polymer với 2 loại đường kính màng 3 và 5in. Đặc biệt, mỗi driver không phải chia sẻ từ nguồn khuếch đại chung mà sử dụng riêng các module công suất độc lập, tương tự như việc phối ghép từng từng khối ampli mono cho mỗi driver ở các hệ thống hi-end lớn.

5 chức năng làm nên những thiết kế loa không dây đa phòng thông minh

Phần mềm ứng dụng của Dynaudio Music Now

Dynaudio Music Now cho phép kết nối điều khiển và mở rộng nguồn phát không dây  như DLNA, Internet Radio và đặc biệt hỗ trợ các dịch vụ cung cấp nhạc trực tuyến cao cấp như Spotify, TIDAL… Ngoài ra, Music Now sẽ tạo các playlist ứng với sở thích nghe nhạc của người dùng thông qua thuật toán phân tích track nhạc nghe trước đây. Các thành viên trong gia đình có thể đăng nhập các tài khoản riêng để khai thác tính năng này.

Chức năng tự điều chỉnh chế độ tương thích với không gian

Nhờ tích hợp một microphone thu tín hiệu của môi trường và so với tín hiệu gốc, kết hợp thuật toán xử lý đặc biệt, công nghệ RoomAdapt tích hợp trong Dynaudio Music cho phép người dùng có thể bố trí loa gần như bất kỳ vị trí nào mà vẫn có thể trải nghiệm chất lượng trình diễn tối ưu, tránh cách nhiều ù bass, dội.

Chức năng tự điều chỉnh tương thích với âm thanh môi trường xung quanh

NoiseAdapt là một kỹ thuật đặc biệt khác của Dynaudio Music, giúp loa có thể hoạt động tương thích với độ ồn của môi trường bên ngoài, bằng cách phân tích (thông qua microphone) và đưa ra những hiệu chỉnh về âm lượng và đặc biệt là âm sắ, giúp người nghe vẫn có thể trải nghiệm được chi tiết tốt nhất, quan trọng nhất của bản thu. Ngược lại, khi môi trường trở có độ ồn thấp, loa sẽ chọn mức volume phù hợp và bỏ các thay đổi EQ không phù hợp.

Chức năng kết nối đa phòng

Dynaudio Music hỗ trợ kết nối đa phòng thông minh, cho phép thiết lập và quản lý hệ thống âm thanh lên đến 6 loa Dynaudio Music, quản lý bằng app. Mỗi loa đều có thể tương tác với nguồn phát riêng biệt. Ngoài ra, để tạo nên những sân khấu chung lớn, chúng ta còn có thể nhóm cùng lúc 8 loa Music với nhau. Cuối cùng, những ai đòi hỏi một không gian stereo thực thụ có thể nhóm 2 loa Dynaudio Music (cùng model) lại với nhau.

Tất cả trong một

Dynaudio Music hỗ trợ đa kết nối: như Wi-Fi, aptX Bluetooth và Apple AirPlay 2, ổ cứng mạng DLNA với cổng USB, cổng analog 3.3mm, kết nối đầu vào quang học kỹ thuật số, cổng ARC.

Một vài gợi ý lựa chọn các dòng loa Dynaudio Music

Đối với nhu cầu nghe nhạc mang tính cá nhân, desktop nhất là yêu cầu tính cơ động cao, tận dụng trình diễn ở nhiều không gia phòng nghe phòng nghe chức năng nhỏ duới 15m2 như phòng sách, bếp, phòng làm việc… thì lựa chọn Dynaudio Muisc 1 và Music 3 là hợp lý nhất. Được tích hợp nguồn pin, nên đây cũng là hai mẫu loa phù hợp cho những chuyến du lịch. Đặc biệt, loa Music 3 là một trong những mẫu loa có tính di động cao nhưng vẫn đảm bảo được chất lượng trình diễn âm thanh đáng nể.

Với những không gian có diện tích lớn, để tái hiện được một sân khấu âm thanh tốt, đủ uy lực, thay thế những bộ dàn hifi, chúng ta cần đến hai mẫu loa Dynaudio Music 5 và 7. Trải nghiệm ở những phòng nghe tầm 20m2, Dynaudio Music 5 trình diễn tốt về mặt không gian, nhất là dải trung và đảm bảo được không chỉ độ sâu mà cả độ động của dải trầm. 

Một gợi ý set-up đặc biệt dành riêng cho Dynaudio Music 7 đó là những không gian phòng khách lớn và có sử dụng TV. Nhờ tích hợp cổng HDMI hỗ trợ ARC nên Dynaudio Music sẽ kiêm luôn vai trò của một soundbar. Trải nghiệm với những film HD, tuy không cần sự trợ giúp của loa subwoofer, Dynaudio Music 7 vẫn tái tạo những đoạn trầm và siêu trầm có “trọng lượng” rất tốt.  Bên cạnh đó, độ động ở các dải cũng như khả năng thể hiện chi tiết cao, linh hoạt cũng là những ưu điểm ấn tượng và khó có đối thủ đối với một thiết kế loa di động hoặc soundbar cao cấp ở cùng tầm giá.

