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krackkokichi · 1 year ago

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Disorganized RUIN questions, thoughts, and observations

this has been in my notes for a few days, and i needed to put them out there. would love for any comments, corrections, etc! all under the read more

Helpi

— sometimes gets veiny with yellow eyes: instances where he is hijacked by Mimic? but in one of those he argues with "Gregory" so is it something else?

— can't be related to MXES because actively works to disable it

— takes Freddy's place in Brazil ending

— tied to VANNI but why would Faz. Ent. have a mask that looks like that? definitely not created by Vanessa as is unaware of MXES

— why doesn't he let Cassie take the mask off in that one big area

Mimic

— the mascot costumes?

— poses and moves the same as Burntrap, but is it actually Burntrap?

— scooper ending parallels Burntrap being attacked by the tangle

— clear parallel to Candy Cadet story

— Gregory and Vanessa definitely lured the mimic into its enclosure and sealed it with MXES

Bonnie

— Monty dark ride shows Monty looking up to Bonnie & Bonnie passing the guitar

— hidden cutout of Bonnie falling/being blown away by monty

— connection to wet floor signs?? what does it MEAN

— eyes still glowing

— why in the back of Bonnie Bowl when last recorded location was Monty Golf

— broken bowling ball pieces suggest he was attacked there, not moved

— why'd he take so long to move to Monty Golf, and why go there in the first place?

— why was he killed? he still has his parts so probably wasn't used for Burntrap, unless since Burntrap wasn't created in this timeline, Bonnie wasn't needed? hmmm....

— Monty didn't have the claws at the time Bonnie was destroyed, but it was specifically a Glamrock Bonnie sign that Cassie used to electrocute and destroy Monty (hint toward karma??)

— Bonnie's sign seemingly confirms that Monty's shades were originally his (people using this as proof that Monty is innocent since "no way would Freddy let him wear them" when Freddy probably doesn't have any clue what happened [i don't necessarily think Monty did it; i'm just pointing out this is a bad rebuttal])

— he and Freddy have matching earrings, Freddy has bowling stuff in his greenroom, and Bonnie has Freddy merch in his room, and the poster? oh yeah. they're so gay

Freddy

— prototype??? i struggle to think this is just a design retcon when it's the first thing we see of him and it's a purposeful addition. and why would Faz. Ent. leave their main animatronic as a prototype

— gift box in chest? and its a different color? something's up for sure

— why was he replaced with Helpi in Brazil ending

— line in security breach where he questions if he was the first Glamrock Freddy

— i actually don't know if the PQ ending necessitates the destruction of his body or if that just happened over time, but from what I have seen people say, it seems like it is destroyed?

— are we sure that that's not just what the glamrocks' bare endos look like on the hands, because his hands are def just metal and not green, so could be not Monty's claws?

— invisible in AR

— multiple instances of headless Freddy (plushie, statue, in the AR portion with giant MXES, construction poster that says "don't lose your head", and ofc the actual animatronic)

— Mimic is pretty good at mimicking Gregory, and Freddy spent the most time with him, BUT Freddy constantly assists and supports Gregory, whereas the Mimic pushes Cassie to do things she doesn't want in order to serve its own purposes (why would Mimic play the long game with Gregory?)

Roxy

— atp i assume that Foxy was converted into Roxy in universe. Roxy trans REAL

— Foxy log ride? Cassie says it was so much fun, but other flavor text says it was never finished

— only one of the four capable of speech is Roxy (w/exception of "i smell pizza!")

— Roxy reactivating? how?

— her manner of speech is completely different from normal in the special day scene

— the cutouts, her replacing Monty on a vending machine, and her appearing fixed in AR unlike the others suggests that there some level of personalization to the AR?

Other animatronics

— Nightmarionne plushies and the Baby plushie room with the tally marks?

— Monty shrine???

— what happened to DJ MM? he's massive af and is just. not there? only possible appearance it the giant endo Cassie has to climb into in AR

— plenty of vandalizers apparently had no trouble getting pretty far in, so did the animatronics just avoid them or what

— who put the bunny ears, sun rays, etc. on the maskbot and music men?