Ngọc Triều

Xem khuyến mãi Nguồn:

[vidiashopnet]

Loa Cột Dynaudio Contour 60

Contour 60 là loa cột lớn nhất trong Series “New Contour” mới của Dynaudio, một sự làm mới hoàn toàn dòng loa huyền thoại Dynaudio Contour vốn đã làm nên danh tiếng của thương hiệu loa Hi-End giàu truyền thống đến từ Đan Mạch.

Dynaudio “New Contour” 60

Đây rõ ràng là một sự thay đổi mang tính cách mạng của Dynadio. Họ đã quyết định làm mới một dòng sản phẩm vốn đã quá nổi tiếng về chất lượng và sự thành công của nó trong suốt 20 năm tồn tại, với tham vọng hướng đến việc tạo ra một thế hệ huyền thoại mới với kiểu dáng đẹp, thiết kế mềm mại thanh lịch hơn về ngoại hình cùng những nâng cấp về âm thanh ở độ chi tiết, trung thực của dải trung và cao, sự mạnh mẽ và chiều sâu của dải bass.

Loa sử dụng hai củ loa bass 24cm

Dynaudio Contour 60 là một loa cột lớn được thiết kế để đáp ứng nhu cầu sử dụng, trình diễn trong những phòng nghe lớn, chúng đủ sức lấp đầy những phòng nghe cỡ lớn bằng âm thanh đầy đặn, giàu chi tiết. Về cấu hình Coutour 60 có cấu hình tương đương loa Contour S5.4 thế hệ trước đây, đó là một loa cột lớn 3 đường tiếng với 4 củ loa. Tuy nhiên, so với Contour S5.4 thì các thành phần sử dụng cho Contour 60 đều đã được làm mới lại hoàn toàn. Loa sử dụng 2 củ loa trầm 24cm để đảm nhiệm dải bass. Đây là củ loa hoàn toàn mới, được phát triển riêng cho dòng New Contour và chưa từng được sử dụng trên các loa của Dynaudio (các loa Contour S5.4 trước đây chỉ sử dụng 2 củ loa trầm 20cm). Màng loa được làm từ vật liệu truyền thống của Dynaudio là MSP (Magie Silicat Polymer) với độ dày được điều chỉnh lại giúp màng loa có được trọng lượng phù hợp hơn cho hành trình ổn định và chính xác.

Củ loa trung và treble

Dải trung của loa sử dụng một củ loa có kích thước 15cm, nó là phiên bản được làm nhỏ đi của củ loa trung trầm được sử dụng trên các loa New Contour 30 và 20. Các củ loa trung và loa trầm của Contour 60 đều sở hữu cuộn dây âm thanh với chất liệu nhôm mới – siêu nhẹ và có khả năng hoạt động ổn định khi phải chịu dòng cao cùng khả năng tản nhiệt rất tốt. Các củ loa được điều khiển bằng một hệ thống nam châm neodymium đặc biệt, được tính toán tối ưu hóa bằng phương pháp phần tử hữu hạn. Sự kết hợp này giúp cho khả năng tái tạo tiếng trung trầm của loa chính xác, tự nhiên và trung tính hơn.

Tweeter Esotar 2

Treble của Contour 60 sử dụng củ tweeter Estoar 2, loại tweeter tốt nhất của hãng, thường được dùng để trang bị cho các dòng loa đầu bảng. Tweeter được đặt trong một khối từ lỏng đặc biệt, chúng hoạt động như một chất hấp thụ sốc rung động và nhiệt sinh ra trong quá trình hoạt động của củ loa, giúp nâng cao khả năng sử lý và đáp ứng tần số âm thanh của loa treble.

Cọc loa

Thùng loa cũng được thay đổi hoàn toàn bằng việc các góc cạnh được bo tròn, khối thùng được vuốt nhẹ về phía sau. Sử dụng vật liệu gỗ rắn chắc, kết hợp với các vách ngăn bằng nhôm giúp loa có một bộ khung vững chắc, cho khả năng hoạt động ổn định cùng một nền âm có độ tĩnh cao. Loa được phủ một lớp hoàn thiện hết sức cao cấp và sang trọng, có tới 6 màu để lựa chọn với 1 đen bóng, 1 trắng mờ và 4 màu gỗ là gỗ hồng mộc bóng, gỗ sồi trắn bóng, gỗ sồi xám bóng, gỗ óc chó bóng.

Dáng vẻ đồ sộ của Contour 60

Các công đoạn sản xuất đều được thực hiện thủ công một cách tỉ mỉ tại nhà máy duy nhất của Dynaudio tại Skanderborg Đan Mạch nhằm đảm bảo việc chế tác và giám sát chất lượng được thực hiện tốt nhất, cho ra những sản phẩm “thuần chủng 100%” với chất lượng rất cao đúng như truyền thống và triết lý làm loa của Dynaudio.

Bài viết Loa Cột Dynaudio Contour 60 có nguồn tại Thiết Bị Karaoke, Xem Phim, Nghe Nhạc Số 1 Tại TPHCM.