— people saying latina Chica confirmed canon cause she's wearing a dress that is actually just a saloon dress? guys her name is literally Chica. latina Chica was always canon

— i love Eclipse (Kellen referred to them with they/them pronouns on twt btw! i'm assuming most people just don't know, but it's a little bit frustrating)

MISC.

— Cassie's dad and the note from him that can randomly show up

— elevator ending probably canon, but who knows for sure (Gregory didn't drop it, and you can fight me on that because why would he guide Cassie just to kill her?)

— Brazil ending definitely reference to sci-fi movie Brazil in which the protag goes into an escapist fantasy while being tortured. apparently this is also a term referring to the same movie, but a lot of people seem to not know what it means, so there you go

— how long after Security Breach is this? how long has Gregory been missing?

— if a man said to a woman what Freddy said to Bonnie, people would except they were a couple instantly, but since it's two guy robots, it's just a headcanon? bffr

Edited to add: the music-like noises that happen at the title drop remind of the beginning of "Beat It" no matter how many times i hear them

#fnaf #fnaf ruin #security breach ruin #five nights at freddy's

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grizzlyofthesea · 1 year ago

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My Ruin Experience

I just finished my first playthrough of FNAF Security Breach: Ruin a few hours ago, and I'd like to reflect on my experience. I still have a ton that I need to go back and do, but I think I still got enough out of it to comment.

Needless to say, spoilers ahead. Continue at your own risk.

What I Liked:

The mechanics. Though short and simple, the Faz-wrench and Security Node puzzles are fun. The AR mask is also a really cool concept, and it opened the door for some unique gameplay and exploration.

The autosave between key checkpoints. Hallelujah.

The AR aesthetic. Holy crap, I love it. It's so trippy and dreamlike, and NEON. Totally '80s retro-futuristic, totally radical.

The character designs. My favorites are Ruined Freddy, the little Music Men with the rabbit ears, and MXES. Ruined Freddy is both horrific and strangely adorable despite having no head. I like how he chomps with his stomach like it's a mouth; it's a fun call-back to Nightmare Fredbear. And he has a gift box in his stomach. The implications of that give me the creeps. The rabbit Music Men are just cute. I hate them, but they're cute. And MXES? That's just an awesome design. Way more imposing than Glitchtrap (though Glitchtrap did work, just more as a psychological/lore thing than an outright threatening design).

All the crazy visual details and Easter eggs they put into AR mode. My favorites are the giant endoskeleton in the daycare theater and the huge bowling balls in Bonnie Bowl.

Roxy's dynamic with Cassie. I hope we get to see more of it in the future. It's just too precious.

Monty's backstory as told through the cardboard cutouts on the gondolas in Gator Golf. Just...adorable.

The part where Monty's swimming around in water and you need to hop on crates to dodge him. That was just cute. He was like a real gator. I have no idea how he didn't immediately short out, but still. Cute.

The horror of Cassie being confronted by the Mimic, not Gregory. I totally saw it coming, but it's still terrifying from a psychological standpoint.

What I Disliked:

The loading time. I think it was just because I have the PS4 version, but it took FOREVER to load the game both on startup and every time I died and wanted to retry. I hope the load times are optimized in the future.

The linearity. Once you leave one section, there's no going back; there isn't even a post-game where you can go back and do stuff. You're especially out of luck if you're on an all-collectibles run.

The lack of direction in some parts. I got stuck in so many places for such a long time because it was unclear where I was supposed to go/what I was supposed to do. Looking at you, catwalks and beauty salon.

MXES showing up at the absolute worst times and leading you to your death not out of personal failure, but out of misfortune. It got annoying after my 10th death in the Monty Golf catwalks.

Those dang Music Men, especially the ones in the bowling lanes. They were annoying to deal with. Doable, but annoying.

The stupid endoskeletons. I didn't like them in the base game, and I don't like them now. They really get to me. (I know. I'm a huge coward.)

All in all, I got about as much as I hoped for. I still have to get the rest of the endings, but this was some great DLC. It cements Security Breach as one of my favorite games in the series, and it gives me hope for whatever else Steel Wool has to offer.

#fnaf #fnaf ruin spoilers #five nights at freddy's #five nights at freddy's security breach #fnaf sb #fnaf security breach #fnaf ruin #fnaf sb ruin #fnaf security breach ruin #steel wool studios

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jetblacknewyear · 1 year ago

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You want my hot takes? Here's a hot take. The mimic IS literally Gregory. It is the body that William built to house his dead kid, it is the stolen tech from Henry he is using to put the pieces back together MXES was HIS design to keep him there. That's why its a rabbit.

He is still not ready, he doesn't understand he's a boy. THAT is what B-7 is about, it's telling us this. He's to be kept in a game except he's the kid who learned the lullaby in Candy Cadet's story. THE LULLABY IS GAMES. HE LEARNED GAMES.

ARE YOU HAVING FUN YET? Games. Vanessa was Vanny, she came into his game to check on him and to try and stop him when he (and Freddy) went rogue.

I think there is so much more to this story than what we are given and I'm not about to give up on it yet.

And I think he will come back. He always does.

r u implying bc the mimic can change shape etc that when we meet him thats actually gregory? That is Interesting! Fully honest Im a firm burntrap is the mimic *insert live mimic learning reaction meme here* . Hes been on the cams for a bazillion years learning & watching and is like wow springtrap is so cool. I do think it has switched lanes tho and NOW believes it is gregory after watching sooo much footage of him in the pizzaplex. but its also so convoluted like what triggers a shift . Is it the incident w the blob and being locked away for so long ? How does its ai truly work as a mimic!!!!

Yr theory tho i feels complicates the plot of security breach a bunch tho? Unless if its DR rabbit is masterminding all of this but why go rogue on everyone ??? Running away from this ai thats trying to control everyone if yr the ai? Also how come it can control freddy & squad but it isnt capable of reeling back gregory?

Vanessa also is a party which experiences control . And that is imo very complex bc idk how much of that control is down to possession or symptoms of abuse ? I try to rationalise how does spring bonnie jpeg hack into a human brain a lot . Tho i DID have a funny thought about movie vanessa being a robot akin to charlie bot and then dropped it when I remembered the part shes hospitalised gjfjjf . And like IDK if that was the case in games. It cld make her make sense as an afton who is a robot. That just lives a long ass time bc future (i don’t understand how robot aging works in fnaf light and love)

i have completely tangented on u i am sorry . My tldr is this is cool , i mayb don’t fully understand, i think the mimic thinks its gregory. And im unsure as to why william afton’s tech and dead kids r still roaming/ actually capable of functioning tech lore when its like firmly 100 years in the future. I dont mind haunted pc afton being a thing and i sadly do not think hes outta tha park yet but steel wool have work to do to make whatever his next reveal is be cool!!!

u r welcome to further explain/ justify yr points to me tho!!! I am thoroughly intrigued by yr argument but dont feel i am truly understanding the full picture. But ty for sharing !!!!!

#Ask #fnaf

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viothecrapbot · 1 year ago

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ARE YOU HAVING FUN YET? Games. Vanessa was Vanny, she came into his game to check on him and to try and stop him when he (and Freddy) went rogue.

I think there is so much more to this story than what we are given and I'm not about to give up on it yet.

And I think he will come back. He always does.

I always welcome hot takes!!

I love the insanity of this and you've damn well nearly convinced me of this crackpot theory. This litterally explains a whole bunch of random little details that no one's really addressed, like what the hell is the deal with Vanny being so playful. In a series where every detail matters at some point, this theory does provide an explanation for a bunch of them.

Now, do I believe it likely or true? Not really. But a good theory does get my gears churning in the best way and now I will obsessively think about this as I finish up my workday.

Anyway thank you for the ask anon! I look forward to hearing from you more!

#jordan is that you??#because if not omg is that a new fnaf bestie is can sense #vio speaks #fnaf #five nights at freddy's #fnaf security breach #my rambings #my ramblings

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taww · 7 years ago

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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.

#silverline #review #minuet #loudspeaker

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