[canchinhamthanh]

Loa Cột Dynaudio Contour 60

Contour 60 là loa cột lớn nhất trong Series “New Contour” mới của Dynaudio, một sự làm mới hoàn toàn dòng loa huyền thoại Dynaudio Contour vốn đã làm nên danh tiếng của thương hiệu loa Hi-End giàu truyền thống đến từ Đan Mạch.

Dynaudio “New Contour” 60

Đây rõ ràng là một sự thay đổi mang tính cách mạng của Dynadio. Họ đã quyết định làm mới một dòng sản phẩm vốn đã quá nổi tiếng về chất lượng và sự thành công của nó trong suốt 20 năm tồn tại, với tham vọng hướng đến việc tạo ra một thế hệ huyền thoại mới với kiểu dáng đẹp, thiết kế mềm mại thanh lịch hơn về ngoại hình cùng những nâng cấp về âm thanh ở độ chi tiết, trung thực của dải trung và cao, sự mạnh mẽ và chiều sâu của dải bass.

Loa sử dụng hai củ loa bass 24cm

Dynaudio Contour 60 là một loa cột lớn được thiết kế để đáp ứng nhu cầu sử dụng, trình diễn trong những phòng nghe lớn, chúng đủ sức lấp đầy những phòng nghe cỡ lớn bằng âm thanh đầy đặn, giàu chi tiết. Về cấu hình Coutour 60 có cấu hình tương đương loa Contour S5.4 thế hệ trước đây, đó là một loa cột lớn 3 đường tiếng với 4 củ loa. Tuy nhiên, so với Contour S5.4 thì các thành phần sử dụng cho Contour 60 đều đã được làm mới lại hoàn toàn. Loa sử dụng 2 củ loa trầm 24cm để đảm nhiệm dải bass. Đây là củ loa hoàn toàn mới, được phát triển riêng cho dòng New Contour và chưa từng được sử dụng trên các loa của Dynaudio (các loa Contour S5.4 trước đây chỉ sử dụng 2 củ loa trầm 20cm). Màng loa được làm từ vật liệu truyền thống của Dynaudio là MSP (Magie Silicat Polymer) với độ dày được điều chỉnh lại giúp màng loa có được trọng lượng phù hợp hơn cho hành trình ổn định và chính xác.

Củ loa trung và treble

Dải trung của loa sử dụng một củ loa có kích thước 15cm, nó là phiên bản được làm nhỏ đi của củ loa trung trầm được sử dụng trên các loa New Contour 30 và 20. Các củ loa trung và loa trầm của Contour 60 đều sở hữu cuộn dây âm thanh với chất liệu nhôm mới – siêu nhẹ và có khả năng hoạt động ổn định khi phải chịu dòng cao cùng khả năng tản nhiệt rất tốt. Các củ loa được điều khiển bằng một hệ thống nam châm neodymium đặc biệt, được tính toán tối ưu hóa bằng phương pháp phần tử hữu hạn. Sự kết hợp này giúp cho khả năng tái tạo tiếng trung trầm của loa chính xác, tự nhiên và trung tính hơn.

Tweeter Esotar 2

Treble của Contour 60 sử dụng củ tweeter Estoar 2, loại tweeter tốt nhất của hãng, thường được dùng để trang bị cho các dòng loa đầu bảng. Tweeter được đặt trong một khối từ lỏng đặc biệt, chúng hoạt động như một chất hấp thụ sốc rung động và nhiệt sinh ra trong quá trình hoạt động của củ loa, giúp nâng cao khả năng sử lý và đáp ứng tần số âm thanh của loa treble.

Cọc loa

Thùng loa cũng được thay đổi hoàn toàn bằng việc các góc cạnh được bo tròn, khối thùng được vuốt nhẹ về phía sau. Sử dụng vật liệu gỗ rắn chắc, kết hợp với các vách ngăn bằng nhôm giúp loa có một bộ khung vững chắc, cho khả năng hoạt động ổn định cùng một nền âm có độ tĩnh cao. Loa được phủ một lớp hoàn thiện hết sức cao cấp và sang trọng, có tới 6 màu để lựa chọn với 1 đen bóng, 1 trắng mờ và 4 màu gỗ là gỗ hồng mộc bóng, gỗ sồi trắn bóng, gỗ sồi xám bóng, gỗ óc chó bóng.

Dáng vẻ đồ sộ của Contour 60

Các công đoạn sản xuất đều được thực hiện thủ công một cách tỉ mỉ tại nhà máy duy nhất của Dynaudio tại Skanderborg Đan Mạch nhằm đảm bảo việc chế tác và giám sát chất lượng được thực hiện tốt nhất, cho ra những sản phẩm “thuần chủng 100%” với chất lượng rất cao đúng như truyền thống và triết lý làm loa của Dynaudio.

Bài viết Loa Cột Dynaudio Contour 60 có nguồn tại Thiết Bị Karaoke, Xem Phim, Nghe Nhạc Số 1 Tại TPHCM.

[motivationalgregory]

Secrets that Scholars and Conspiracy Theorists Don't Understand. Listen It's Good.

Secrets that Scholars and Conspiracy Theorists Don’t Understand. Listen It’s Good.

Listen and understand the ways of the world.